[Modcast 2013-10-14] Songs Without Moustaches


Lee Hazlewood – “You Look Like a Lady”
Tom Jones – “Stop Breakin’ My Heart”
The Asteroids Galaxy Tour – “Gold Rush Part 1 / Dollars In the Night / Gold Rush Part 2″
Thee Mighty Caesars – “69 Seconds”
Television Personalities – “I Was a Mod Before You Was a Mod”
Otis Spann – “I’m Ready”
Liz Brady – “Palladium”
Cal Tjader – “Soul Motion”
The Ups and Downs – “In the Shadows”
The Jetset – “The Man Who Lives Upstairs”
Long Tall Shorty – “Falling For You”
Neils Children – “Get Away From Me, Now”
The Chantalles – “I Want That Boy”
Booker T & the MG’s – “Hang ‘Em High”
Manual Scan – “New Difference”
Makin’ Time = “Honey (Fast version)”
Jacques Dutronc – “les Cactus”
Style Council – “The Whole Point of No Return”
Tom Waits – “More Than Rain”

I know what you’re thinking and nope, sorry, Hazlewood released the album that one is on after demoustaching. I know, I know, it seems wrong to me, too, Lee hazlewood without a mustache, but it happened and we don’t talk about it.

While I have you here, today only, I have a coupon code for my Etsy shop. In theory, it’s a Tumblr exclusive, but this gets cross-posted to there, anyway, so go check it out. ☺

DJ RJ’s Monday Modcast for 10 June 2013: Free Form Music for the Mod Inclined


Flipper’s Guitar – “The World Tower/Hidden tracks”
Judy Mowatt – “I Shall Sing”
Beat Merchants – “So Fine”
Television Personalities – “Silly Girl”
The Nips – “Gabrielle”
The Cigarettes – “Miranda”
The Weekends – “Want You”
Sandie Shaw – “Nothing Comes Easy”
Maxine Darren – “How Can I Hide It From My Heart?”
The Raped – “Cheap Night Out”
Secret Affair – “Time For Action”
The Zombies – “She’s Not There”
Otis Spann – “I’m Ready”
PJ Harvey – “The Piano”
Les Twins – “Je Suis Timide”
Department S – “Just Pretend”
The Moodists – “Swingy George”
Baris Manço & Kaygisizlar – “Trip (Fairground)”
Dave Berry – “Picture Me Gone”

Modcast for 20 May 2013

Hey! Back up to two weeks in a row —seasonal depression is a cruel and merciless mistress, and even more so in Michigan, where any given year, there’s a fifty-fifty chance that the Horae will just skip Spring altogether. But I’m back, serving you up another weekly dose of freeform Mod radio from my attic.


The Supremes – “Reflections”
? & the Mysterians – “Hangin On a String”
Gloria Jones – “Finders Keepers”
The Untamed – “Gimmie Gimmie Some Shade”
Amy Rigby – “20 Questions”
Timebox – “Country Dan & City Lil”
The Cyrkle – “Squeeze Play”
Tyrannosaurus Rex – “Cat Black”
Joya Landis – “Angel of the Morning”
The Laughing Clowns – “Year of the Bloated Goat”
The VIP’s – “Straight Down to the Bottom”
Manuela und Drafi – “Take It Easy”
Pizzicato 5 – “Magic Twin Candle Tale”
Elton Motello – “Pipe Line”
The New Hearts – “True Love”
The Prisoners – “The Last Thing On Your Mind”

