Larry "Fuzz-o": 00:00

Do we all log off or just

Jacob: 00:03

No.

Leon: 00:03

I think just just let him and then see. We'll see if we're all good. Man, it's so exciting to have you join us. Like, I can't tell you. It's it's so sick.

Leon: 00:11

Like, been a huge fan of your blog and everything you've done since then, and it's so nice even when the newsletter kicked back up again, and and I was just like, oh, great. Yeah. You've been such a great source of music over the years. Really appreciate it.

Larry "Fuzz-o": 00:23

Oh, wow. Thank you. Yeah. It I mean, I've I've listened to two or three episodes now of the podcast and that I mean, I feel the same way. Like, I can't believe I'm actually in it.

Larry "Fuzz-o": 00:37

What what I've been listening. Well, you guys well, yeah. You, I guess, I was gonna say that you guys have, like, achieved in podcast form one of my favorite activities, which is the record hang. The in person record hang, as I call it, like, you know, where two to four people get together, gather around the stereo, bring some CDs, LPs. Everybody brings a couple.

Larry "Fuzz-o": 01:06

Everybody takes turns, talks about it. And, like, you seamlessly achieve that

Leon: 01:12

in the virtual realm. Purely by accident. Yeah. Like, it's it's the same dynamics. It's it's perfect.

Leon: 01:21

Yeah. It was totally unintentional. We just we just stumbled across it. I mean, I think we used to spend hours doing this in the store together.

Leon: 01:27

So it's

Leon: 01:28

really Well, that Yeah.

Larry "Fuzz-o": 01:29

That was my exact question when I said I wanted to ask you guys a couple questions. It was like, I wanted to picture that was this happening on the clock on the retail floor at the store. You three were on shift at the same time Yeah. Literally just doing this podcast Exactly. While ringing up customers and straightening the shelves

Leon: 01:48

and Yeah. And and talking with the customers

Leon: 01:51

about it.

Larry "Fuzz-o": 01:51

And Well, I would say the customers were joining in the podcast in

Leon: 01:56

A 100%. A 100%.

Larry "Fuzz-o": 01:58

And and contributing great stuff. Yeah.

Leon: 02:02

Yeah. It

Leon: 02:03

was it was like a never ending record, hang that place. It was

Larry "Fuzz-o": 02:06

pretty awesome.

Leon: 02:06

Yeah. Yeah.

Leon: 02:08

This is all good stuff.

Leon: 02:09

We're so We gotta save this for the show. We gotta go. Yeah.

Larry "Fuzz-o": 02:12

We gotta do it. I assume this was the show. Right?

Leon: 02:15

Well, I guess it is.

Larry "Fuzz-o": 02:16

The magic of enemies. Alright. This

the monroe institute: 02:25

is the first step along your path to a gateway, a gateway beyond which is discovery, your own discovery of reality, of truth, of who and what you are. Now a simple preparation. Because of the special audio techniques used, it's important that certain sounds reach your right ear and others your left ear. To be sure of this, you should be hearing my voice in your right ear at this moment. If you are not hearing my voice in your right ear, turn your headphones around now so that you are hearing my voice in your right ear.

Leon: 03:03

See the Esoteric episode 12. Around the store, we talked a lot about a magazine that we were gonna do. Do you guys remember this? We talked for for some time about this magazine, and I wish we still should do it. I think it could be an outgrowth of the podcast.

Leon: 03:21

But the the the magazine was titled special thanks, and it was gonna go out, and the idea was we're gonna find all the people that gave us amazing amazing, influence, ideas, led us down the listening paths we were in. And we're gonna write to everybody. We had, like, crazy list, Terry Riley. Got to meet some of the folks on that list eventually through time. And it it seems like a great thing to invoke the special thanks magazine because we have a person that would have been on that list, back in the day as a guest on the show.

Leon: 03:56

We were all massive, massive fans of Blastitude and are fantastically excited to have the host and of the the old school Blastitude, of the new school Blastitude, someone that personally has brought me enormous amounts of listening pleasure over, like, god, decades at this point. And then I'm immensely grateful too for all the awesome music and that got passed on to many esoteric listeners from from us, you know, madly scrambling to order cool shit that we discovered there for people to buy in in additions of often 12 or 13. I can't believe the numbers of shit that we shipped of crazy stuff from that store. So welcome to the show. We're immensely excited to have you on, and our our true and deep special thanks to you for everything and also for joining us.

Larry "Fuzz-o": 04:45

Thank you so much. It's very exciting to be here. Everyone says that at podcast. Thanks for having me, but I true I truly mean it. This is exciting.

Larry "Fuzz-o": 04:55

Yeah. Awesome. Awesome. Larry Fuzzo Dohlman is my name. Just just to be clear.

Larry "Fuzz-o": 05:04

Yeah. Because people have trouble saying it out loud, I'm sure.

Leon: 05:14

Can I ask you when when the Blogspot era Blastitude started?

Larry "Fuzz-o": 05:20

That's a great question. The the.com era started in year February, and I I think I was switching it over to the blog spot around 02/2008, probably, 02/2007. Okay. So I was doing I was updating blastitude.com only from, like, 2000 to 02/2007, let's say.

Leon: 05:44

Okay. So I I think that we were in esoteric days, we were still on the .com, like, the the legit website. Mhmm. Okay.

Larry "Fuzz-o": 05:53

Yeah. When did the store close, or what when did the store open and close?

Leon: 06:00

I don't have the dates anymore. I think it closed in 2005 or No.

Leon: 06:03

I think it was 02/2007.

Jacob: 06:05

'6.

Leon: 06:05

02/2006? Yeah. Meet you in the middle. Great.

Larry "Fuzz-o": 06:08

Yeah. Yeah. Yeah. So you're probably this is probably just .com we're talking about.

Leon: 06:14

Yeah. But now you got the the email blasts going?

Larry "Fuzz-o": 06:19

The blast letter? Yeah. It's so good. The blast stack.

Leon: 06:25

How long was the gap between the blog and the blast stack?

Larry "Fuzz-o": 06:30

Gosh. I it the way time works now, it could have been, like, four years. Yeah. You know? Yeah.

Larry "Fuzz-o": 06:38

I mean, intermittent posts were going out on the blog. Yeah. Maybe maybe five or six a year. Yeah. Maybe maybe even less.

Larry "Fuzz-o": 06:47

But Yeah. Yeah. And that that would have been from man, I have no idea. Think I started the Substack in February. Yeah.

Larry "Fuzz-o": 07:00

It's when and then it got regular not until, like, 02/2022. Yeah. You know? Yeah. So, yeah, I guess there were some long fallow periods in there.

Leon: 07:12

What what I'm so interested because we kind of re up this whole thing for various reasons, and and we can get into them if we're if we want to. But the I'm really curious what lit the energy because, I mean, it's a it's a really, really nice regular feature of my inbox these days. And and, like, what got that energy back going behind it again?

Larry "Fuzz-o": 07:35

I guess it was using Substack. I mean, I don't I I really don't wanna, like, give props to any tech overlords here.

Leon: 07:44

They're all bastards.

Larry "Fuzz-o": 07:45

Yeah. They're all bastards. So I don't wanna, like, shout out Substack, but just switching to a new platform and being able to charge for it. Again, I hate to say it, but, like, being able to monetize it somewhat was interesting and lit a fire. And and, you know, valuing my own work, all all the cliches.

Larry "Fuzz-o": 08:09

I also don't wanna charge too much for it, and I don't wanna paywall it because I feel like I would go from 600 readers to about 30

Leon: 08:21

open if if I paywall it.

Larry "Fuzz-o": 08:25

And I love those 30 readers, but it's not enough. You know? And and 600 is great. You know? If if if they all paid me $5 a month, we'd be in business.

Larry "Fuzz-o": 08:37

Really? But I also don't need that or wanna ask for that. So but, yeah, that all lit a fire.

Leon: 08:46

I think it's nice too to be able to pay you know, like, you you this is such a weird thing about this era of the Internet and having grown up in it and having many friends done enormous amounts of unpaid labor to create culture, you know, in all kinds of different spheres. It feels like, at this point, as grown adults that, you know, make a living or whatever, it's so nice to pay folks that have done that over the years and be like, yeah. Wow. This is amazing. I just dropped, like I just re upped my subscription to Arthur.

Leon: 09:20

You know? And, like, I'll be like, wow. That's great. I finally get to pay this guy. You know?

Leon: 09:23

It's great.

Leon: 09:24

Strangely, I was gonna Yeah. Ask or mention Arthur because in my mind, Blastitude and Arthur are somehow weirdly, inexplicably linked, but I think that's more a consequence of the the time. Yeah. But I was wondering if that was still around.

Leon: 09:42

Yeah. He is. He's doing a yeah. He's doing a sub stack too, and it's great. And I was just like, oh, man.

Leon: 09:47

This is so nice. I get to show throw this guy some cash for all the joy he's brought me over the years. That was really, really nice. Felt the same way with your with your sub. So and it's just so nice.

Leon: 09:57

Man, I even give Lisa Carver money. It's amazing. I'm like, thanks for thanks for roller derby back in the day.

Larry "Fuzz-o": 10:04

It's great. That is cool. Instead of, you know, a dollar 95 per issue or whatever. Dude, I think roller derby was $2.95.

Leon: 10:15

Yeah. It was $2.95. I remember. Right? It literally was a big

Leon: 10:19

deal. Yeah.

Leon: 10:20

Yeah. It was a great deal. Mhmm. So it's yeah. So that's really cool to hear.

Leon: 10:25

And how are you feeling, like, about the like, how do you feel about the the a very careful question. How do you feel about the music cultural moment we're in right now? Like like, the way stuff's being received or an openness to it because this is a big big thing for me that I'm thinking about a lot all the time too.

Larry "Fuzz-o": 10:48

Openness to to To, like, the kind of music Esoteric. Yeah. Music? Yeah. Yeah.

Larry "Fuzz-o": 10:54

I think it's is it utopian or dystopian? I think it's a question because I almost feel that it's quite utopian. Mhmm. You know, I think about, like, these things a lot, but well, you just said that too. Yeah.

Larry "Fuzz-o": 11:15

I think it's kind of amazing how open people are partly because they can access, you know, anything quickly that makes them you know, they they're quickly trying things that maybe they would have never well, they definitely would have never tried before. Try just giving things a list. Like, they wouldn't have gone to a store to to listen to, you know, early twentieth century electronic music or something. But they'll they'll click a button and listen to it for thirty seconds. And and that and, yeah, then they might get bored and move on to something else in this media glut we all live in, but it's still cool that they checked it out.

Larry "Fuzz-o": 12:00

Yeah. You know? So, yeah, I think that I do think about it, like, I think blastitude has always kind of just championed literally everything. Just Mhmm. Whatever's whatever's crossing through the transom, like, let's let's assess it and listen to it.

Larry "Fuzz-o": 12:20

And for better or for worse, that feels like what everyone does now. Yeah. It's interesting. I don't I don't sometimes I do think it's all good. Yeah.

Larry "Fuzz-o": 12:31

But then things do get devalued and treated like fast food, I guess.

Leon: 12:35

You know?

Leon: 12:37

I mean, it's one of the interesting things about the choices we make with this show because playing these, like, epically long tracks and stuff and Right. Kind of asking a lot of the listeners and being like, will you sit with us through this? And they do, which is pretty cool. And I'm like, there's it just feels like trying to create these form factors for this for, like, a deeper listening to happen or but without being too chin scratchy about it too. You know?

