The Jimi Hendrix Experience & The Who - Beat-Club 1967

Beat-Club was a West German music programme that ran from September 1965 to December 1972. It was broadcast from Bremen, West Germany on Erstes Deutsches Fernsehen, the national public TV channel of the ARD, and produced by one of its members, Radio Bremen, later co-produced by WDR following the 38th episode. Beat-Club was co-created by Gerhard Augustin and Mike Leckebusch. The show premiered on 25 September 1965 with Augustin and Uschi Nerke hosting. German TV personality Wilhelm Wieben opened the first show with a short speech. After eight episodes, Augustin stepped down from his hosting role and was replaced by British DJ Dave Lee Travis. 
The show immediately caused a sensation and achieved cult status throughout West Germany among the youth, while the older generation hated it. The show's earlier episodes featured live performances, and was set in front of a plain brick wall. It underwent a revamp in 1966, when a more professional look was adopted with large cards in the background displaying the names of the performers, who now mimed to their hit records (the standard practice on most music shows from the era) in front of the studio audience. (A companion series, Beat Beat Beat, continued to run live performances.) Around this time, a troupe of young women billed the "Go-Go-Girls," were introduced to dance to songs when their performers could not appear.
In early 1969, Travis was replaced by Dave Dee, of Dave Dee, Dozy, Beaky, Mick & Tich. On 31 December 1969, Beat-Club switched to colour and again featured live performances, but without an audience. Dee departed in 1970, leaving Nerke as the lone host. In the later years of its run, the series was known for incorporating psychedelic visual effects during many performances, many concentrating on images of the performers in the background. When the show switched to colour, the effects became much more vivid.  From: https://en.wikipedia.org/wiki/Beat-Club 

Michelle Shocked with The Tower Of Power Horns - Live Newport Folk Festival 1990

1. (Making The Run to) Gladewater
2. Memories Of East Texas
3. Worth The Weight
4. Over The Waterfall
5. Graffiti Limbo
6. Ballad Of Penny Evans
7. Die-In Protest
8. Anchorage
w/Tower of Power:
9. Sleep Keeps Me Awake
10. Too Little Too Late
11. God Is A Real Estate Developer
12. On The Greener Side
13. Silent Ways
14. It Must Be Luff
15. (Don’t You Mess Around With) My Little Sister 