Ye-Ye Nouveau Hip Hop

There’s something about a few artists that were kinda popular, especially (as I remember) in gay clubs in the mid-1990s, that seemed to pick up where French Ye-Ye left off, in it’s quirky Lolita-infused charms. I posit that this revival really began a decade before, as the singer who, in my opinion, really seemed to “get” that musical aesthetic was Franco-American, Harvard drop-out ZE Recordings artist Cristia Monet, best known as “Cristina”. Cristina was first known as a member of Kid Creole’s Coconuts, and she was married to ZE cofounder Michael Zilkha, but she certainly carried her own as a singer and is considered a part of NYC’s 1980-93 “No Wave” movement. Her updated version of Leiber & Stoller’s “Is That All There Is?”, originally made famous by Peggy Lee, was issued a cease and desist order that would only later become rivaled by the one earned by The Evolution Control Committee’s “Rocked By Rape” and The ECC’s “whipped cream mixes” of Public Enemy’s “Rebel Without a Pause” and “By the Time I get to Arizona” (the latter two are actually supported by Chuck D of Public Enemy, it’s Herb Alpert, whose music is mixed into vocals-only B-sides of the Public Enemy songs, who was angered by the remixes). Her cover of “La Poupee qui Fait Non” also makes a clearer call back to the various French and Spanish girl singers of the 1960s.

Unfortunately, Cristina’s career as a singer was short, due to reasons I can only guess at; regardless, British artist Richard Strange described her as “elegant, intelligent, beautiful and the wittiest girl I have ever met. In a sassier, zestier, brighter, funnier world, Cristina would have been Madonna”, and that should come as clear as anything that her talent was at least on part with earlier girl singers who achieved less fame.

On a more popular note, we have The B-52s. It’s kind of hard to think 1960s retro and not think of the downright parody bouffants of Kate Pierson and Cindy Wilson (even though the ladies haven’t really worn them since the early 1990s). While maintaining a steady stream of influence, and certainly about as popular as fellow retrofuturist rockers, DEVO, during the same 1979-1983 period, their career didn’t reach its peak in sales until 1990, with “Love Shack” –but I really dislike that song, and it’s my blog, so here’s “Rock Lobster”, instead.

While it’s certainly tempting to tag The B-52s as part of the Ye-Ye Nouveau, let’s face it, their sound is hard to describe as anything by “bizarro retropop”, and their “boys vs girls” vocals make them too dissimilar from the girl singers typically associated with ye-ye (while there were certainly a few boy singers associated with ye-ye, the dominating gender for the sweet and typically unthreateningly romantic genre has been female), but they certainly helped prove that there was not only a timelessness to a lot of “signatures” to a 1960s sound —rock organ, a tinge of surf to the guitar, hell, just listen to them— but there was certainly an audience for it, and if a group could weave those elements, along with competent songwriting and talented performers, there was even an incredibly devoted market for it.

It’s also hard not to go any further in this without a mention of Grace Jones, even though I hesitate to include her work for similar reasons I hestitate to do the same for Mari Wilson. Ye-ye is a cute and girlish genre, but Jones is sophisticated. Ye-ye can be quirky, true, but Jones is scary in all the best and most seductive ways.1

Now fast forward about ten years —except when it’s only about seven.

Now now, don’t get me wrong, I’m not forgetting Mari Wilson or Virna Lindt, or even Fay Hallam, but there’s a clear difference between Hallam and those generally lumped in as “girl singers” —it would be like calling Mo Tucker a “girl singer”. Even Virna Lindt’s poppier singles for The Compact Organisation were, frankly, quite a bit weirder than that quintessinal “girl singer” sound, and while Wilson certainly comes closer, her alto, while certainly taking a nod from Motown, is more torch singer or jazz chanteuse than the cutesy girl singer vocals associated with Transeuropean Ye-ye.

Now, obviously, despite a loyal fanbase, and one that continues to grow via the Internet (where everything old is new again), Cristina’s popularity was limited. It’s easier for people as a whole to remember Til Tuesday than Cristina. It’s arguable to say that Cristina’s and The B-52s’ quirky retro-pop helped pave the way for the fleeting popularity of Betty Boo and Deeee-Lite.