Leon: 13:02

Like, mean, I think it's that was always a thing that was really important to us in esoteric because it's interesting because I was thinking about how esoteric evolved out of a very specific set of musical conditions. Like, the early days of Godspeed, like, that culture, there was, like, the Victoriaville festival. There was O'Rall. There was, like, Squintfucker, what Christophe was doing, who was one of our guest hosts earlier. And there was this very intellectual space in Montreal as a as a music city.

Leon: 13:36

And and then we kind of came in and we're like, we love that, but, like, let's have fun too. You know? And trying to make make there and be a space where all of that can coexist with a a kind of really joyful exuberance. And, yeah, just trying to, like, create space for those things to coexist. And it's I feel like, that's still always gonna be a challenge with presenting challenging music.

Leon: 14:00

Like, how do you not wind up being kind of too dry? Or and then how do you also wind up having space to think and engage really deeply?

Larry "Fuzz-o": 14:10

Yeah. Well, I I do feel like you're you're doing it with the podcast. Like, I when I'm listening, I you know, you'll you'll start an eighteen minute track and I think, well, I I I won't listen to this whole thing, but I'll I'll fast forward and check out the, you know, the conversation afterward. And and I never do that.

Leon: 14:31

Like, I

Larry "Fuzz-o": 14:32

always Oh, that's awesome. Mission accomplished.

Leon: 14:35

You know? Like

Larry "Fuzz-o": 14:38

Awesome. I I just assume I won't be listening to all forty minutes of, you know, this concerto or whatever it is. But but I always do. I always do it. Like, yeah, because

Jacob: 14:52

I'm thinking the same thing. Every every show, I'm thinking the same thing. Oh, no. And and I can't even fast forward.

Leon: 14:59

Oh, yeah. I to

Leon: 15:01

sit through. And and your camera is on too, so we

Leon: 15:04

can tell if, you know, like,

Leon: 15:05

not paying attention.

Larry "Fuzz-o": 15:06

Yeah. You you could see me actually scratching my teeth. And then and then going to the bathroom or eating potato chips. Guilty. But, oh, gosh.

Larry "Fuzz-o": 15:22

I have no idea what I was gonna say. But

Jacob: 15:27

Oh, I'm sorry.

Larry "Fuzz-o": 15:28

I'm Oh, I was gonna say examples of that of me thinking, I probably won't listen to this whole thing was was the Beth Gibbons

Leon: 15:39

Oh, yeah. Yeah. Pendarekie. Yeah. Yeah.

Larry "Fuzz-o": 15:41

Pendarekie Gorecki. Like Yeah. Pendarekie Gorecki dream up. Is that a sorry. Super

Leon: 15:49

was good.

Larry "Fuzz-o": 15:49

That was good. Good. Was That was Team up. Like Yeah. Wait.

Larry "Fuzz-o": 15:55

Gorecki and Pendareki, they can't be in the same room at

Leon: 15:58

the same time. Yeah. You think they'd be fighting? Like, it's

Larry "Fuzz-o": 16:01

Yeah. And and I know I I'm saying his name wrong. Goretzky. I I know. Yeah.

Larry "Fuzz-o": 16:07

But he I don't think he was alive or when that was recorded, but maybe he was. I don't know. He wasn't actually in the room. Yeah. No.

Leon: 16:16

Yeah. No.

Jacob: 16:17

Yeah. He died in 02/2010. He died in 02/2010. Gretzky. Yeah.

Jacob: 16:21

Yeah. So

Larry "Fuzz-o": 16:22

But, yeah, it was riveted throughout that whole piece. And and Gibbons has chops. Yeah. Oh, yeah.

Jacob: 16:29

I'm kidding.

Larry "Fuzz-o": 16:30

And and another well, this is not a long piece, but Naina Cherry has chops as well. Yeah.

Leon: 16:37

On that

Larry "Fuzz-o": 16:37

Marshall Allen. The Marshall Allen. What what a stunner.

Leon: 16:41

Yeah. So beautiful. And that

Larry "Fuzz-o": 16:44

was amazing too because I had just read her memoir.

Leon: 16:47

Oh, wow.

Larry "Fuzz-o": 16:48

I mean, I had finished it probably two days before I listened to that episode. Collapse. And and another example is the Cassandra. What's her last name?

Leon: 16:59

Cassandra Miller. Yeah.

Larry "Fuzz-o": 17:00

Yeah. Cassandra Miller. I was gonna say Wilson. They knew that

Leon: 17:03

was wrong. Different universes. Different universes. Yeah.

Larry "Fuzz-o": 17:08

But, yeah, I again, was riveted for every second of that. That's

Leon: 17:12

such a powerful piece. Yeah.

Larry "Fuzz-o": 17:15

So Awesome.

Leon: 17:17

Mhmm. Love it. Thanks, Ronald.

Leon: 17:18

Thanks for listening for sure. This is

Leon: 17:21

not putting any pressure on you for your first selection. So we're very Well,

Larry "Fuzz-o": 17:26

I I definitely had the thought to go shorter intentionally. I realized I'm a bit of a contrarian. The more I listened to your episodes and saw how you're doing so many kind of long form and I don't wanna generalize, like, austere perhaps. I I I kinda wanna wanna go a little more rough and rowdy.

Leon: 17:52

Go for it.

Larry "Fuzz-o": 17:53

But that's not what's happened with my first track. Shorter at least. And I guess, pop a bit pop rock even. Great. But what this track is I mean, that's not a a fair way to describe this at all, but this is Chitaro Noguchi and the Roadhouse Band.

Larry "Fuzz-o": 18:17

Does that name mean anything to to any of you? So the Roadhouse band is they're they're from Louisville, Kentucky and associated with the sophomore lounge label.

Leon: 18:30

Oh, okay. Sure.

Larry "Fuzz-o": 18:32

And this is Ryan Davis, singer songwriter. Yeah. Yeah. That's his label and his band essentially. So that that they've backed him up on two kind of double LP singer songwriter albums now called Under Ryan Davis and the Roadhouse Band.

Larry "Fuzz-o": 18:51

K. These are great, like, kind of twisted Americana records, but it it it does kinda have that country rock Americana vibe. But he's in a he's a pretty incredible lyricist, and the band is just kind of stunning. And, like, the joke I've written in my rough draft of this Chitaro Noguchi album review is I love a good modular house band. You know, a studio band, essentially, that can kind of shape shift as they work on different projects.

Larry "Fuzz-o": 19:32

Even just the stacks band is an example of that, you know. And we could all think of dozens of examples. Yeah. But the Roadhouse band is like that for this label, sophomore lounge. And there's also a band called Equipment Pointed Onc.

Larry "Fuzz-o": 19:50

Yeah. Love them. Yeah. That's essentially the Roadhouse band in there, like experimental guys. Wow.

Larry "Fuzz-o": 19:57

And and Chitaro Noguchi is in that band as well. He's in equipment pointed on.

Leon: 20:02

Yeah.

Larry "Fuzz-o": 20:03

And they kind of use equipment pointed on almost as a, like, a r and d, you know, affiliate of the Roadhouse band. Like, the Roadhouse band is kind of public facing for a more pop rock traditional forms, if you will. And the equipment pointed on is like the the woodshed where they get experimental and have no kind of pop considerations. Yeah. Not that they ever have pop considerations.

Larry "Fuzz-o": 20:34

I'm I'm being kind of silly when I say all of this. But, anyway, Shataro Noguchi and the Roadhouse band. And so I'm just gonna play it.

Leon: 28:48

So great. Fantastic. That had everything in it.

Jacob: 28:54

And good. Yeah. You know,

Leon: 28:57

when you said modular house band, I thought you meant, like, eight guys with modular synths, and I was like, yeah. I kinda got there. There's a few

Larry "Fuzz-o": 29:03

of those. But also a lot of acoustic Yeah. Yeah. Smile. Oh, that was

Jacob: 29:10

That sounded insane. That sounded absolutely insane. And I can't even remember last time I heard a piece of music that felt like I just listened to an hour of a jam Yeah. And it's eight minutes.

Leon: 29:23

I was gonna say.

Jacob: 29:24

I don't I don't I don't remember having this feeling. I I feel like something happened to me here. I feel like I've just I've just gone through, like, sixty minutes of just incredible bliss, and it's eight minutes long. How is that possible? So I Wonderful.

Leon: 29:40

So I

Larry "Fuzz-o": 29:40

did go long form.

Leon: 29:42

Yeah. Just Intense. Yeah. Well, that that's the

Jacob: 29:46

I was I was going like, I see what you're doing. I see what you're doing.

Larry "Fuzz-o": 29:52

Yeah. It does start with that kind of I don't know. Maybe even a little cheeky pop song. It only lasts about a minute and a half before it changes into something else. But but that that is the first song on this upcoming album by Chitaro Noguchi and the Roadhouse fan.

Larry "Fuzz-o": 30:16

It's coming out in, like, September September is the official release date. So I guess by the time this is live published, it'll be out already on on the soft sophomore lounge and feeding tube labels Nice. Co release.

Leon: 30:34

I mean, I love the way it goes from, like, this Maher Chalal kinda adjacent pop song to, like, Stereolab to Italian to, like, jam band to, like, Italian library music to, like it's just, like it would, like, possibly a tour through my record collection.

Larry "Fuzz-o": 30:51

Yeah. May maybe a little Robert Wyatt.

Leon: 30:54

Yeah. Yeah. For sure. For sure.

Larry "Fuzz-o": 30:56

Scott singing and a pretty good noise wide out.

Leon: 31:00

Yeah. That was nice.

Leon: 31:02

That was really nice. The little, like, Jerry Rafferty sax too. You gotta throw that in there to

Leon: 31:08

But it it really everything holds together. I mean, like it's easy in retrospect, it's easy to notice how far removed we are from the beginning of the song at the end of the song. But Yeah. Going through it, it it makes complete sense. And while there is some kind of surprise when things change up a bit, it's really organic and Yeah.

Leon: 31:34

Really like, it doesn't seem forced at all. It's really, really amazing. It's super sophisticated. Yeah.

Leon: 31:42

Yeah.

Jacob: 31:43

The sound the sound is also amazing. I'm not one to really, like, delve on sound mix, but the sound of it is just so good. Yep. Like, it sounds incredible. Yeah.

Jacob: 31:52

It sounds very full.

Larry "Fuzz-o": 31:53

Yeah. The and the way that the the live rhythm section is kind of mixed. Yeah. They're they're very low in the mix, but also very present throughout. And I don't know.

Larry "Fuzz-o": 32:07

Kind of almost a bossa nova backbeat or something. Yeah. And yeah. And the whole album, it it keeps going like that. It it really does.

Larry "Fuzz-o": 32:18

There I know that it's the the genre city pop has been thrown around, like, in the press release for this album.

Leon: 32:25

Oh, that's kinda weird.

Larry "Fuzz-o": 32:28

The kind of Japanese city pop genre. And also yeah. But it does it does get poppy. There's like these little points throughout the album where some sort of pop song is is preeminent, and then and then it goes away again. It it leaves that touch base.

Leon: 32:56

Okay. It's It's it's super interesting what you said about the equipment pointed out because you can I can really feel that, like, lab aspect of what they do in that? Like, it's like, it really crosses over with the the it's soup what an interesting way to kinda make music. I love it. It's like, I can really hear it, though.

Leon: 33:15

It's really it's so interesting.

Larry "Fuzz-o": 33:18

All all five of equipment pointed on, Gara, in this version of the road roadhouse make sense. Yeah. We're like the Ryan Davis roadhouse band has, I think, a mere three of the equipment.

Leon: 33:32

It's like a rating system. How many equipment pointed ons do you have?

