Thursday, September 28, 2006

Izzy Stradlin and The Ju Ju Hounds

"Izzy Stradlin, one of Guns N' Roses main songwriters, walked away from the group in the middle of a video shoot at the peak of the band's career back in 1991. Fed up with the drug-addled Hollywood scene, the music business and the chaos known as Guns N' Roses, the guitarist headed home to the quiet obscurity of Indiana.
A year later, he somewhat half-heartedly launched a solo career, releasing the Izzy Stradlin and the JuJu Hounds album in 1992 and touring to support the CD. However, reportedly angered by the media's insistence on asking GN'R-related questions, Stradlin also walked away from his press and promotion commitments, and the record quickly dropped off the musical map, prompting flat sales and strained relations." - SAIDMAN

Rolling Stone called it "a ragged, blues-drenched and thoroughly winning solo debut" (Oct. 10, 1992).
Give me a voice that has been drenched in whisky and cigarettes and I'll listen all day. One of my favorite drinking albums of all time. A rootsy mix of blues, rock, punk and reggae. The band has often been compared to Keith Richards on his solo recordings.
Somebody Knockin'
Pressure Drop
Time Gone By
Shuffle It All
How Will It Go

Tuesday, September 26, 2006

Henry Rollins: Spoken Word Tour, Amsterdam 3/21/06

Henry Rollins, March 21, 2006(65MB)
I Am Fanboy!
2.13.61 Publications
Harmony In My Head
Indie 103.1 FM Los Angeles
Rollins - Archive Harmony In My Head Radio Show in MP3 format.

Monday, September 25, 2006

Brian Wilson Interviews

Deke Dickerson & The Ecco-Fonics

I LOVE this band! When Mike Ness rolled into town on his first solo tour Deke and the Ecco-Fonics were the opening act. I'd never seen or heard them before but was instanly won over.
Deke Dickerson is one of Americana's best-kept secrets. A guitar slinger who plays; rockabilly, hillbilly boogie, jump blues, swing, ballads and good old-fashioned rock & roll. Raised on 50's rock and roll in Missouri, Deke is leading the charge in the roots rock scene.
Perhaps the most attractive element of Dickerson's rock 'n' roll crusade is that he doesn't feel the need to "justify" that which is already great to begin with by dressing it up with overproduction, "relevant" lyrics" or unnecessary "guest" artists. Instead, an unwavering dedication to his craft finds him blazing trails with the most straightforward of recording concepts, timeless song writing and the occasionally fitting contribution by guest artists whose real contributions to the founding of rock 'n' roll out weigh their name recognition.
Mexicali Rose
Nightmare Of A Woman (w/ Billy Zoom)
Long Time In The Ground
I Gave My Heart Before
Rockin' Gypsy (Instrumental) Dickerson concentrates his effort on the mandolin-like portion of his double-neck guitar. Dickerson and the band really cut loose and allow the music to take over without burdening them with vocals. In effect, the guitars become the lead singers - and it's a pleasant exchange.(Thelen)

Sunday, September 24, 2006

Lost & Found: Showgirls Soundtrack

I'll admit it, I saw this flick in the theaters. I liked it in a campy way, plus how bad is a movie were most of the women are naked.

"A sleazefest like "Showgirls" promises the inside dope on Las Vegas, stripping, hooking and all that stuff. What "Showgirls" delivers, however, seems basically to be Joe Eszterhas' masturbatory fantasies. - Roger Ebert, film critic."

The infamous swimming pool-based romp has received the dubious honour of being named the worst sex scene in the history of cinema by Empire Film Magazine.

Why drudge up the past to pick the corpse clean again, because, I have no idea how I came into posession of this soundtrack! While looking for another CD I noticed this was stuck in the rack. The funny thing is it's not bad. The soundtrack consists mainly of the Interscope Records roster and heavy on the Industrial genre.