Michelle Shocked isn’t as big as she used to be, and she just got smaller. Last Sunday the singer-songwriter told a club audience in San Francisco that gay marriage would destroy civilization. She also told them to “go ahead and tweet or write and say that Michelle Shocked says God hates f—s,” according to an account by an eyewitness who is delicate with bad words. The audience walked out, the club owner (a gay man) shut down the lights and power and banned the singer from his club, and soon enough Shocked’s concert dates had been scrubbed by nine of the ten venues where she was planning to give shows. The exception, oddly, was a place in Madison, Wisconsin. We’ll see how many people turn up.
Michelle Shocked is kind of crazy. To put it another way, she is someone who has long struggled with mental illness. Way back in 1988, the Spin profile that alerted the dull mass of music fans to the new star’s existence told how her mother had the teenage Michelle (or Karen Johnston, as she was then known) locked up in a mental facility. Maybe her mother was on to something, or maybe dealing with mom set up the kid for a lifetime of chaos. Either way, Shocked is now 51 and here we are.
Some people wondered if the gay rant was caused by drugs. Our eyewitness says no: “She seemed like someone who had actually gone off medication—anxious and rocking back and forth and a lot of activity and about to explode with emotional anxiety.” That’s the guy’s impression from talking with the singer in between sets, just before she went back on stage and blew up the house. (The fellow’s name is Matt Penfield, and his account is quoted extensively in a Yahoo! post that’s the best piece I’ve seen on the mess.) Shocked has been around many bends, and for now it looks like she has not come out okay.
Like many crazy people, Shocked can be a real pain in the ass. This was evident back in the 90s, when her career was riding higher than it is now. I don’t go to a lot of shows, but I went to two of hers. One, in 1993, was wonderful. There was a big crowd, a lot of laughing and shouting, and an on-stage tribute by Shocked to her husband (“My oak, my rock, my strength,” if I recall correctly). He lumbered into view so Shocked could wrap her arms around him and drop her head on his chest.
But there was one small danger sign. To encourage the good times, she told each of us to turn to the person next to us and say, “I love you.” I didn’t, and maybe I offended the young lady who happened to be next to me. But there is no reason to say, “I love you” to somebody you don’t know, and one of the worst non-reasons is to further some celebrity’s plans for your emotional life. The next concert was in 1996 or ’97. Another big audience, but now her mood appeared to be foul. She made a sour comment about her husband’s mental outlook, and she spent a lot of time giving us commands: shake this, shake that, jump up and down, and so on. The audience went along, trying to pretend it was fun, but the performer herself didn’t smile once.
I’m pretty stiff and reserved, and I don’t like following orders from someone who isn’t paying me, so I made only minimal efforts to cooperate. I felt bad about that until Shocked told everybody to turn around, bend down and shake their asses. Why would that be fun? It isn’t abandon, it’s having your boundaries stripped out by somebody who’s high up on a stage with a microphone. Fuck her, she wasn’t bending over and shaking her ass. She was standing there shouting orders.
Maybe she saw me toward the front of the crowd, scowling, because soon she was discoursing on those with a bad attitude. Why, in this very hall she had recently seen a George Clinton concert, and those New Yorkers (the hall was in New York) were just too cool to let on how groove-a-delic the Clinton beat actually was. Here she did an imitation: she frowned, wrapped her arms about herself and held still. Well, at that moment I was frowning, had my arms wrapped about myself and was holding still. I sometimes have to do the second two things when a crowd is packed tight, since I take up more space than most people. I’d been doing them at the concert Clinton gave in this hall a few weeks before, the same one attended by Shocked, I guess. Maybe I personally stuck in her craw or maybe she had just seen my type. Either way, she could have tried to help people have a good time, or she could reflect on how awful it is that the uncooperative exist. Guess which she chose.
I never went to another of her shows. At some point an acquaintance, an office hipster, attended one and reported back. “Michelle was in a weird mood,” he said, shaking his head. Yeah. Since then I had not heard or read her name until Sunday’s fag incident. Just last week I was wondering if her song “Anchorage,” about an ex-punk girl addressing a still-current punk girl, was meant to be a letter to an old friend or to a lost lover. I also wondered if anybody would even know whom I was talking about if I mentioned the song. Now this. Still there, crazier than ever. After the debacle, the singer released this Tweet: “Truth is leading to painful confrontation.” Michelle, the truth is you’re nuts and in being nuts you act like a high-handed asshole. Get well soon and until then don’t bother us.  From: https://www.splicetoday.com/pop-culture/michelle-shocked-was-also-crazy-and-unpleasant-in-the-1990s 

Michelle Shocked's bogus copyright attacks
TimeTravelSounds
Hi folks - I sell vinyl here & on a few other platforms including Amazon (where I mainly sell books.) On Dec 26 2018 dozens or hundreds of Amazon sellers were hit on Amazon with accusations of effectively being pirates/bootleggers with a very misguided attack on every used LP, CD & cassette (!) by Michelle Shocked, filed as a copyright violation. I happen to have had two of her LPs listed (I listed them in 2010 & neither has sold so not exactly popular items) and thus was hit with two claims of copyright infringement, a ban-able offense.
These are ridiculous claims from an artist who appears pissed off about digital sales of her music being down and who is lashing out at people who literally have one or two used CDs or LPs of hers for sale. She appears ignorant of the federal copyright law in "First Sale Doctrine" that anyone has a right to resell a legit used copy of copyrighted material. Discogs couldn't exist without this law, nor really could Amazon.
This however doesn't matter because Amazon deals with copyright infringement claims like a Kafka story, asking me in this case to prove that my 1988 and 1989 pressings of Shocked LPs aren't bootlegs by asking me to produce an approved wholesaler's invoice for purchase of the items... and one obtained within the last year! We're all trying to fight this as best we can. This has-been spends her days trolling the internet for old copies of her music and sometimes even sending threatening emails personally to people who might have one lousy used copy of one of her CDs for sale for $3. Has anyone else gotten the Shocked treatment?

rugogs
Who the hell is shocked Michelle?