Larry "Fuzz-o": 33:37

Yeah. We're we're three fifths today. You can expect expect 60% equipment. In your sonic palette.

Leon: 33:50

Yeah. So good. I think we're gonna have to rate all the other songs on on the show today on a quimp quick quimp.

Larry "Fuzz-o": 33:57

On the CPA scale. Yeah.

Leon: 34:00

Yes. That's it. That was 20%. It's great. Awesome.

Jacob: 34:05

That that was really, really, really good.

Leon: 34:07

Yeah. Yeah. I'm really glad you liked it. Yeah. Yeah.

Leon: 34:11

Who's who's up next? Who's taking the who's taking that that as a queue? I can go. You can go anywhere. Go anywhere.

Leon: 34:19

There's

Leon: 34:20

definitely, like, some kinda trucker funk thing, you know, flow going that that I can't I can't pick up on immediately. So

Larry "Fuzz-o": 34:32

Wait. Wait. What did you say funk?

Leon: 34:34

Oh, no. I

Leon: 34:35

The the the the track you played, to me, has this kind of trucker funk.

Leon: 34:41

Oh, I feel like you That's what I thought you said, and I Yeah. I'm so glad

Larry "Fuzz-o": 34:46

I'm so glad that was you said.

Leon: 34:49

You know, little Jerry Reed. It's kind of fun. Yeah.

Leon: 34:52

It's fun. It's kinda AM, you

Leon: 34:55

know,

Leon: 34:55

amphetamines kind the linear, but, like, yeah, American kraut, I guess.

Larry "Fuzz-o": 35:05

Ameri kraut. I I think I've I think I've used the phrase Ameri kraut Yeah. In Blastatune. I know I've used the AmeriBeat as opposed to Afrobeat. Like Sure.

Larry "Fuzz-o": 35:15

The the American version of Afrobeat. AmeriBeat. But yeah. AmeriCrowd.

Leon: 35:22

I I feel like I feel like that would that would be the the thread I'd I'd wanna pull on, but I I don't I don't got that. I I have I have one

Leon: 35:32

of those. If you don't Jacob, you got anything? Because I definitely have sent that thread.

Larry "Fuzz-o": 35:35

Well, who's got the AmeriCrowd trucker from I've

Leon: 35:38

got I've got the thread. I've got the thread.

Jacob: 35:41

I have to say that this time around, I'm I I I I'm quite stubborn, and I chose three pieces Oh. That are u wait. Wait. Wait. That are from Ukraine, like Ukrainian Wow.

Larry "Fuzz-o": 35:52

Great.

Jacob: 35:53

And I'm gonna stick with these.

Leon: 35:55

That's great.

Jacob: 35:55

No matter what happens. No matter what. So

Leon: 35:59

Yeah.

Jacob: 35:59

And one of them might not, you know, fit the bill, and maybe the other two might fit the bill. So that's where I'm at. So at one point, I'm gonna put them on.

Leon: 36:09

So, like, do you feel ready, or can can I go? Because I've got I've got one that I'm pretty excited to keep the vibe.

Jacob: 36:14

Well, then go then go

Leon: 36:16

for it. It'll it'll mutate the vibe. But it's definitely, like, an attempt to mutate the vibe and may lead to other spaces. So let me get this up. Gotta get there.

Leon: 36:25

I got it ready. This is an oldie, but a goodie. Not an oldie, but, yeah, it's it's relatively recent, but it keeps the it's definitely amphetamine trucker funk, like, probably maximal amphetamine trucker funk. Okay.

Leon: 47:01

Amazing. What the hell is this deal?

Leon: 47:06

So this is, like, Bill Orcutt, fucking genius. Like, he's never like, since I was 20, dude has been putting out records that blow my mind, and I they never ever ever let me down. And this is part of a series of records that he made, using this piece of software that he wrote that include also the utter genius of a mechanical Joey, which is Joey Ramone counting to six over and over again for two hour like, for an hour and with different phase, one two three, one two three four five. It's genius. It's incredible.

Leon: 47:41

Totally amazing. But this is kind of he did the same process or or a different process with, obviously, Louie Louie and Four Organs by Steve Reich, which then kind of mashed this up into this crazy, incredible And it's wild because in the latter notes, you also discover that Four Organs debuted ten years after Ooey Louie. Wow. Like, that short of a window. You know?

Leon: 48:06

It's crazy. Mhmm. So this is a I mean, the unlimited genius of Bill Orcutt. Like, crazy also, I I got to this because he just started a new trio that a friend of mine in Vancouver was at and, like, literally was sending me phone recordings. Oh my god.

Leon: 48:21

You gotta fucking hear this band. It's incredible. And Orcut Shelley Miller. Yeah. Orcut Shelley Miller.

Leon: 48:26

And I just downloaded that record, and it's mind blowing too. But and, of course, the last Orcut record where he's playing over all the easy listening stuff that we played in the episode that got lost. So genius. Like and he just never stops. Like, the guy is, like, unfucking stoppable.

Leon: 48:42

I like, he's like Mozart of our age. I tell you. It's incredible.

Larry "Fuzz-o": 48:47

Yeah. Bill Bill Orcutt as conceptualist. You know? He's a guitarist, obviously, but he he's a concept artist. Oh, yeah.

Larry "Fuzz-o": 48:59

And, like, this is a great example. Also, do you do you guys know the Harry Pussy album called Let's Build a Pussy? Yeah. A double a double LP. Yes.

Larry "Fuzz-o": 49:12

Yeah. Where he took a a single vocal streak or scream by the vocalist, his his wife at the time, Idris Hoyas Yeah. And stretched it across four sides of vinyl. So amazing. And the the entire credits for the album are Bill Orcutt or no, Atris Hoyas mouth, Bill Orcutt mouse.

Larry "Fuzz-o": 49:42

Mouth and mouse. Yeah. And mouse. You know, it's it's this conceptual art as much as it is music.

Leon: 49:50

But, I mean, it's also I mean, that one less so than this, but this is such a good listen. Like, could listen to this all day. And, you know, I was thinking about the the what was that kid's choir that's saying that, like

Leon: 50:01

Langley High Langley School Slave.

Leon: 50:03

No. Not not them. No. That did the the the, like

Jacob: 50:06

Carry on.

Leon: 50:06

That did the aerial pink and, like, all that stuff. They were really popular

Leon: 50:10

in the Oh, PS twenty two.

Leon: 50:11

Yeah. PS twenty two. So my dream is to get PS twenty two to sing Little Drummer Boy over top of this, and it would be, like, the best thing ever. Was swimming it along to myself in the background. It was perfect.

Leon: 50:23

It's perfect. It's incredible. Just genius. So but, I mean, this is a super good listen. You know?

Leon: 50:29

And and, actually, even surprisingly, the mechanical Joey is, like, it's incredible to listen to. It's super musical. The the the Anxiety of Symmetry one also like, the second one on that is super pretty, and it's like the the you know, like, How to Build a Pussy is kind of a bit of a metal machine music experience. I've I've sat through the whole four sides of it. Yeah.

Leon: 50:53

But it's like it's, you know, it's gonna work on the Mersbone nerve or whatever. Like, it it hits the right nerve at the right time, but it's not something I pop on my turntable all the time. But this, like, I'd listen to this all the time. It's crazy.

Larry "Fuzz-o": 51:06

It's so good. Yeah. This rocks and followed up the last track pretty well, actually. Was hearing a lot of sonic traces from the first track in this as well.

Leon: 51:18

Yeah. So I I just was eager to do it. So I

Leon: 51:20

mean Yeah. I I think the the logical track to follow those two tracks up would be In Sea by Langfonny. Yeah.

Leon: 51:30

Which we already really got. But both

Leon: 51:34

of them have the have the the whole that whole vibe going so good. I wish I heard this when I was a teenager. This is like teenager music for sure.

Jacob: 51:44

Yeah. Yeah.

Leon: 51:45

Wow. I'm gonna follow it up with something that'll cool down the discourse, I think.

Leon: 51:56

You gotta take it down. You can't take it down. Too much amphetamines.

Leon: 52:00

But it's I I think it it follows the the mantra kinda setup. And we we talked about well, Larry, you mentioned Robert Wyatt just a minute ago or a couple minutes ago. Mhmm. So why not? This is his cover of a Peter Gabriel song, which is after you hear this, this is gonna become the original because it's the definitive version.

Leon: 52:34

So here we go.

Leon: 57:11

Very nice.

Leon: 57:14

Yeah. I I've always so that was Robert Wyatt's cover of Biko, a song by Peter Gabriel. But like I was saying, it's basically the the original version. I mean, it's so so much it's something else completely from the from the original. It's so much its own thing.

Leon: 57:36

He's he's yeah. Robert Wyatt. He's Robert Wyatt. I mean, I

Leon: 57:42

can't imagine, like, any cover like, if you think of any song he's covered, it's so much better than the original. Like, every single one is like I'm like, I'd be afraid if he asked me to cover my song. I'd be like, no. No. You can't because you're gonna put me to shame.

Leon: 57:58

Oh, no. We lost our guest host. We rechoice. He hated Oh, no. He hated the Robert Ryan.

Leon: 58:04

He's like, let's go. Wine. What could that be?

Jacob: 58:12

That was the last two.

Leon: 58:13

Yeah. He's like, I'm out. I can't do this. I was like, these Prague these Prague guys, like there he is. We're just cracking jokes how you're allergic to Prague and split.

Leon: 58:28

It was Yeah. Oh, that's funny.

Larry "Fuzz-o": 58:30

That's so inaccurate. I was having audio problems. I I you were I couldn't hear anything you were saying, Leon. It was coming through some kind of mineralized vocoder. Oh.

Leon: 58:43

We had the Bill Orcutt filter on, actually. Yeah.

Larry "Fuzz-o": 58:48

It was a sick vocoder effect, but I didn't hear a word you said. Sorry. But I man, I I loved loved the track. That's for sure.

Leon: 58:59

Yeah. Were you were you familiar with it?

Larry "Fuzz-o": 59:02

No. I've not heard it. I I knew Robert Wyatt covered Biko, and I know definitely know the Peter Gabriel song. Yeah. You know, I've probably heard it couple times in my life, but it obviously, I know the song Yeah.

Larry "Fuzz-o": 59:15

Well. And, yes, this is this is a

Leon: 59:17

better. I

Larry "Fuzz-o": 59:20

mean, I I like Peter Gabriel just fine. But I was surprised how it could have fit on rock bottom. Yeah. I'm glad it wasn't on rock bottom, but that would have been impossible, of course. But and I I also wanna give a shout out to the bass player.

Jacob: 59:42

This is it.

Leon: 59:42

Yeah. Mhmm. Man, it's like Yeah. The bass sound on Robert Wyatt albums. Like, whoever the engineer like, although I think it's Mike Olfield playing bass on rock bottom, which is crazy.

Leon: 59:53

But the like, the Tubular Bells dude. So I don't know. It might be him on this too. But the the the sound of the bass on all the Robert Wyatt records is so fucking weird and beautiful. It's sub subterranean, and it's always one of my favorite things of Wyatt records is this, like, super oceanic kind of weird bass thing that happens, but the playing was insane.

Leon: 01:00:17

Do you know who it is, Leon, who played

Leon: 01:00:19

this song? I'm trying to look it up. There's no credits for for the bassist, although this was mixed by Adrian Sherwood. Oh, I

Leon: 01:00:28

guess the On you. Yes.

Leon: 01:00:33

Yes. Digitub Kim has entered the chat. Excellent. No. Why?

Leon: 01:00:40

Unfortunately, I I don't know who who played the bass.