Leave your inhibitions at the door. The show is about to begin.
Animal by Prick
Prick was an industrial rock band that was on Trent Reznors' Nothing Records. Their self-titled album was released in 1995
I'm Afraid Of Americans by David Bowie
A rough cut version that would later appear on Earthling
"It's not as truly hostile about Americans as say “Born In The U.S.A.”: it's merely sardonic. I was traveling in Java when the first McDonalds went up: it was like, "for fuck's sake." The invasion by any homogenized culture is so depressing, the erection of another Disney World in, say, Umbria, Italy, more so. It strangles the indigenous culture and narrows expression of life." - David Bowie (Earthling Press Release)
Kissing The Sun by The Young Gods
When David Bowie was asked if his 1995 album, "Outside" was influenced by Nine Inch Nails, he answered: "No. I was influenced by a swiss band called The Young Gods."
New Skin by Siouxsie & The Banshees
Wasted Time & Somebody New by My Life With The Thrill Kill Kult
Their song "The Devil Does Drugs" also appears in the film, but not on the soundtrack album. Another track called "Seduction 23" was composed for the film, but swapped with "Wasted Time" near completion of the movie.
Hollywood Babylon by Killing Joke
Totally useless knowledge, Killing Joke sued Nirvana, alleging that the riff for the latter's song "Come As You Are" was copied from the riff for their song "Eighties".
The DVD release to this day is one of MGM's top 10 selling DVDs.

Saturday, September 23, 2006

Dread Zeppelin

"Does anyone remember laughter?" - Robert Plant

What do you get when you cross a fat man, boasting a greasy pompadour and white sequined jumpsuit, belting out Led Zeppelin vocals a la Elvis over a reggae beat? The answer my friends is the one and only, the original mash up, Dread Zeppelin. Led by a 300-pound Elvis impersonator, Tortelvis, they have released numerous albums of their playing inna reggae style, mon.
Robert Plant himself says he LOVES Dread Zeppelin and that their version of "Your Time Is Gonna Come" is better than Led Zep's! Jimmy Page kicked Tortelvis in the shins. Bob Dylan "almost" danced to their music in Oslo, Norway. David Crosby called Dread Zeppelin, "some weird shit" (and he should know!). Dave Stewart of The Eurythmics let them record all of their classic "Un Led ED" in his home studio in Encino, CA. Strange but true.
Heartbreaker (At The End Of Lonely Street) from Un-Led-Ed
Whole Lotta Love from Un-Led-Ed
Good Times, Bad Times from Hot & Spicy Beanburger
The Train Kep A - Rollin from 5,000,000*
Unchained Melody from Hot & Spicy Beanburger
Stir It Up from 5,000,000*

Thursday, September 21, 2006

The Cramps

In the spring of 1976, The CRAMPS began to fester in a NYC apartment. Without fresh air or natural light, the group developed its uniquely mutant strain of rock’n’roll aided only by the sickly blue rays of late night TV. While the jackhammer rhythms of punk were proliferating in NYC, The CRAMPS dove into the deepest recesses of the rock’n’roll psyche for the most primal of all rhythmic impulses -- rockabilly -- the sound of southern culture falling apart in a blaze of shudders and hiccups. As late night sci-fi reruns colored the room, The CRAMPS also picked and chose amongst the psychotic debris of previous rock eras - instrumental rock, surf, psychedelia, and sixties punk. And then they added the junkiest element of all -- themselves.
(J. H. Sasfy, Professor of Rockology, from the liner notes of The Cramps 1979 release Gravest Hits)
Conjuring a fiendish witches' brew of primal rockabilly, grease-stained '60s garage rock, vintage monster movies, perverse and glistening sex, and the detritus and effluvia of 50 years of American pop culture, the Cramps are a truly American creation much in the manner of the Cadillac, the White Castle hamburger, the Fender Stratocaster, and Jayne Mansfield. Often imitated, but never with the same psychic resonance as the original, the Cramps celebrate all that is dirty and gaudy with a perverse joy that draws in listeners with its fleshy decadence, not unlike an enchanted gingerbread house on the Las Vegas strip. The entire psychobilly scene would be unthinkable without them, and their prescient celebration of the echoey menace of first-generation rock & roll had a primal (if little acknowledged) influence on the rockabilly revival and the later roots rock movement. (ALL MUSIC GUIDE)

It's twenty years this month that I became a Cramps fan. For my fourteenth birthday my cousin, Erik, gave me a cassette of Bad Music For Bad People. From that point on I was hooked. Over the years many bands have fallen in and out of favor in my musical tastes but the Cramps have never lost a beat. I own everything they put out. With sexual innuendos, B - Horror movie references and ultra sleaze, the Cramps have always brought me back beggin' for more. Put a Cramps record on and it will instantly transport you to a different dimension. For the Cramps, its delving beyond to the taboo, to the subcultures that make life more interesting to those wild at heart.
Proceed with caution... This is not ordinary music!
Can Your Pussy Do The Dog?
Bikini Girls With Machine Guns
Shortnin' Bread
Aloha From Hell
Lonesome Town