Mods, in my experience, are incredibly averse to Hip-Hop and Rap. If you point out that, historically, Mods have looked to “Black music” (Jazz, Soul, Rhythm & Blues, Ska, Reggae, Funk) for cultural cues, there’s almost always some disparaging comments made about hip-hop and rap, as if it’s some kind of justifiable, rather than arbitrarily determined exception. Pete Townshend quotes from the early 1990s are trotted out as if they were short and punched enough for a bumper sticker, and exceptions are readily made (at least by a few) for Paul Weller’s odd little attempt to introduce Hip-Hop and rapping to a modernist idiom on a Style Council album, but for the most part, the topic of rap and hip-hop music is avoided on Mod Internet fora, and its inclusion into rotation of the sides at a club night is practically unheard of —I’ve never seen it, and if they used to look at me sideways for including Pizzicato 5 and Saint Etienne in my sets at the now defunct night in Ypsilani, Michigan, then I figured it was best to leave the hip-hop at home.

It’s hard to not listen to “Where Are You Baby?” (yes, even after the intro bars, a sample from The Velvelettes’ “He Was Really Sayin’ Sominething”), from 1990’s Boomania and not pick up a strong mid-1960s influence. Aside from the rapping, the music and composition are clearly coming from the same school of musical aesthetics as The B-52s, and the prominence of feminine vocals certainly give it consideration for the school of girl singers. Hell, mute the video, if you feel like, and pipe it onto the projection screen during a garage set, and it’s clearly at home, with all of its kitschy 1960s futurist sparkle. The Boomania! record is well-steeped in 1960s sound aesthetic for a dominant portion of the tracks, regardless of the modern idiom of hip-hop.

Her follow-up album, 1992’s Grr! It’s Betty Boo included “Curly & Girly” and “Skin Tight”, among other songs, which offered far more callbacks to the 1960s sound, and a lot less rapping, and more singing. Her voice is sweet and girlish, and while a handful of lines from her work is arguably “naughty” by 1960s standards, it’s tame and flirty by 1990s standards (even if there were a few infamous examples of clear sexual innuendo, usually written by Serge Gainsbourgh).

Betty Boo’s image for the two albums was carefully constructed as sort of part Betty Boop (no, really! [eyeroll]) and part Barbarella, and other nods to the cute tough girls in teensploitation films.

Then there was Deee-Lite; if you were at least five and had a radio or (worse) cable television in 1990/91, this song was IMPOSSIBLE to escape for several memorable months, and remained in regular rotation on Stateside music video channels well into 1993, in spite of the fact that Deee-Lite had a recording career that outlived Boo’s by about four years, and researching their girl singer shows absolutely no period of inactivity in music or fashion (which is her education background):

Deee-Lite is one of the strangest bands I’ve ever heard, even still. Lady Miss Kier, originally from Ohio (like other cool people), is still actively singing, DJing, active on Twitter and FaceBook, and even active as a gay living club icon; her single “Aphrodite” is more downtempo than the Deee-Lite catalogue, but totally worth checking out. I haven’t really followed the other members of the band, but a quick search on Towa Tei looks like he moved band to Japan; I can only guess what Ukraine-born Super DJ Dmitri or Kansas native DJ Ani are up to, but if you know funk music, you should be able to recognise Bootsy Collins in that video —which probably helps to explain a lot. Deee-Lite is one of those groups that, like Army of Lovers, never ceases to impress me, if only because, if you know what to listen for, you can tell that this group is composed of people who are freaky-smart, and geniuses of composition, but so far ahead of their times, that this weirdness has only breached “retro-chic” because it’s kinda kitschy, in a way. You can easily hear influences from Parliament and P-Funk, Salsa, Reggae, and Soul, but trying to pin-point what elements of each song was born from what influences is at least forty-seven times harder to do.