Larry "Fuzz-o": 01:00:44

Well, that is a cool thing about Robert Wyatt is how he kind of fell into the rough trade

Leon: 01:00:49

Yeah. Yeah.

Larry "Fuzz-o": 01:00:50

On you sound Yeah. Kind of he he was so at home with, like, contemporary London stuff in the late seventies, early eighties. Yeah. Probably working from home. Yeah.

Larry "Fuzz-o": 01:01:04

But, yeah, he he was just he fit in so well with that that new movement.

Leon: 01:01:10

I mean, it's like you walk into a bar and there's Robert White and Mayo Thompson hanging out with, like, hurry up. Like, you're just like, what a weird scene. You know? It's such a such an amazing scene. Yeah.

Larry "Fuzz-o": 01:01:21

Yeah. Oh, yeah. Again, I forgot what I was gonna say. You can edit edit that out.

Jacob: 01:01:28

We we don't do anything.

Leon: 01:01:30

It's it's live.

Jacob: 01:01:32

It's all in there.

Leon: 01:01:35

That was an amazing choice, Leon. Thanks.

Leon: 01:01:37

I I've been meaning to to play it basically since the the very first episode, but never got around to never got around to it.

Leon: 01:01:45

Robert Wyatt is one of those other people like Elian Redig that, like, he's gonna just obviously show up at some point on on its pod. Like, it's like, you gotta get over the Robert Wyatt hump. It's not gonna it's not gonna happen.

Larry "Fuzz-o": 01:01:56

But but also he he was a great chooser of cover songs. You know? Yeah. Yeah. The last time free by Chic.

Larry "Fuzz-o": 01:02:04

Oh, yeah. Wow.

Leon: 01:02:05

So incredible. His version of that.

Larry "Fuzz-o": 01:02:08

Poof. And I mean, the original is you go back to the original. It's like, wow. This is just as good. But, man, Robert Wyatt.

Larry "Fuzz-o": 01:02:16

I

Leon: 01:02:17

mean, shipbuilding too. Right? Like, the the on this Castello track,

Leon: 01:02:20

like, fuck.

Leon: 01:02:21

His version of that is incredible.

Larry "Fuzz-o": 01:02:23

I'm a believer Yeah. Of the monkeys. Incredible.

Leon: 01:02:29

Yeah. He's got a he's got a way of turning everything into something completely sublime. Mhmm. Like, his sensibility is just out of this world. Yeah.

Leon: 01:02:40

Undissable. His touch. Yeah.

Larry "Fuzz-o": 01:02:43

Yeah. And the way he can just show up and and just sing and be such a great contributor to whatever is happening just through voice alone Yeah. Is so cool.

Leon: 01:02:57

There's that Ben Watt track that he did, Martin and John, that's on the Ben Watt solo record. Yeah. That is so powerful. Oh my god. That's like yeah.

Leon: 01:03:09

That's such a shockingly great, great track too. And that's like the yeah. Long early eighties same scene Cherry Red. Yeah. That was on Cherry Red records.

Larry "Fuzz-o": 01:03:18

Completely new to me.

Leon: 01:03:19

Oh my god. Check it out. It's like Jotting down? It might actually be my favorite rubber white vocal performance. It's so powerful.

Leon: 01:03:28

The the whole Benoit record is

Leon: 01:03:30

is Yes. It's so incredible.

Larry "Fuzz-o": 01:03:32

It's incredible. And he's on one track on?

Leon: 01:03:35

Or Yeah. He's on one track. Yeah.

Larry "Fuzz-o": 01:03:37

Okay.

Leon: 01:03:38

But it's, yeah, it's so powerful. So, Jacob, take us to the Ukraine.

Jacob: 01:03:44

Oh, man. And I've got something that totally works with this. Great. So imagine I brought three tracks tracks only. It's like going fishing Yeah.

Jacob: 01:03:52

You know, with, like, a sausage, an apple, and, like, a sandwich hoping something Yeah. Just three working with you. And and lo and behold, this thing totally goes.

Leon: 01:04:03

Oh, wow.

Jacob: 01:04:03

I got one of them. That totally goes with this.

Leon: 01:04:05

There you go.

Jacob: 01:04:07

I have no idea who this person is. He just released this one tape. And interestingly, it's on a Polish label called Koca Records. It was like a Polish label in the late eighties and early nineties that released exclusively Ukrainian albums, which is very, strange. And and so this guy's name is Ihor Shimbroski.

Jacob: 01:04:26

I'm probably butchering his name. Architect by day, but, hey, musician also by night. And he really needs this one album. And I know nothing about it, but this song is really, really incredible. And I think it really would go well with what we just heard here.

Jacob: 01:04:44

So here we go. So that was Ehort Zombrowski, and the track is called By the Sea from an album called Come Angel on Coker Records. And what a incredible piece of music in my opinion. Just completely haunting, really. His vocals are absolutely haunting as well.

Jacob: 01:08:14

And who is this guy? I have no idea. Like, it's just amazing to me.

Leon: 01:08:18

Oh, it's really I got a new got a new favorite piano player. That's for sure. That was wild piano. The piano playing

Jacob: 01:08:24

is crazy. Yeah. It's so it's got, like, a jazz thing, but it's got also, like, this traditional Ukrainian kind of thing to it, and then these vocals that are completely insane.

Larry "Fuzz-o": 01:08:35

Does he play the piano and singing? I mean, like, picks

Jacob: 01:08:38

Yeah. Yeah. From what I understand. Yeah.

Leon: 01:08:40

Amazing. So Yeah. Just Is the the rest of the the album in the same

Jacob: 01:08:46

Not as good.

Leon: 01:08:47

It's not as

Jacob: 01:08:47

But in the same vein. No. I mean, it's in the same vein, but this this piece

Leon: 01:08:51

particularly Sounds like it's really, really outstanding.

Leon: 01:08:53

Yeah.

Jacob: 01:08:54

Yeah. I was just gonna say what I love, and I think we spoke about this earlier, about these times that we live in, that we can somehow discover stuff like this, you know, like, through whatever means. And and it's it's just the most incredible music that nobody's or at least I haven't heard of. And and there is amazing music out there, and that keeps me really excited that there is stuff like that to to discover.

Leon: 01:09:18

The world feels like I remember when I was, like, in the nineties, I went to India and spent, like, a long time in India, and and you go through these, like, tape kiosks, they'd have, like, 6,000 cassette tapes of Indian music. Yeah. And you just feel like the world was so massive, and I just grabbed tapes randomly because I was just, like, super like, whatever the cover it kind of the world feels like that tape stand now. Like, I'm just like Yeah.

Jacob: 01:09:44

Yeah. Yeah. Yeah.

Leon: 01:09:44

You could just

Leon: 01:09:45

be like, woah. What's that? It's incredible. Yeah. Yeah.

Leon: 01:09:49

It's insane. But, Jacob, I figured something out because there's a, like, texture to always what you bring, and I've been trying to put my finger on it. And at least once per show, like, this is, like, the equipment painted on register, like which I think that was, like, a one. Like, there was only a one on the On the the the biggest scale. Yeah.

Leon: 01:10:08

Was good. Maybe it's like Zero.

Jacob: 01:10:10

Yeah. It could be

Larry "Fuzz-o": 01:10:11

a zero

Leon: 01:10:11

on that one. I mean, that's fair. Yeah. But the, there's definitely, like at least once a show, you bring a Zulawski to the show. Like, this has such Zulawski vibes.

Jacob: 01:10:22

Like, just the history of it. You know? Like,

Leon: 01:10:25

and, like, you've always got the, like, Zulawski. Like, emotional. I love

Larry "Fuzz-o": 01:10:30

it. Just the film the film director,

Leon: 01:10:33

Yeah. Got the it's got the vibe of the you know? Like, I was thinking about what was the one he made with, Sophie Marceau and, like, oh my god, one of his films, it was just, like, everything's so off the rails. Had an emotional pitch that's, like, up here.

Jacob: 01:10:47

Yeah. Yeah.

Leon: 01:10:47

Yeah. It's totally I love it. I love it. So it's like we're gonna have the Zulawski scale for all of you. Yeah.

Leon: 01:10:53

Yeah. Yeah. Thank you. I really appreciate it.

Jacob: 01:10:55

That's an honor.

Leon: 01:10:56

That's an honor. That really brings a particular thing to the episodes. I love

Jacob: 01:10:59

it. Yeah. Yeah.

Leon: 01:11:01

But, yeah, that was really that was really beautiful. I is the rest of the so we it's already settled. The rest of the album is not as good as this track. However

Jacob: 01:11:10

But it sounds like that.

Leon: 01:11:11

But it sounds like that. So it's like piano and voice.

Leon: 01:11:15

It Yeah.

Larry "Fuzz-o": 01:11:15

It's all for one one man at a piano.

Jacob: 01:11:18

Yeah. And and and is it a piano? Because it sounds bizarre.

Leon: 01:11:22

Sounds recording is wild.

Jacob: 01:11:23

It sound it's it sounds also like it's like, you know, in in just intonation or something.

Leon: 01:11:28

Yeah. Like, there's, like, a weird

Jacob: 01:11:29

weirdness to the tune in.

Leon: 01:11:31

It was

Larry "Fuzz-o": 01:11:32

Whole lot of reverb. Right?

Leon: 01:11:33

Yeah. Whole lot of reverb. Yeah. Yeah. I was it actually when I was playing, I I was reminded of that really pretty record that suit tissue put out.

Leon: 01:11:46

Oh, yeah. Salon des Musique,

Larry "Fuzz-o": 01:11:48

I think it's called. Oh, amazing record.

Leon: 01:11:50

Yeah. Such a great record.

Leon: 01:11:51

And it it kinda has that it's it's a little bit in

Leon: 01:11:55

the same rhythm.

Leon: 01:11:56

She does she does sing. She does sing.

Leon: 01:11:58

I thought it was I thought that was all instrumental, that record.

Larry "Fuzz-o": 01:12:01

Oh, yeah.

Leon: 01:12:01

I know. There is one. Yeah. It's a it's a wonderful record. Yeah.

Leon: 01:12:05

She's incredible. Yeah.

Jacob: 01:12:07

But you can imagine his friends at the Arctic architecture office. It's me. So I was I was going through YouTube, and

Leon: 01:12:15

I didn't know you were a musician. Patrick, like, after hours of the architecture of this.

Larry "Fuzz-o": 01:12:20

Definitely, everyone goes home.

Leon: 01:12:22

He he gets out the piano.

Leon: 01:12:24

Yeah. He assembles the piano at the office. After that.

Leon: 01:12:29

Which explains it's just intimidation. It's hand built every night. Yeah. So

Leon: 01:12:37

Wow. That was amazing. Yeah. Was Jacob.

Jacob: 01:12:39

I'm glad you liked it.

Leon: 01:12:40

I really read it, Roy. Incredible. Yeah. Yeah. So we

Larry "Fuzz-o": 01:12:43

are back to our guest host. Oh my gosh. Larry. Yes. Oh, well

Leon: 01:12:48

tough follow.

Larry "Fuzz-o": 01:12:49

Well, I I figure you're either gonna be you're gonna keep sustain the momentum or you're gonna do an amazing vibe shift. Either Yeah. It's gonna be it's gonna be one or the other.

Leon: 01:13:03

We do this every time. So you you've always got the vibe shift flaws. Yeah. For sure. Yeah.

Larry "Fuzz-o": 01:13:12

Yeah. Well, I guess

Jacob: 01:13:14

Yeah.

