“The original, the inspirational, the bombastic, the never bettered, the one. ‘Don’t make me wait’ is all of the above and so much more. Classic to the core. Huge earth shattering record right here. OK, so the scoop, for the uninitiated is this – the Peech Boys were Larry Levan’s group, we’re talking early 80’s NYC here, 1982 to be precise, around the height of the Paradise Garage as Larry was making the transition from superstar DJ to producer. He brought a sparse, dubbed out, narcotic late night feel to the overall sound of this record. This was a short-lived project, but the influence is still felt today, the Peech Boys DNA is inside the veins of modern dance music, as is Larry’s. There is no underestimating what an impact this record had. 7+ minutes of electronic bliss, trailblazing stuff, and don’t get us started on the dub. Do yourself a favour, BUY this classic if you don’t own it already, you’ll keep coming back to it time and time again. …”
DeeJay
W – Don’t Make Me Wait
Discogs (Video)
YouTube: Don’t make me wait, Don’t Make Me Wait (Dub Mix), Don’t Make Me Wait (Lerry Levan Mix), Don’t Make Me Wait (Special Version)
Month: February 2019
1976 Film Blank Generation Documents CBGB Scene with Patti Smith, The Ramones, Talking Heads, Blondie & More
“Fans of bratty New York punk-turned-serious writer Richard Hell or schlocky German horror director Ulli Lommel or—why not—both, will likely know of Lommel’s 1980 Blank Generation, a film unremarkable except for its casting of Hell and his excellent Voidoids as feature players. (Their debut 1977 album and single are also called Blank Generation.) The movie, as a reviewer puts it, ‘seems as if each member of the production was under the impression they were working on a different film than the rest of their collaborators…. You can’t help but think that something more watchable could be produced out of the raw footage with a good editor.’ One might approach an earlier film, also called Blank Generation—the raw 1976 documentary about the budding New York punk scene above—with similar expectations of coherent production and narrative clarity. But this would be mistaken. …”
Open Curture (Video)
W – The Blank Generation
Voice: Punk Icon Richard Hell Looks Back at “Blank Generation” Forty Years Later
Robert Ashley – Private Parts (1978)
“Robert Ashley’s Private Parts has a plot, but you wouldn’t know it. The 1978 LP, which would later serve as the foundation for the composer’s seven-part televised opera Perfect Lives, discusses at length the inner workings of two characters, a man and a woman, anonymous to us and perhaps even to each other. Words flood its 40-plus minute runtime, circling meaning but never arriving at a conclusion. What’s explored by Ashley, in his drawling monologues, seems to be everything that isn’t happening—an inversion that slinks and dances among the shadows. We are privy to his subjects’ fidgety obsessions, tics of behavior, heady ruminations and psychic detritus, but narrative, insight, or meaning remain as elusive as a not-quite-remembered dream. Private Parts is built on emptiness. It is startling just how riveting that emptiness can be. … The album is structured into two episode-length pieces. At just over 20 minutes each—presumably, he was anticipating commercial breaks—there are still no suitably satisfying points at which to pause. Ashley is liberal, or perhaps literal, with the idea of opera. If an opera requires a theatrical setting, high drama, and rafters-directed singing, he doesn’t come close. But if it’s a medium built on a mixture of music, characters, spoken word, singing, set design, well, what else could it be? Besides, the semantic nitpicking is rendered moot once you hear the music. It all comes back to that drawl. …”
Pitchfork
40 Years Later, Robert Ashley’s ‘Private Parts’ Is Still a Hilarious Mystery (Audio)
Genius (Audio)
Discogs (Video)
YouTube: Private Parts (1978) FULL ALBUM 45:41
Punk Scrawled Artist 