Tuesday, September 19, 2006

I.R.S. Records

Growing up in Southern California during the '80s I was privileged enough to have a radio station like KROQ (106.7). What seemed to fill the frequency during this time was a roster full of I.R.S. artists.
In 1979 Miles Copeland, agent and manager, optioned the single “Roxanne” by the Police to A&M Records. When the Police signed with A&M Records, Copeland negotiated a distribution deal establishing the International Record Syndicate (I.R.S.).
In the next few years, the company had hits with The Buzzcocks, The Beat, The Cramps, Wall of Voodoo, Timbuk 3, R.E.M. and a number one album with the all-girl group, The Go-Gos. This formula established the label as one of the most innovative in the business. I.R.S. left its distribution agreement with A&M in 1985. I.R.S would find a new home with MCA records. In 1994, EMI bought I.R.S for an estimated $20 million. In 1996 they officially closed down the label.

I.R.S. Discography
A Compilation of the I.R.S roster:

R.E.M - "The One I Love"
Wall Of Voodoo - "Mexican Radio
Go-Go's -"Our Lips Are Sealed"
The Cramps - "Goo Goo Muck"
General Public - "Tenderness"
The English Beat - "Save It For Later"
Stan Ridgway
Fine Young Cannibals - "She Drives Me Crazy"
Belinda Carlisle - "Mad About You"
The Alarm
Lords Of The New Church
Timbuk 3 - "The Future's So Bright, I Gotta Wear Shades"
dada - "Dizz Knee Land"
Concrete Blonde - "Joey"
Oingo Boingo - "Only A Lad"
I.R.S. Records 1979-1994 Compilation (Zip of the above songs)

Saturday, September 16, 2006

Johnette Napolitano - Sketchbook II

Johnette Napolitano has one of my all time favorite voices. Best known as the frontwoman for Concrete Blonde, she has also fronted a couple other projects, Vowel Movement and Pretty & Twisted. Johnette's latest release is her second limited edition solo project,Sketchbook 2.
I made it a limited edition. That’s what makes people want to have a record in the first place. I know this stuff will wind up all over the net for free, and I don’t mind that. I think that’s wonderful. People would have access to the music that otherwise might not have it. The internet is my friend. The cool thing is you can give stuff away and if people want to buy it and have it they can. They’re also getting something special, because when they’re gone, they’re gone. If I make 1000 or 1500 of them, I only need to sell 200 or 300 to break even. I can make a record every six months if I want to. I can take some risks. There’s nobody telling me what to play and I can record it myself and it doesn’t cost me anything and I get to constantly make music and do something with it.
So my concept was originally that the people who really wanted to collect my records, would, and then there are no more when they're gone. I may do a compilation three or four down…the best of each one but I'm not that far along yet. But I like the way that the people who want it, can get it, and then maybe it makes its way to digital. It keeps me making music. I can do another record if I want to and the way I want to. With this one, I was wondering, "Is this just your lack of commitment to making records?" I know it sounds like demos, but sometimes you just have a nice bottle of wine and you come up with a nice riff and that sounds cool. But if you try and beat it into a real song, with little finger quotes around it…I don't know….first of all, I don't care to do that in the first place and you don't have to sit through it all just to get a little sliver of something. With this one, it's a bit more lyrically oriented than the last one. The last one had quite a few instrumentals on it. Which is also good for me. I like to do that quite a lot.
New Orleans Ain't Been The Same (Since You've Been Gone)
Long Black Car
Before The Fall

Roy Hargrove - Habana

"First there's the beat -- insistent, thumping like a heart. The sound of a conga is soon joined by timbales, and a guitar lays down an eight-note vamp, echoed by the horn section. As the musicians chant the title of the opening track, "Oh-Mi Seh Yeh", the song builds into a mesmerizing anthem, delivering the subtle but certain message that trumpeter Roy Hargrove's "Habana" is not a typical Latin jazz project."(-- Andrew Gilbert June 12, 1997)
A few years ago I went to see Herbie Hancock perform his "Directions In Music". A few songs into the set out walked a young jazz man to perform a trumpet solo. At the end of that solo I realized that I must get everything that this man has recorded. The man was Roy Hargrove and he had already amassed quite a body of work. This is one of my personal favorites, "Habana".