Larry "Fuzz-o": 01:13:15

I I don't wanna make too long of a preamble to this, but I also wanna set it up a little just that, you know, again, when I was talking about the 93 different directions I could go to pick two tracks, one of them was Chicago music. Yeah. And just thinking that that in itself is 93 different options of ways to go. But I I wanted to do something that was Chicago house music. Nice.

Larry "Fuzz-o": 01:13:50

And just because that's something that I, you know, I thought I had an understanding of house music. And I I did. I have a, like, a understanding of what that means globally when I moved to Chicago in 02/2001. But I've learned that Chicago House is something quite different than what we call house and techno internationally. And, I I just don't wanna go on too long of a preamble, but, like, I realized that what I considered house music was essentially like a, let's just say, a European import imported version, Much the same way that blues and r and b, which is also heavily developed in Chicago in the '60 fifties and sixties, was imported back to The US as the British invasion.

Larry "Fuzz-o": 01:14:46

Mhmm. And where British people had such a love for this music. And frankly, they didn't have, you know, the fraught history of racism in The US to scare them away from this music. And, again, I I don't wanna go crazy on this, but I I kinda think the same thing happened with Chicago House. So, like, when you hear Chicago House, you hear a lot more kind of gospel music, for example.

Larry "Fuzz-o": 01:15:19

You know, you you hear a lot more black music. Gospel was also developed in Chicago or what we call the gospel genre by a reverend named Thomas Dorsey. He's essentially like the James Brown of gospel. What James Brown was to funk, Thomas Dorsey was to gospel music. And you hear a lot of gospel in Chicago house, and and that got kind of relegated to what they call diva house when it was imported back to The US.

Larry "Fuzz-o": 01:15:53

Yeah. And and I could be completely talking out of my ass here. So I'm sure there's historians both of house music and social historians who could do a better job of talking about this or even refuting what I'm saying. But I believe it to be true. And I'm glad to have kind of slowly learned what house music means here in Chicago.

Larry "Fuzz-o": 01:16:17

And it's similar to go go music in Washington DC where it's kind of this thing that never truly got out of the city limits in its true form. You know? And it didn't really need to because it satisfies the people who live here so much. You know? And it's interesting, like, hip hop didn't really come to Chicago as quickly as it came to the rest of the world, you know, New York, LA.

Larry "Fuzz-o": 01:16:49

Now Chicago has an incredible hip hop scene, but at first, they had house music instead of hip hop. And just like DC had go go instead of hip hop. And to this day, you don't hear a lot of hip hop coming from DC. Of course, there is hip hop, but nothing that's really nationally known. And it took a while for Chicago to get on the national hip hop scene too, and I I think it's because house music was so satisfying to the people who live here.

Larry "Fuzz-o": 01:17:21

Anyway, that's kind of a long preamble. But what I'm gonna play

Jacob: 01:17:25

That's really interesting. Very interesting.

Larry "Fuzz-o": 01:17:27

Yeah. There's there's a lot there that I kinda wanna unpack. And like I said, I wish I was a social historian who could skillfully do that. But what I wanted to play was an excerpt of a DJ set by Ron Hardy. Ron Hardy was really you you know, there's Frankie Knuckles and there's Ron Hardy who were the DJs who developed house music as we know it today in Chicago.

Larry "Fuzz-o": 01:17:59

And and it they're so interesting to to compare because Frankie Knuckles was kind of the angel and Ron Hardy was kind of the devil. Frankie Knuckles had this real kind of utopian vibe to the music he played where Ron Hardy would really get down and dirty. And he DJed at this club called the Music Box, which was Frankie Knuckles was so successful that he started his own club in Chicago. He kinda left this this guy, Robert Williams, who founded the warehouse and brought in Frankie Knuckles to be the house the resident DJ. And when Frankie Knuckles left that organization, this owner, Robert Williams, started a offshoot club called the Music Box.

Larry "Fuzz-o": 01:18:52

And he brought in Ron Hardy to be his new Frankie Knuckles, essentially. And and the this is just such a legendary club. Like, it had no windows, and people talk about how Ron Hardy would just kind of control the crowd and just drive them crazy, and they were up for it. And they would like, they would talk about how he would play his music so loud that he would kind of move people against the walls sometimes. They would they would they would go up to the speakers and just commune with the speakers.

Larry "Fuzz-o": 01:19:30

And and people would leave the club and it would be daylight. They had no idea what time it was. You know? And I actually talked to a guy who attended the music box when he was in he was like a teenager. He was barely 18 or 19, and he he described that exact same experience that I'd read about online where people would leave the club and it would be daylight out.

Larry "Fuzz-o": 01:19:58

And he so Ron Harkin is just this dark prince of house music who would, like, really move the crowd. And he he passed away. I think he was 32 years old from a, a basically you know, he's a he's a long time heroin user and he didn't die of an overdose, but he did die, you know, of complications of just poor poor health essentially. But anyway, I'm gonna jump in. So there's this website, gridface.com that posts just endless Ron Hardy mixes.

Leon: 01:20:40

Oh, wow.

Larry "Fuzz-o": 01:20:40

And honestly, I I don't know the the providence of these. I I wanna say these are like audience recordings from right there in the music box as it was happening or maybe soundboard recordings. They're very low fi. You can't hear any crowd reactions or I'm sure there was whooping and hollering, you know, going on, but you can't hear anything like that. So I don't know if this is the sound check or or what this is, but it is this this website, gridface.com, if you ever wanna deep dive into this stuff, just dozens of hour long Ron Hardy mixes with track lists and everything.

Larry "Fuzz-o": 01:21:24

Sometimes partial track list because there's a lot of unidentified stuff. Sure. But so I'm gonna jump in about a fourteen minute excerpt in the middle of this forty five minute track, which is just called live at the music box 1985. And you're gonna we're gonna hear three different tracks that run already, you know, selects and sequences here and in heavily edited form. Wow.

Larry "Fuzz-o": 01:21:52

So where's the play button? There it is. Alright. Here we go. I faded it out.

Leon: 01:35:52

Oh, man. That was a bit I just didn't want that ever to end. That was I gotta like, why do we even have a podcast? We could just put this on twenty four hours a day. Just put the Ron Hardy mixes on.

Leon: 01:36:05

It's so good.

Larry "Fuzz-o": 01:36:07

That that that that's just fourteen minutes of one Ron Hardy mix. Wow. And there there are literally 30 or 40 of these at this website. Yeah. And and I've maybe listened to two or three in full, and it's just mind boggling.

Larry "Fuzz-o": 01:36:25

It's it reminds me what you're talking about with the kiosks in India because you would see you probably see 60 cassettes that would be you you're curious about. Yeah. And and the first one you put on is a fifty five minute Raga. Yeah. And you don't need any other music Yeah.

Leon: 01:36:44

In the world. The other 59 cassettes

Larry "Fuzz-o": 01:36:46

you bought, you'd never even get to because you're on minute 52 of this Braga. And that's how I feel about these Ron Hardy Yeah. Mixes. Yeah. Yeah.

Larry "Fuzz-o": 01:36:57

So I zeroed in on this incredibly, I think, stunning sequence. Absolutely. Absolutely. And like I said, he plays three songs, Hit and Run by Lolita Holloway. He just does two minutes of that.

Larry "Fuzz-o": 01:37:11

And then he goes into this The the song is no way back parts one, parts two by the Insane. And, you know, I went back to I for the first time I listened to the original by the Dells, I'm like, there's no way this track is like this. Right. And it's literate it's a four minute track, and the only vocals are are what you hear, the the no way back no way back chorus. But the the groove that he just grinds away on is the first thirty seconds of the song, and it's pretty much as is.

Larry "Fuzz-o": 01:37:47

Wow. And and he, like, Ron Hardy, he he would go in and he just knew what the good parts were. He edited out the rest. And so it's this thirty second intro, and then it goes into the main riff of the song, which is a little cheesier. It's not as dark and incredible as that riff that Ron Hardy focused on.

Larry "Fuzz-o": 01:38:09

And then he puts in the chorus because the chorus is amazing. But where the chorus in the original goes back to that second slightly cheesier riff, Ron Hardy goes back to the intro. Yeah. He's like, we're I'm not gonna let that cheesy riff in here at all. I'm just gonna focus on the good stuff.

Larry "Fuzz-o": 01:38:29

And somehow he takes this thirty second intro and it sounds like new sounds are coming in constantly. And I don't know if Ron Hardy was adding anything to these edits, these or if he was just playing the good parts of the records. He he was often like the word magician, dark magician, dark dark magus comes up when people talk about Ron Hardy. And one of his magic tricks was adding sounds to these these records he was playing or not. Like, I think I think everything you hear on that Del's track is in the original.

Larry "Fuzz-o": 01:39:09

And somehow, he makes it sound like a band jamming in real time on on this tight group. It's insane. It's insane. It it's insane. And then and then he goes into music is the key by JM Silk, and that was the more craft working techno, you know, more traditional techno thing.

Larry "Fuzz-o": 01:39:31

So you see where, like, Chicago House, essentially, it was just these these great DJs playing disco records. It was like the Larry Lavaughan of Chicago. In fact, Frankie Knuckles worked with Larry Lavaughan. They were, like, colleagues in New York. Frankie Knuckles is not even from Chicago.

Larry "Fuzz-o": 01:39:46

He he moved here to take the warehouse DJ job from from New York City. But they were essentially playing seventies disco that had that kind of four on the floor pulse. And then as local kids were much like hip hop, were getting cheap cheap gear and creating their own version of disco that was entirely synthetic and electronic. Ron Hardy started playing that music as well as it you know, and a lot of people just hand him tapes. A lot of the local kids who are making house music.

Larry "Fuzz-o": 01:40:23

And, like, the track acid tracks by Future. You probably know Yeah. That that track. That was just played by Ron Hardy on cassette with the Future guys who handed to him before it was pressed up. Wow.

Larry "Fuzz-o": 01:40:39

And there's stories too of that music box crowd who who loved her on Hardy. Like, the first time he played acid tracks by Future, which is very minimal thing, he people were asking him to stop and take it off, and he he wouldn't take it off. And by the end of the night, the legend has it that they were asking to play it again and again nonstop.

Leon: 01:41:03

Well, rather that he had he had actually played it again knowing that people were not into it, but wanted to Is that what happened? Yeah. So he he kept pushing it on? He he kept playing it, like, many times during the night, and at the end, people were just like, okay. Yeah.

Leon: 01:41:19

This is fucking He's he's a bum.

Larry "Fuzz-o": 01:41:21

Yeah. I mean, the track itself is ten or fifteen minutes long by itself. So but yeah. And but that that song music is the key. Like, that has a a vocalist.

Larry "Fuzz-o": 01:41:35

It's produced by Steve Silk Hurley who did the track Jack Your Body. Yeah. But he would work with a vocalist. You know? It's just the two of them, and it's kinda a corny song with the vocals.

Larry "Fuzz-o": 01:41:48

It's also kinda beautiful. Like, a lot of this house music stuff was, you know, music is the key to set your mind and body free, which is kind of the house ethos. Yeah. You know? And, again, the Chicago house ethos.

Larry "Fuzz-o": 01:42:03

Like, in in this kind of utopian thing did I I'm not saying it when it went international, we lost that utopian thing. Obviously, that was a huge part of rave culture and techno culture throughout the world is this utopian MDMA whatever, you know, thing that I really think came from Chicago. It was a utopian underground movement in Chicago for sure.

Leon: 01:42:29

It was survival music. Absolutely. I think that's really the the difference is that it was absolutely crucial to people's survival. Whereas You

Leon: 01:42:40

got it.