The video? OK, I’ll admit, it’s far more psychedelic and hippie-influenced than “properly Mod”, but the dancing is top notch, and even today, I doubt Lady Miss Kier would be turned away at the door of a Mod night for looking costumey, at least not by anybody who actually knows 1960s women’s couture. I’m also really disappointed that I didn’t post this during US Election Season:

The Infinity Within record was an effort to be more serious and activist, and the sound is more House than Funk, but the design on the album cover is plucked right out of 1967. Social consciousness had a huge revival in the early to mid 1990s, so you’d think a socially conscious Techno Dance record with a neo-psychedellic rectrochic coolness and just a dash of Hip-Hop sensibilities would do better, but it turns out that people never listened to dance music to think, but to, you know, dance. Which is sad; the reason that Country Joe & the Fish don’t have staying power is cos when you’re writing anti-war songs about a specific war, well, the chances of another war lasting over a century are pretty low, so you can’t count on an incredibly specific anti-war song to remain relevant even a full generation later —in most cases, you’d be lucky if that song was still relevant a decade later. Other “issues” songs also come off as dull and patronising, or just trying to say too much about something that’s very simple, or oversimplifying complex ideas. Let’s face it, most pop music is for people between the ages of fourteen and twenty, they are not stupid, and bullshit can be easily sniffed out; as refreshing as it is that “Rubber Lover” looks at the issue of safer sex and boils it down to “Put a rubber on your ding-a-ling” between verses of Lady Miss Kier swooning with the line “Have a good time” —which is really all everybody outside an abstinence-only school district was trying to say in those awkward sex ed classes— the fact that the kids got a false positive on their shitometers makes you realise it’s kind of a shame this record sold so poorly in comparison to Deee-lite’s previous offering.

Their final studio album, Dewdrops In the Garden, probably one of the finer examples of electronic neo-psychedelic music, and taking more of a trip-hop lead with some jazzier reflections in a handful of tracks, so still celebrating a myriad of sounds originating in the 1960s, but very different from the poppier World Clique from five years prior.

While you really can’t deny that they are, in essence, a bunch of techno-hippies with a glam-funk aesthetic, you also can’t deny that they did amazing dance music that could easily fit in with a Shibuya Kei set, at the very least, offering up a sound that utilises the best of 1990s techno dance music to create a potpourri of 1960s sounds.

All in all, the era of the sweet girl singer never ended, and the sensibilities of ye-ye have continued, even if the style has modernised to the point that the typical superficial listen makes it seem like something completely new and different.

1: If you say Mari Wilson isn’t as sophisticated or weird as Jones, I’ll only give you half. Her voice is actually very well trained and stands there with any of the great lady lounge singers. On the other hand, where Grace Jones is kind of the seductive alien, Mari Wilson could easily prove herself gleefully aberrant. She’s a lot weirder than most people give her credit for.

Modcast 2012-07-23


Brigitte Bardot – “Contact”
Mick Harvey – “Who is ‘In’? Who is ‘Out’?”
Serge Gainsbourg – “Intoxicated Man”
Nick Cave & Anita Lane – “I Love You… Nor Do I”
Jane Birkin & Serge Gainsbourg – “Jane B”
Marianne Fairhfull (w/ Sly & Robbie) – “Lola R. For Ever (Lola Rastaquouère)”
France Gall – “Poupée de cire, poupée de son”
Go-Go Giddle Partridge – “Bonnie & Clyde”
Anita Lane – “Harley Davidson”
Elysian Fields – “Les Amour Perdues”
Mick Harvey – “Initials B.B.”

I know I’m usually good with only one track per artist per month, but oh well, I just had a birthday and I’m at the Toledo Zoo now.

[2010-09-06] In Monoraul!

I almost made a post of nothing but this song (at about 12:44, there’s a chorus of “It’s Labour Day!”, and I have to say, this is possibly the most wonderful song I’ve ever heard — but I listen to Yoko Ono and Iannis Xenakis, your opinion probably differs), but I like both my listeners — I wouldn’t do that to you.

I was hoping to putt another theme, but gods above, do you have any idea how lacking in the topic of labour is the music of a subculture composted by an overwhelming majority of working-classes? It’s very lacking. Very, very lacking.

So no theme for this one, I wish I could, but fuck it, maybe next time.