In 1996, Roy's band appeared in La Habana's Jazz Festival, where they met pianist Chucho Valdes, of Irakere fame. Roy became fascinated with the talents of Cuban musicians, and decided to form a group featuring both Cuban percussionists and African-American Jazz players. The group, known as Crisol (Spanish for melting pot), recorded live at the Orvieto (Italy) Jazz Festival, and the resulting CD, Habana, appeared in the market in 1997 with an imposing success.
ROY HARGROVE: It was like an evolutionary process. It came about as a result of me working in the Havana Jazz Festival in '96. Chucho Valdes, the pianist, world renowned Cuban jazz pianist, invited me and my quintet to come to the festival. When I went there the first year, I remember just being amazed by the high level of virtuosity out of the musicians that I heard in Havana, some of the local groups and some of the bands that Chucho was in, mainly like Irakere, and the top group at that time, which was Los Van Van. This is before the big media splash with Cuba and everything. When I worked with these musicians, we did some experimental recording down there and sort of formed a band with a Cuban rhythm section with some guys from Puerto Rico, David Sanchez and John Benitez and the front line of New York based guys and we went to a festival in Italy for a week and played and on the seventh day, we set up in the theater and made the album.(

"Roy Hargrove's talents will naturally take him many places in the coming decades. None are likely to affect him - or be affected by him- as deeply and powerfully as Habana."
Oh -Mi Seh Yeh

Wednesday, September 13, 2006

Linda Perry - In Flight

Linda Perry is one of the strongest female voices to swagger into rock 'n roll. Part Grace Slick, part Johnnette Napolitano, but unique in her own right and a little quirky, it didn't take long before Perry's solo performances at various Bay Area nightclubs were attracting the attention of scenesters and fellow musicians. One such musician was Christa Hillhouse, who was in quest of a new lead vocalist for her group 4 Non Blondes. Hillhouse asked Perry to join up with her outfit, which also included Shauna Hall and Wanda Day. Perry agreed to give it a try and it wasn't long before 4 Non Blondes were being courted and eventually signed by Interscope Records. The group's debut, Bigger, Better, Faster, More, was released on Interscope in 1992. After 4 Non Blondes imploded Perry sought out a solo career. In 1995 Perry wrote and recorded In Flight. Darker, and more dynamic than her work with 4 Non Blondes, Perry came into her own as an artist on this exceptional recording. Released on Interscope, In Flight was perhaps too dour or sincere to capitalize on the alt-pop success of 4 Non Blondes and the record was hardly noticed by critics, radio, or fans.
Today, Linda is one of the most sought after songwriters/producer. Take a look at her track record to what she's done. From Pink and Gwen Stefani to Jewel and Cheap Trick and many more, she has lent her considerable melodic sensibilities to each, all with critical and commercial acclaim…in a very short time, I might add. There was no greater measure of her abilities, however, than the song that launched Christina Aguilera into the stratosphere of super-stardom, "Beautiful". Once Perry had established a reputation as an estimable song doctor she called up Interscope chief Jimmy Iovine and asked for her album back.
"I guarantee you'll grow to like it. You know, it's a kind of record you have to work at, it's not easy, I didn't make it easy for you to get it. You have to sit with it, and you'll appreciate it. There's a lot of things going on, but there's a lot of space, and it's very mellow, it's very powerful I think, and it's very personal. So the best way I recommend it, you get stoned, you turn the lights down low, you get two sets of headphones, one for you, and one for the person you're about to screw, and you'll love the record (laughs)." - Linda Perry (Andrian Pertout Interview July 1996)
"A few songs were written for…like I wrote it while I was working on the second 4 Non Blondes record, and it's actually some songs I wrote and I brought in and the band looked at me and said "Well?" "Freeway", "In To Deep", "In Flight" and I don't know… another song on there, "Knock Me Out", those were songs that I wrote for the second record and the band just thought I was out of my mind and they were like, "That's not, you know…. we don't like that, that's too different of a direction." And I would just look at them with this blank look, like, you know, okay. Then I would disappear for literally about 10 or 15 minutes and come back with this crap ass, fucking rock tune that sounded like shit to me, that had no emotional attachment, and they were like "yeah, that's more like it." And I just finally got to a point where I said, "Listen guys I just think we want to make two different records, cause you guys want to make the first record again, and I want a complete departure because I wasn't happy with that record and I feel that I have a lot more to offer music than just a bunch of crappy little fucking fast songs. If that's what you guys want to do, you can keep these songs that I wrote. I'll help you find a singer, and you know, I'll help you guys get it together. Other than that I'm out of here." So that's what I did. They obviously declined. Well the label ended up dropping the band, which was unfortunate but kept me, and that was not my intention. I wanted to make a record that wasn't going to be a hit; that was dark; that was expressing my emotions of how I felt, because I needed to do that for myself. Is it a great record? I'm not too sure. But I love it. Do I feel successful from it? Absolutely. So the process of it was once I realized I was out of the band, then I was opened. I was able now to be free, and start really going there with all the other songs. Then I think "Fruitloop Daydream", I wrote in the studio with the boys, and there might have been another song I did with them. It was a wonderful experience. One of the things that bugged me about 4 Non Blondes, was that I used my voice 100 per cent, it was always in your face, it was so annoying. When I hear that record I just cringe. To me it's like nails to a chalkboard. It's so annoying I can't take it. I probably listened to that record a total of 10 times, so when I was doing "In Fight". I wanted to sit down. I wanted to smoke my cigarettes. I wanted to have my glass of wine. I wanted you know have the lights down. I wanted candles all over the place, and I just wanted to be mellow. And I wanted to use my low register because I really like my low register. Because it's not often that a woman has such a low register. So I wanted to embrace that. I was felling really mellow, I was feeling really emotional, I was very suicidal. I was really dark and that's the kind of record I wanted to make. Could I have gotten darker? Fuck yeah. I absolutely could have. But I didn't feel… my heart didn't want to go there yet. So I did what I was allowed to do in my emotions."(Morley Seaver Interview)