Leon: 01:42:40

Afterwards, it it kinda lost that context and and became more of an an aesthetic package or a because, you know, a a Yeah. A combination of of signifiers put together. But, yeah, it's the the survival aspect is really it just comes through no matter what. You know? You can you can definitely hear.

Leon: 01:43:05

Leon, am I correct in the thought that Theo Parish did do an ugly edit of No Way Back?

Leon: 01:43:11

He did? Yeah.

Larry "Fuzz-o": 01:43:13

So That is a 100% correct, and he kept the cheesy part.

Leon: 01:43:18

That's why Yeah. It's different.

Leon: 01:43:20

That's why it's different. We were talking about this when you logged off temporarily. Yeah. In the in the title of the of the mix name, I think there's, like, original ugly edits.

Larry "Fuzz-o": 01:43:35

I did that. I did that.

Leon: 01:43:37

Okay. That's amazing. Okay. I was I

Larry "Fuzz-o": 01:43:39

was trying to differentiate these these, like, nine Ron Hardy mixes that I downloaded. I downloaded these ten years ago. They're Okay. I don't think you can download them anymore. They just sends you the Mixcloud now to listen to these Ron Hardy mixes.

Larry "Fuzz-o": 01:43:53

But I grabbed about eight or nine of them and I I wanted to, like, say what the highlights were so I could Right. Go back to them a year later. And so I wrote that. And and yet Theo Parish was at the music box. Theo Parish is from Chicago.

Larry "Fuzz-o": 01:44:10

He's a Detroit transplant, actually. So Wow. He is a he grew up in Chicago and yeah. Straight up. He's he's basically a Ron Hardy incarnation.

Larry "Fuzz-o": 01:44:23

You know? Wow. And he he like, the the whole rough mixing style, no seamless transitions. Ron Hardy would just slam into the next track. Yeah.

Larry "Fuzz-o": 01:44:33

And Theo Parrish really took that to heart. And it's possible that Ron Hardy invented the drop. That's my other hot take. Because Ron Hardy would he would do, like, the crazy EQ ing, like withholding the bass, like, EQ ing all the bass out and doing this, like, booming treble kind of loop that would drive everyone crazy, and then he would bring all the bass back in. And that was the drop.

Larry "Fuzz-o": 01:45:01

And Yeah. As far as I you know, that's what kids today call, here comes the drop.

Leon: 01:45:05

Yeah.

Larry "Fuzz-o": 01:45:06

And correct. Maybe you've read something, but I I when I hear accounts of Ron Hardy doing that, I feel like it's the first time that Amazing. EQ withholding technique was done.

Leon: 01:45:22

I wouldn't be surprised.

Larry "Fuzz-o": 01:45:24

I wouldn't either. He was a magician.

Jacob: 01:45:27

To me, again, the the the BPM on that is is really lovely and kind of it seems like it's, like, pre rave BPM or something. Like, there's some sort of rhythm to it.

Larry "Fuzz-o": 01:45:36

Is it a little slower?

Jacob: 01:45:37

It feels Yeah. It's slower, and it's just it's there's something about it that feels So like, more akin to, like, fella cootie.

Larry "Fuzz-o": 01:45:44

We know

Jacob: 01:45:44

it's not the same BPM, but it has that kind of like, I could I could I could pretty much listen to this for twelve hours and not feel exhausted. You know? It has an amazing rhythm to it.

Leon: 01:45:54

So that's actually the point, Jacob. Yeah. Because that you you'd be

Jacob: 01:45:59

But now they're going, like, on they're going but now they're going, like, you know, 200 miles an hour. It's just like you know? This is Kids today. They don't know

Leon: 01:46:07

how to slow down.

Larry "Fuzz-o": 01:46:09

Yeah. Well, it is weird when you're when you're deep into a run hearty mix and then you go listen to the original that he's getting it from. It always sounds way too clean Right. Way way too sparkly and a little fast. Like, you

Leon: 01:46:26

Yeah.

Larry "Fuzz-o": 01:46:26

You're saying, Jacob. Yeah. Yeah. A little too fast. I mean, it almost has sparkly.

Jacob: 01:46:34

It almost has, like, a raga feel to it. It's funny that you mentioned it, but it almost has that same kind of hypnotic element that a raga would give you in just the kind of, like, you know, the the the kind of rhythms of it that that the tempura has created. This is almost the same kind of

Larry "Fuzz-o": 01:46:48

Oh, yeah. The undertow. Yeah.

Jacob: 01:46:50

It's amazing. The undertow. Yeah. Totally the undertow. Yeah.

Leon: 01:46:52

And I gotta bring it back, but it it a lot of those old disco track edit edited versions of the disco track bring out the trucker funk.

Leon: 01:47:02

That's what No. For sure. Episode 12 is the trucker funk ever. Special.

Larry "Fuzz-o": 01:47:10

No. No. It's it's Ironically, you're a 100% correct.

Leon: 01:47:13

Yeah. It's really like because when we think of disco, we just think of the sparkly bits, you know, and, like, the really the the big string section and everything. But the a lot of the I'm thinking, like, early Hamilton Bohannon stuff.

Leon: 01:47:29

Oh, yeah.

Leon: 01:47:30

It's like so, know yeah. And there's, like, alligators everywhere. It's, like, really swampy. You know? Yeah.

Leon: 01:47:37

Swampy. Yeah.

Leon: 01:47:38

It's really, really slow, very southern sounding, like, not at all, you know, sparkly and really gritty. So good. Yeah. But, I mean, you're you're talking about how he would drive Ron Hadi would drive the audience crazy. I mean, it's just from these fifteen minutes.

Leon: 01:47:59

It's it's clear. Like, when you when you faded it out, it's like, no. This is not the right moment to stop this. Yeah.

Leon: 01:48:05

There is no right there is no right moment. Except after the sunrise. You know? That's Yeah. Exactly.

Larry "Fuzz-o": 01:48:12

I I was just gonna play the Dells section, the no way back, and then I I just could not not add the other two tracks on either side. And then, of course, that turned into a larger sandwich, and I had to stop myself at some point.

Leon: 01:48:27

I mean, thank you. Thank you for making it a hearty

Jacob: 01:48:30

snack. Expected.

Leon: 01:48:31

Yeah. Hearty snack. I'm full. That's great. I gotta I've got a thing to follow that up with that I wasn't planning.

Leon: 01:48:39

I gotta apologize to like, we had a esoteric exclusive for this episode, but I'm gonna have to bump it to next episode because I have to play something else in response to that because I love me a complicated narrative. And, I like I love, I love where shit gets really weird in the world. And this is such a lovely kind of weird, very, very strange kind of reflection on that that I love this maybe compliments it, maybe pulls it forward, maybe problematizes it. Very complicated thing. So I can play it, and I love God loved me a good complication.

Leon: 01:49:19

So I'm gonna drop this. So that's a little Jeff Mills underground resistance, except that it's actually Bernard Parmigiani, and then he ripped off. He dropped on that record wholesale. Oh, And not only did he do that once, but he did it twice. On another record, he ripped off another Parmigiani piece.

Leon: 01:52:10

Oh, wow. No credits anywhere. No mention of it. Total just brute force, like, fucking piracy, and I fucking love it. And I love that that's, like, you know, the this total fun house mirror to the narrative that we're talking about before, And beautiful and probably fully intentionally, probably like a fuck you to colonialism.

Leon: 01:52:34

Like, god god bless you, Jeff Mills. But, like, so badass and so, like, completely doesn't give a shit. Like, fuck you, IATA or GRM. Like, so so amazing. Like, what a ballsy, beautiful move.

Leon: 01:52:48

Is this an ugly edit? I think it's a beautiful edit.

leon: 01:52:51

It's a big

Leon: 01:52:55

So, like, props up to Jeff Mills

Leon: 01:52:57

for That's fantastic. Yeah. Wow.

Leon: 01:53:00

So it

Larry "Fuzz-o": 01:53:00

was not released in the context of a mix.

Leon: 01:53:03

No. That's an album. That's an album. That's an 2011

Leon: 01:53:07

Yeah.

Leon: 01:53:07

On, like, on on the on the Axis label. Like, it's like it was totally and no credits anywhere. Like, it's crazy. Like, just, like, full on Jeff Mills production. Like, no.

Leon: 01:53:18

And he did it again on another record later, which is so sick. Like, it's just like and they I mean, considering the the wanton thievery of black music by white people, I'm pretty thrilled that Europe's

Larry "Fuzz-o": 01:53:31

getting screwed. Yeah. Well, in that an excerpt of Parnasiani, or is that the full

Leon: 01:53:41

No. It's a it's a it's a chunk of a track, and, like, it's it's that but it's not edited in any way. It's just a a piece. And then there's another piece on that where you just took a whole track and just released it as as just gave it another title. You

Leon: 01:53:56

know? That's fantastic. Yeah.

Leon: 01:54:01

Been dying to drop that one on the show for a number of episodes. That's been sitting in my arsenal.

Leon: 01:54:07

That really yeah. You complicated things, Justin.

Leon: 01:54:12

So did I do?

Leon: 01:54:14

There's this all of all the Detroit people, Jeff Mills to me have has always been, like, sort of the alien, like, kinda The wizard, man.

Leon: 01:54:30

He's the wizard. Yeah.

Leon: 01:54:31

That's it. Actually, his past as the wizard also complicates things for me. Yeah. But there's this kind of I have this image of him of being so removed from

Leon: 01:54:41

Yeah. Yeah.

Leon: 01:54:41

From earthly Concerns. Concerns. But you're absolutely right. I mean, he's he's he's lived it, you know, and he's been in the industry for a long time, and he's been ripped off countless times.

Leon: 01:54:56

Yeah. Yeah.

Leon: 01:54:57

The the the one anecdote I I keep remembering of his is him approaching wax tracks to release his industrial band's first record, like, very first music project that he was involved in.

Jacob: 01:55:15

So final cut?

Leon: 01:55:16

Yeah. Yeah. Yeah. And that he he went to Waxtrax in Chicago to to meet them and and was surprised to find that they were white people. And was actually was actually put off by that, and and that's why it didn't it didn't work out.

Leon: 01:55:34

So it's it's it's kind of a yeah. That also kind of puts grounds him more as a as a full human, as a three-dimensional person and not just like a floating alien. Yeah. But, yeah, that's that's really interesting that he he he consciously made that decision.

Leon: 01:55:57

Yeah. That is wild. Did he ever did he ever fully leave UR? Is he, like, still officially a member of UR, or is he like, that that's always been really vague to me what his Yeah. Relationship I with UR is.

Leon: 01:56:11

UR is really a Mad Mike thing. And it's more of a it's more of a community project, I'd say, at this point where Mike Banks is is, like, fostering Yeah. The youth. The the yeah. The the the next generation.

Jacob: 01:56:29

The baseball kids. The

Leon: 01:56:30

baseball Exactly.

Leon: 01:56:32

Yeah. Yeah. And

Leon: 01:56:34

the and the talents and keeping them out of trouble. That's beautiful.

Leon: 01:56:38

Yeah. Yeah. But that was just such an interesting like, I mean, I if it like, to me, that can also be seen as an act of, like, total, like like like, revolutionary. Like it's a pretty radical move. And, like, I'm like and I'm really and it I'm pretty happy for that to be seen that way as much as anything else.

Leon: 01:56:59

And I'm just, like, like, very bold, very and, like, that he did it twice too. So, like, and then it was Parmigiani both times. You know? Like, I'm just like, wow. Like, that's really, really something.

Jacob: 01:57:12

Yeah. It's a great title too, have to say. Can imagine calling at the time, I was fourteen years ago, HMV. Hi. Do you have the power scene?