This is the longest set I’ve posted in a while, so this will make up for the fact that I forgot to post something last week, like I said I would — which I apologise for, but I woke up last Monday and honestly forgot it was Monday until quarter til midnight — and then I remembered that since I’m doing this in WordPress, I can set it to post things at a specific time and date, to avoid this. Which is what I’m doing now. Podcasting from the past! …or maybe I’m podcasting to the future? Either way, please, let this blow your freakin mind — or just tell me it did.

Also, please donate to the tip jar. I really want to go see some friends in Baltimore (and stalk John Waters, perhaps) later this year, and that cannot happen without delicious monies.


Boys Next Door – Boy Hero
Roxy Music – Do The Strand
Shakespear’s Sister – Excuse Me John
The Smiths – Handsome Devil
The Monochrome Set – Silicone Carne
Cat Stevens – Lovely City (When Do You Laugh)
Nancy Sinatra & Lee Hazelwood – Lady Bird
Billie Davis – Billy Sunshine
The New Constitution – No Easy Way
Paul Weller – Peacock Suit
Them – Bright Lights, Big City
The Fall – City Hobgoblines
Art Brut – Blame It On the Trains
Gavin Friday – Kitchen Sink Drama
Leonard Cohen – Stories of the Street
Rufus Wainwright – Old Whore’s Diet (w/ Antony Hegarty)

[2009-12-28] A Taste of Garage

I’ve been shaking a cold and too congested to even think until earlier today. OK, I may have been coherent enough to draw penises, but if you’re a personal friend of mine, that makes total sense to you.

Hre’s this week’s set list, and tomorrow, i am heading down to Direct Hits for New Year’s Eve — where I will not be DJin or selling top-quality crap, but will instead be drinking of top-quality booze and wondering why more Mod men don’t at least admit that they’re bisexual (as I am often fated to wonder; but hey, it’s better than going to the “gay night” and being hit on by lesbians and The Straight Guy Hunting Down a “Cute Lesbian” for his “Curious” Girlfriend).

right-click (on a PC) or double-click (on a Mac) to download

France Gall – Jazz A Go Go
Violent Femmes – Gone Daddy Gone
John’s Children – Come And Play With Me In the Garden
Jacques Dutronc – Et Moi, Et Moi, Et Moi
The Creation – Biff Bang Pow!
The Prisoners – A Taste of Pink
Radio Birdman – Burn My Eye
The Loons – Getting Better
The King Kongs – Leave Me Alone
The Love Me Nots – Heart On a Chain
Nick Cave & the Bad Seeds – Deanna
DMZ – Rosalyn
Jefferson Airplane – Tobacco Road
The Solarflares – Hold On
Sharon Tandy – Daughter of the Sun
The Lipstick Killers – Hindu Gods of Love
Jayne County – I’m In Love With Dusty Springfield
Gate Ball – You Really Got Me

[2009-12-14] No, really! I’m not backdating this!

As much as it shames me to admit this, there isn’t really any excuse for this to be as late as it is, but it is. There are a few reasons I could use, but honestly, it just feels like a cop-out, as perfectly valid as those reasons appear on paper, were they to come from another.

I decided to do something different withthis one, and so it’s all instrumentals and minimal-voice pieces.

Also, I have no excuse for uploading 30 November’s cast again last week. I just fixed that.

download link

Pizzicato 5 – Trailer Music
Japan – Voices Raised In Welcome, Hands Held In Prayer
Brian Eno – Here Come the Warm Jets
The Tape-beatles – Grave Implications
The Evolution Control Committee – Hurdy Gurdy Men
The Monochrome Set – The Etcetera Stroll
Style Council – Our Favourite Shop
Jean-Jacques Perrey – Soul City
Pierre Henry – Teen Tonic
Booker T & the MG’s – Mo’ Onions
Giddle & Boyd – Going Steady With Peggy Moffit
Les Cappiccino – Move Move Move
QYPTHONE – Tension Attention, Please / Modernica In the House
Pizzicato 5 – Readymade FM