“It’s rich, melodious and spooky more Pink Floyd than Pink with Perry’s throaty vocals far more intimate and subdued than the singer of What’s Up was…it’s well worth a listen (perhaps best enjoyed under the conditions in which it was recorded).” —Entertainment Weekly, October 7, 2005
In Flight represents the heart and soul of who Linda is. It’s a deep and endearing recording that with each subsequent listening reveals something you might have missed the first time around.

Tuesday, September 12, 2006

Based On The Novel By Bret Easton Ellis.

Bret Easton Ellis is the author of numerous controversial novels including Less Than Zero, The Rules of Attraction, American Psycho, and The Informers. He was often attacked for the intolerable violence in his novels, his character's passivity, and his generally "devoid of morals" esthetic, especially in 1991's American Psycho which was so violent that one publisher refused to publish it.
On Film Adaptations "I’ve had three different experiences. One was very disappointing -- Less Than Zero, my first novel. One I admired but found very chilly and thought that it maybe misinterpreted the book -- American Psycho. And I had a great experience with Rules of Attraction. I don’t think when you read my books, you’re necessarily thinking, "This would make a great movie. " They have cinematic scenes, they have a lot of dialogue, but often they don’t have that narrative momentum a movie needs. So I’m always shocked when people want to make movies out of my books." - Bret Easton Ellis (Interview w/ Randy Shulman)

In 1985 twenty-one-year-old Bret Easton Ellis jolted the literary world with his first novel Less Than Zero. Readers and critics were both fascinated and horrified by his depiction of wealthy, degenerate Los Angeles teenagers obsessed with mood-altering drugs and violent debaucheries. Ellis was viewed as the voice of a new generation and critics dubbed the book as "the first MTV novel". On the film, Less Than Zero, "I had absolutely nothing to do with it. I sold the rights, but I didn’t even know they were making it until right before it came out. I got a call from my agency about a check that had been sent to me. I said, “Well, that’s a big check. What’s it for?” My agent said, “Oh, they’re making the book into a movie.” And I said, “Well, no one told me.” The movie came together very quickly. It was shot and released quickly too." What did you think of it? "Well, it was undeniably exciting that someone had adapted my book into an art form that I love. Of course, the experience was also distressing because the movie had nothing to do with the temperament, the scenes, the dialogue — nothing to do with what the book was actually about. They’re completely different experiences. Although I like the way the movie was shot, and I like some of the music. I like Robert Downey Jr. in it, even though that character doesn’t really exist in the book. It was jarring to see the first time." -Bret Easton Ellis Index Magazine 2001
From the film soundtrack:
Hazy Shade Of Winter by The Bangles
Life Fades Away by Roy Orbison
In-A-Gadda-Da-Vida by Slayer.