Jacob: 01:57:20

By Jeff Mills.

Leon: 01:57:21

The cover is so sick. Dude, like, what a great album cover.

Jacob: 01:57:26

Do we have the power scene?

Leon: 01:57:28

We do

Jacob: 01:57:28

have the power scene. Can we order the power scene?

Leon: 01:57:31

I always remember finding, like, weird Detroit stuff in, like, in HMV and being like, how did this wind up in this bin? You know? Like Mhmm. Yeah. It's crazy.

Leon: 01:57:41

Virgin Records always would have, like, great little weird obscure Detroit stuff in the back. I'm like, hon?

Jacob: 01:57:48

Yes. I mean, I worked at HMD, and you would have, like, Bernhard Guenter records in

Leon: 01:57:52

each of you

Jacob: 01:57:53

all because of your Because of you.

Leon: 01:57:56

That's how that stuff gets there. That's great.

Jacob: 01:57:59

That's how that stuff gets there.

Leon: 01:58:00

Stuff gets there.

Leon: 01:58:01

That's great. I I I was distracted for a bit, and I suddenly realized I have I'm up next.

Leon: 01:58:10

You're up next. So that was a really short track too.

Leon: 01:58:12

Yeah. But no. No. Well, that was great. Also, shout out Parmigiani.

Leon: 01:58:17

Yeah. That was that was really good.

Leon: 01:58:19

Yeah. It's an amazing track. We don't even get to talk about the music at all. It's really incredible.

Leon: 01:58:24

The the act is is is really big. The music was was great too.

Jacob: 01:58:29

Yeah.

Leon: 01:58:31

I'm gonna continue in this the vein of this is amazing. This is kinda like what you were talking about, Jacob, of going I'm I'm fishing with the, you know, with the apple or whatever, seeing what what bites. And I've been I've

Leon: 01:58:47

been Applefish.

Leon: 01:58:48

This is quite amazing. Thank you, Larry, for mentioning DC Go Go a couple Yeah. Minutes ago. Yeah. It it's like an amazing form of music.

Leon: 01:59:02

I mean, with everything that's going on in the world right now, I've been thinking I've been going back to to DC Go Go a lot, which is a sound that I bumped into really by accident, I guess, about fifth ten, fifteen years ago. And at that point, it had already mutated from its original seventies more funk based roots, and turned into something called, bounce beat, which completely cracked my mind open. So, yeah, I just wanna share, a track of some good DC survival music. And this is a recording taken from a live performance as most go go recordings are. So it starts abruptly and ends abruptly, so just be prepared.

Jacob: 02:05:59

That sounded like a tornado.

Leon: 02:06:01

Yeah. That was insane. Basically, tornado. Insane.

Jacob: 02:06:06

That was insane.

Larry "Fuzz-o": 02:06:08

That's d DC go go. Yep. Mean, that's it just keeps I feel like it just keeps mutating and it like, what what DC go go sound like in the eighties isn't what it sounds like now, and that's what it sounds like now or the last time I checked in. Yeah. And it's in the tempo changes the the fluctuation.

Larry "Fuzz-o": 02:06:35

I mean, this is being this is being played in real time. Like like, these are these are bands. These these aren't DJs. There's you know? So that he they weren't slowing down the tape or the pitch.

Larry "Fuzz-o": 02:06:52

They weren't playing Yeah. They were slowing down the tempo on purpose as a band.

Leon: 02:06:59

It's incredible.

Jacob: 02:07:01

I had no idea. That's crazy, actually.

Leon: 02:07:03

Yeah. Yeah. This is like a it's a live thing, and the bands are like

Jacob: 02:07:07

That's

Leon: 02:07:07

It's it's a very esoteric kind of approach to bands. Where it's like, you got about a thousand people on stage. Love it. Playing everything, every single instrument. Yeah.

Leon: 02:07:23

It it's it's such a I I mean, what you were saying, Larry, about, like, DC not really needing hip hop immediately because they had a go go for their own regional sound that that served that purpose Right. And how it never got out. I mean, it Gogo never really made hit it in the mainstream. And I think it's I mean, from speaking from personal experience, I've had a a long difficult time identifying exactly what was so particular about GoGo Music in its original seventies funk more more funk oriented thing. I mean, there's, like, the the percussion instruments, like the congas and timbales and and all of that.

Leon: 02:08:18

But I guess I haven't heard enough of it to really understand. And then I think when single ladies, like Beyonce, that song came out, it's like, oh, it's Go Go's moment in the spotlight. And it's like, oh, so that's Go Go? But that's you know? But wasn't

Leon: 02:08:39

wasn't there that moment before with the Amory track that Also Yeah. Yeah. That that that got sampled by by Beyonce later too. So,

Leon: 02:08:46

like Right.

Leon: 02:08:47

That the one thing track, that was such the, like, oh, Gogo's making its big breakout. And but

Leon: 02:08:52

I I even now, I'm I mean, I can kind of identify the ingredients in that that

Leon: 02:08:59

Yeah.

Leon: 02:08:59

Makes it or where it pulls from Gogo. But yeah. But then it turned into this, like, number of years ago, actually. And what's interesting about this is that this track, the the coffee shop track by reaction band, is actually from this year. But Yeah.

Leon: 02:09:22

What I've noticed is that this iteration of go go is making a comeback. It had actually disappeared for a couple of years, And people were, like, writing, you know, where can I hear this sound? Or, like, you know, is anyone making this music anymore? And, apparently, it had it had dried up a little bit, a lot due to clubs closing down where there weren't any venues anymore. So whenever I was checking back on to to listen to this stuff, it was always old tracks coming up from, like, the turn of February playing.

Leon: 02:10:01

And now recently, there's an in there's starting to be, like, actual contemporary production, which sound which hasn't really I mean, to my ears, hasn't really changed the this particular recipe yet, which is completely fine by me because this is, like, insanely amazing music. It's Yeah. This recipe is pretty good.

Leon: 02:10:27

I I like the cake that's getting made. It's a good cake, man.

Leon: 02:10:31

It is

Leon: 02:10:32

like Don't mess with the cake.

Leon: 02:10:33

No. It's it's like the most psychedelic one of the most psychedelic musics I've I've I've heard. Yeah. So

Jacob: 02:10:42

Yeah. It's insane sounding. Insane.

Larry "Fuzz-o": 02:10:44

It's it is insane. It's it's baffling. It's like it it just is what it is. Yeah. There's no changing it.

Larry "Fuzz-o": 02:10:53

And, like, you you when when we talk about, like, GoGo not getting its moment in the larger public, like, when you hear that, it's like, of course, it's not. That is not music made for anyone else. Like, that is that that that's not for the masses.

Leon: 02:11:14

Yeah. You know?

Leon: 02:11:16

But I wanna be where people who like

Leon: 02:11:18

this be where that is. Yeah. Yeah. I wanna be. Yeah.

Larry "Fuzz-o": 02:11:21

Well, that's what's amazing is it works so well for large groups of people. Like, obviously, it could be for the masses. But, you know, you you watch videos of, like, reaction band, you know, playing at a at, like, a yeah. You know, they rent halls to put on these shows. And and, you the place is absolutely packed.

Larry "Fuzz-o": 02:11:44

The dance floor is absolutely packed. Yeah. The keep people are going crazy. You know? Yeah.

Leon: 02:11:50

Yeah. I mean, it's it's it's called reaction band. Yeah. I mean, best name ever. Like

Larry "Fuzz-o": 02:11:59

I know. I love that. And that's another modular band. You know? Like Yeah.

Larry "Fuzz-o": 02:12:04

Like, they like, Leon Singh, they've been doing this for probably twenty years as reaction band, maybe even thirty. Who knows? And I'm sure the lineup has changed. Yes. Yeah.

Larry "Fuzz-o": 02:12:16

Yeah. Yeah. Perhaps wholesale, you know, like, a completely new lineup.

Leon: 02:12:21

Yeah. So fantastic.

Jacob: 02:12:24

Another aspect

Leon: 02:12:27

of DC go go that that I I really appreciate is apparently, yeah, so much of this is live music and, like, the documentation the the recordings that we get to hear are actual documents of the of the live performances. And they often come out, like, immediately after the show. They'll they'll put out the the the CD or the recording. I I don't know if CDs are still a thing, but the recordings come out. And they they spend, like, the first half of the show, like, just shouting out every person in the audience.

Leon: 02:13:04

Like, acknowledging everyone and thanking them for coming back or whatever. And so that makes it onto the CD. So when the people get up, they wanna get the CD and then come back. But yeah. That's amazing.

Leon: 02:13:17

That's that's an excellent maneuver. I like that. That's use that one. That's great.

Larry "Fuzz-o": 02:13:25

D DJ Screw would do that in Houston.

Leon: 02:13:28

Yeah.

Larry "Fuzz-o": 02:13:29

People would, I think, buy shout out. They Oh, wow. And and that or at least he knew he could sell that tape exactly what you just said to to a certain neighborhood or Right. Constituent because he he shouted out the neighborhood or the people in the neighborhood

Leon: 02:13:45

Right. On on the

Larry "Fuzz-o": 02:13:48

intro or the outro.

Leon: 02:13:50

I haven't thought I've kinda listened I haven't listened to DJ's crew in a while. That is good stuff.

Jacob: 02:13:54

Yeah. Yeah.

Larry "Fuzz-o": 02:13:54

That's good.

Leon: 02:13:56

The Jacob, you are our final selector for the day, man. You're taking us out.

Jacob: 02:14:02

It says my other it's my other Ukrainian.

Leon: 02:14:07

That's perfect.

Leon: 02:14:09

It's perfect.

Jacob: 02:14:10

But thank thankfully, it's kind of, like, defiant Ukraine music. It's a band that I've never heard of. Obviously, I just discovered it from the eighties, and it's like a post punk band. And I have to say I'm a big fan of all this kind of Eastern European eighties punk sound. It's an incredible sound.

Jacob: 02:14:28

It's just so hopeful and so shimmering. Or, like, in Yugoslavia, there was a lot of amazing bands like Electric Orgasm was one of them, and it's just the most amazing sound. It's very, very much Eastern European sounding. Like, it's just undeniably that. And this band totally sounds like that.

Jacob: 02:14:44

The name of this band is in Cyrillic. I have no idea how to pronounce it, but maybe if I put it in Google. Hold on a second. I don't if you guys would hear this, but see?

leon: 02:14:55

Yeah. Yes. Yeah. That's the title.

Jacob: 02:15:01

That's the band. And it's it's translated as herring.

Leon: 02:15:05

Yeah. Like this herring bird. Like a fish. It's great. Yeah.

Leon: 02:15:08

It's very good. Pickled herring. My dad, roll mops. It's great.

Jacob: 02:15:14

So this is from '89. And, it's from that label that I mentioned, that Polish label, Koka, that's just that's released. It's the first release on that label, So in

Leon: 02:15:24

Wow. I love that album. A piece from it.

Jacob: 02:15:26

Yes. So there it is. Now the sound quality on that thing. Yeah. Those guitars.

Jacob: 02:18:28

Jesus Christ.

Leon: 02:18:29

It's very similar.

Jacob: 02:18:30

It sounded so

Larry "Fuzz-o": 02:18:33

That was fantastic.

Jacob: 02:18:34

Yeah. Just the the sound of it is incredible to me. I don't know what it's about, but those guitars just feel like little bells jingling in my fingers. It's really fantastic.

Larry "Fuzz-o": 02:18:43

It's it's also a very what I think of as a post punk sound. Like, in in England, it sounded similar. I I agree this has a a different quality to it, but it also has that same clattery guitar. Yeah. Yeah.

Larry "Fuzz-o": 02:18:59

Just I I love that sound. I feel at home in that sound. It's it's not too it's not too noisy. Well, you know, it's not too loud. It's not too angry, whatever.

Larry "Fuzz-o": 02:19:11

It there's all this other space opened up that's still in the punk realm. You know? Yeah.

Jacob: 02:19:17

And a great sax lick.

Leon: 02:19:18

Yeah. It's incredible.

Leon: 02:19:19

It's such great middle lick.

Jacob: 02:19:21

And I love that it's so

Leon: 02:19:22

mixed, like, in another room far away. I'm like, god, get that guy in another room. He plays too loud. He's he's way too loud. Like, we

Jacob: 02:19:32

have But, again, you know, like, I I think they're, like, 18 year olds, and it's the only tape they released, and that's it. You know? 1989. You know? And so It also did really a beautiful

Leon: 02:19:42

Yeah. It it it didn't end on the chord I was expecting it to end, which is nice. But, yeah, that was great. It was really great. You can really feel the energy and, like, the the you know, that they got something to prove.

Leon: 02:19:58

They're, like, hungry. Yeah. For it. Yeah. It's awesome.

Jacob: 02:20:01

It's a great energy too. I mean, I've met obviously, being in Poland, I've met way more Ukrainians than I had before. The war had started, and and they're just such Yep. I mean, that energy, you feel it in them. They're such great people.

Jacob: 02:20:12

Like, there's something about them, and they've got that kind of, you know, just, like, strength in their they're, like, soulful and strong at the same time. At least in my experience of the people that I've met in this music feels like that to me. It really has that kind of energy. It's really inspiring. So, yeah, those are my two Ukrainian tracks.

Jacob: 02:20:31

I'm really I'm really glad

Leon: 02:20:33

you brought them, man. We should

Jacob: 02:20:34

do more. We should do more.

Larry "Fuzz-o": 02:20:35

Oh, you're you're welcome. They're both they're both so different too.

Jacob: 02:20:39

Yeah. Yeah.

Leon: 02:20:40

You know?

Leon: 02:20:41

For apple and and sandwich, basically. Yeah.

Larry "Fuzz-o": 02:20:44

That's it. You you close Yes.

Jacob: 02:20:46

I brought the apple and the sandwich.

Larry "Fuzz-o": 02:20:48

And you definitely caught a fish or two. Yeah. Great.

Leon: 02:20:53

I mean, it's it is one of the pleasures of the distribution of our lives because, like, you know, I love this, and it's so nice to have somebody like you being there in Poland, Jacob, and bringing, like, a different lens and so much amazing music that Yeah. Like, across every episode that I would never even come across. Like, it's so interesting with the like, I love this because, like, the Internet feels like it flattens everything out a lot of the time. But then the music that you're bringing, Larry, the music Jacob's bringing, I wouldn't think, like it's, like, totally it is really local still. And there's something really, really, really special about that that, like, is really exciting to me that we can still not feel like just this homogenous Internet soup.

Leon: 02:21:40

Like, that it's really, really cool.

Jacob: 02:21:44

Yeah. Well, then you meet people through music. You know? You meet people through music. It's like, Larry, I've just met you.

Jacob: 02:21:50

Like, it's two hours. But already, I feel closer closer to you, like, than before it was two hours. And in fact, it seems much longer than two hours is what I'm getting at. Like, it feels, you know, in a good way.

Leon: 02:22:00

I don't Yeah. Yeah.

Jacob: 02:22:04

Now I'm just chewing my own words. Oh. Well It's a great way of meeting people.

Leon: 02:22:09

Yeah. For sure. I think

Larry "Fuzz-o": 02:22:10

Yeah. Like, this, it kinda goes back to us talking about utopian versus dystopian. Like, I feel like I'm the guy who's always like, actually, I I love meeting people online. I can really make friends online. Mhmm.

Larry "Fuzz-o": 02:22:23

They are real friendships. Like Mhmm. Yeah. And, you know, I like, during COVID, I would I would meet a new coworker, and it would be a year. I would only work with them on Zoom.

Larry "Fuzz-o": 02:22:35

Mhmm. It would be a year before I would meet them in person. And I it was just a continuation of we had already met. You know? And, I mean, I've made good friends on Twitter.

Larry "Fuzz-o": 02:22:48

Like, it so these obviously, these things have a dark side and a dystopian side, especially in the last few years, but I don't know. They're also great tools. I mean,

Leon: 02:23:01

it Mhmm.

Larry "Fuzz-o": 02:23:01

Kind of comes down to that. It's it's not the tool. It's the how it's being used. Yeah. And

Leon: 02:23:09

I don't know.

Jacob: 02:23:10

But, you know, we've we've had, like, the great fortune of actually Justin mentioned a bit of it that we we had, like, a technical problem in one of the episodes we had recorded didn't record. And so it was just, like, we basically just spent hours just listening to music.

Leon: 02:23:25

Yeah. You know?

Jacob: 02:23:26

And and it was it's an amazing thing.

Larry "Fuzz-o": 02:23:28

Yeah. Which is also great.

Leon: 02:23:29

Yeah. Yeah. Yeah.

Larry "Fuzz-o": 02:23:30

I I've never recorded my in person record hangs. So Yeah.

Leon: 02:23:36

Yeah. Yeah. I mean, it's a it's a really it's also a really cool way to get to know people. Like, it's, it's so interesting hearing everyone's like, I think there's something so intimate about the way that you process music. You know?

Leon: 02:23:49

Like, it's really, really profound, and it's, like, a really profound thing to share. We used to we used to have this thing when I lived in East Van, like, god, before I moved to Montreal, so, like, nineties, where we do church. We called it church, and we play free jazz records. There was, like, nobody into free jazz at that point. And we just have, like, a a kind of, like, Sunday afternoon hang where people would come over and listen to free jazz records.

Leon: 02:24:11

And it was like I made so many amazing friends in that just sitting, hanging, listening to records. And, like, it's nice nice to do it virtually. And, yeah, really, like, thank you so much for joining us. Yeah. It's it's such an awesome time here.

Jacob: 02:24:26

It's great.

Leon: 02:24:27

Brought incredible music. Like

Larry "Fuzz-o": 02:24:28

yeah. It it's such an honor to be invited. But

Leon: 02:24:33

we'll definitely we'll definitely call you back to the show if you're up for it. So, like, I mean

Leon: 02:24:37

For the 91 other tracks.

Larry "Fuzz-o": 02:24:39

Yeah. The 91.

Leon: 02:24:40

We got we got a

Larry "Fuzz-o": 02:24:42

We'll we'll get two ninety first ninety first into the rest, whatever fraction that is.

Leon: 02:24:49

That's great. And, yeah, thank you. Like, everything you brought was incredible. Like, hugely appreciated.

Jacob: 02:24:54

Yeah. Yeah. The music was really astounding, I have to say.

Larry "Fuzz-o": 02:24:58

Well, I had to bring my a game with you guys. Like, I mean, again, I don't want it just to be like a a big pat pat you on the back fuss, but listening to the two or three episodes I listened to, I'm like, wow. How can I even keep up? You know? This stuff is so amazing that you guys are coming up with, and I basically knew of almost none of it before.

Larry "Fuzz-o": 02:25:23

Oh, that's awesome. And and and to hear that I am coming up with music that you guys haven't heard is astonishing to me. Like, I I can't imagine you not knowing the your the knowledge you bring, I can't imagine you not knowing what I'm bringing. But that's another beauty of the the the 6,000 cassettes in the kiosk. Yeah.

Leon: 02:25:44

Yeah. For sure.

Larry "Fuzz-o": 02:25:45

For sure. Everyone knows something that someone else has the word. Exactly.

Leon: 02:25:49

Everyone. Yeah. You know?

Leon: 02:25:50

Yeah. Yeah. Yeah. That's that's what I was gonna say is that we yeah. Every all of all all three of us bring stuff that I mean, I haven't heard half of what Justin and

Jacob: 02:26:03

Jake Yeah. Likewise. Likewise.

Leon: 02:26:04

Brought to the show either, and that's basically why we do the show is I I just wanna listen to music and discover music and hang out with friends. So yeah. Yeah.

Jacob: 02:26:15

So so happy. A lot of great music.

Leon: 02:26:17

So happy that you you accepted our invitation, Larry.

Larry "Fuzz-o": 02:26:21

Yeah. Abs well, very happy to be here.

Leon: 02:26:24

So Yeah. Thank you. Thank for joining me. I'm gonna do something I hate on the Internet, but I love this because I'm not doing it about us. You know, the worst thing listening to any podcast or or anything is like, hit like and subscribe.

Leon: 02:26:38

But, like, so we'd like I've never asked anybody to do that for me. We're never gonna ask anybody to that for CDM esoteric, but go subscribe to Blastitude Substack. Yeah. Absolutely. Now

Leon: 02:26:49

You will not regret it.

Leon: 02:26:50

Yeah. And, like, pay Yeah. I can get your friends to join and pay. I but, like, it

Larry "Fuzz-o": 02:26:56

is Free or pay if you'd like. You know?

Leon: 02:26:59

But but, I mean, to to be clear, you will definitely discover a whole lot of music you didn't know was out there, or maybe that you kind of thought that could exist in some form or another, but Larry will show you the way. But also, it's an an incredibly enjoyable read. It's like Yes. Yeah. Yeah.

Leon: 02:27:20

Just even if I don't click on any other links, I I I love reading your

Leon: 02:27:26

Yeah. Your writing is so kick ass. Like, it's so great. It's so great. And it's like it stayed.

Leon: 02:27:32

It's just like it's like especially, you know, you get some blastitude emails on days when the world's doing crazy bad shit or, like, whatever. Like, there's a lot of those lately. And I get one of those emails, and I'm like, oh, look. It's just so funny. It's such a relief to read those.

Leon: 02:27:49

Sometimes, I'm just like, oh, okay. Everything, like, it's

Larry "Fuzz-o": 02:27:51

like, it's alright. It's alright. That's that's good feedback to get because I've consciously been a apolitical when Yeah. In blasphitude. I I was like, I mean, I'm not gonna let any of that in here.

Larry "Fuzz-o": 02:28:04

And that can seem like a a, you know, a I don't know. I was gonna say a cowardly decision or bearing your head in the sand kind of decision, but I that is kind of exactly the point. It's to bury your head in not not not sand, but sound. I I know something. Incredible art.

Larry "Fuzz-o": 02:28:27

However you wanna put it. So I'm glad to hear that.

Leon: 02:28:31

People need the nutrition. Like, it's it's really good food, man. Thank you. Thank you. It's like so yeah.

Leon: 02:28:37

Yeah. And also, like, the the quality of your writing and and the the joy in it. Like, it's just like it's a it's a bit of a joyless world sometimes these days. So, like, having that enter into my inbox often, I'm just like, oh, fuck. This is amazing.

Leon: 02:28:52

Yeah.

Larry "Fuzz-o": 02:28:53

Yeah. Great. Well, well, one just hit a couple hours ago. Awesome. There

Leon: 02:29:00

you go.

Leon: 02:29:00

Forward to it. It's great.

Larry "Fuzz-o": 02:29:02

While while we were while we were recording, I had it scheduled. So Awesome. Enjoy enjoy the new one.

Leon: 02:29:07

We will. Great.

Leon: 02:29:09

Thanks. Thanks, Larry. Thank Thanks, everyone. And Okay.

Leon: 02:29:14

I guess Gotta get the outro tune. I love your words.

leon: 02:29:17

I I forget I'm a Texan now. I've even got the Texan