This tale of privileged college students at their self- absorbed and childish worst is the very book that countless students have dreamed of writing at their most self-absorbed and childish moments. Through a series of brief first-person accounts, the novel chronicles one term at a fictional New England college, with particular emphasis on a decidedly contemporary love triangle (one woman and two men) in which all possible combinations have been explored, and each pines after the one who's pining after the other. (Publishers Weekly 1987) From the film soundtrack:
Rise by Public Image Limited
Sunday Girl by Blondie

Bret Easton Ellis imaginatively explores the incomprehensible depths of madness and captures the insanity of violence in our time or any other. Patrick Bateman moves among the young and trendy in 1980s Manhattan. Young, handsome, and well educated, Bateman earns his fortune on Wall Street by day while spending his nights in ways we cannot begin to fathom.(Library Journal 1991)
There is an idea of a Patrick Bateman; some kind of abstraction. But there is no real me: only an entity, something illusory. And though I can hide my cold gaze, and you can shake my hand and feel flesh gripping yours and maybe you can even sense our lifestyles are probably comparable... I simply am not there.

Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where Phil Collins' presence became more apparent. I think Invisible Touch was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Take the lyrics to "Land of Confusion". In this song, Phil Collins addresses the problems of abusive political authority. "In Too Deep" is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in rock. Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like "In the Air Tonight" and "Against All Odds". But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is Sussudio, a great, great song, a personal favorite. Sussudio (Live) by Phil Collins.

Patrick Bateman on Huey Lewis and the News
Their early work was a little too new wave for my tastes, but when "Sports" came out in '83,I think they really came into their own, commercial and artistically. The whole album has a clear, crisp sound, and a new sheen of consummate professionalism that really gives the songs a big boost. He's been compared to Elvis Costello, but I think Huey has a far much more bitter, cynical sense of humor. In '87, Huey released this, Fore, their most accomplished album. I think their undisputed masterpiece is "Hip to be Square", a song so catchy, most people probably don't listen to the lyrics. But they should, because it's not just about the pleasures of conformity, and the importance of trends, it's also a personal statement about the band itself.Hip To Be Square by Huey Lewis and the News

Bateman on Whitney Houston.
Did you know that Whitney Houston's debut LP, called simply Whitney Houston had 4 number one singles on it? It’s hard to choose a favorite among so many great tracks, but "The Greatest Love of All" is one of the best, most powerful songs ever written about self-preservation, dignity. Its universal message crosses all boundaries and instills one with the hope that it's not too late to better ourselves. Since it's impossible in this world we live in to empathize with others, we can always empathize with ourselves. It's an important message, crucial really. And it's beautifully stated on the album. Greatest Love Of All by Whitney Houston.

Ellis on the American Psycho film, "I think the movie got pretty close to the temperament of the book. But the film is a lighter, flashier, funnier, not as hard-to-take experience. It’s not as cruel and not as violent, obviously."
From the film soundtrack.
Watching Me Fall (Underdog Remix) by The Cure
True Faith by New Order
You Spin Me Round (Like A Record) by Dope
Something In The Air (American Psycho Remix) by David Bowie

Monday, September 11, 2006

September 11, 2001

Everybody has a September 11th story. How many people can actually say they were on a plane during the attacks? I was on a business trip from Minneapolis to Milwaukee that morning. This is what I was listening to during that flight.
Nine Inch Nails Live In London 1994.
Terrible Lie
March of the Pigs
Something I Can Never Have
The Only Time
Get Down Make Love
Down In It
Big Man With A Gun
Head Like A Hole
Dead Souls
Help Me I'm In Hell
Happiness In Slavery

Nine Inch Nails - Hammering It Home '94 zip. Download the entire set here.