TimeTravelSounds
Ha, Her whole schtick was "lesbian protest folk singer" 30 yrs ago. That's the worst part, she's supposed to be fighting The Man and here she is crushing mom & pop businesses with false copyright claims she thinks protect her profits.

trachi 
If possible, I would just remove her titles from your Marketplace, throw them in a metal bin and set them on fire. Then I would make sure I avoided anything with her name associated to it in the future. Job done.

TheOubliette
Since it appears there's not much (any) profit (interest) in second-hand Shocked releases, might I suggest we all just mail them back to Michelle's personal residence and let her deal with them.

merlin99
I assume her efforts to remove them are less about digital sales and more about her wanting to delete her past - those church meetings must get a bit uncomfortable when one of the congregation quizzes her over the meaning behind "God is a Real Estate Developer' or 'Hardcore Hornography'... 

From: https://www.discogs.com/forum/thread/783750?srsltid=AfmBOoq0sHIlss6_iUw3TEawB9iPA9ZbHHD-VTajgmNSRk64pNkH7LWE

Weedpecker - No Heartbeat Collective

Weedpecker are a stoner/psychedelic quartet formed by the brothers Dobry in January 2012. This band draws from elements of dreamy psychedelic, dingy grunge and heavy stoner riffs. Along with fellow scene contemporaries such as Belzebong, Dopelord and Major Kong the band had gained traction through online circles and released four albums since their inception, all of which having attained positive reception. The band has also toured frequently through Europe, especially in the latter part of the decade.  From: https://riffipedia.fandom.com/wiki/Weedpecker 

Wilson Pickett - Ninety-Nine and a Half (Won't Do)

There are many sides to soul music. There is the pop-soul style of Motown, the sweet soul of Philadelphia, and the streetwise sound of New York City. But if you prefer a little more grit, a little more growl, a little more funk in your soul, then I have a record for you. This week’s featured record is a classic Wilson Pickett side from his golden era with Atlantic Records in the mid-late ’60s. I’ve wanted to feature Pickett, and this record in particular for quite some time and this seems like a good week to do it.
You know the story of the “Wicked” Wilson Pickett by now. You know that he first hit it with the Falcons, a group which also included the luminaries Eddie Floyd and Sir Mack Rice, and how they got some attention with “I Found A Love,” a song co-written by Pickett. It was a minor hit for the Falcons, but a bigger one when Pickett re-recorded it on his own some time later.
Soon Pickett went solo, and sent a demo of a song he had written to Jerry Wexler at Atlantic Records. Wexler gave “If You Need Me” to Atlantic artist Solomon Burke who had a big hit with it. Pickett was not happy that the song had been given away, but solo success was not far off for him. He was recording for Double L Records when “It’s Too Late” became a big R&B hit in 1963, so big in fact that it convinced Wexler to buy Pickett’s contract from Double L and sign him to Atlantic.
Pickett’s massive breakthrough came with his third single for Atlantic. “In the Midnight Hour,” recorded with the legendary Stax Records house band that included Steve Cropper, Duck Dunn, and Al Jackson (Booker T Jones didn’t play on any Pickett records), was released in 1965 and reached #1 on the R&B chart, and #21 on the pop chart. 
The hits kept coming. In the next couple of year they included “Don’t Fight It,” “634-5789,” and “Ninety-Nine and a Half (Won’t Do)”. The chugging “Ninety-Nine and Half (Won’t Do)” was, like many of his hits, co-written by Pickett. It wasn’t his biggest success, making it to #53 on the pop chart and #13 R&B, but it was just as soulful and insistent as any of Pickett’s hits of that era.  From: https://popdose.com/soul-serenade-wilson-pickett-ninety-nine-and-a-half-wont-do/ 

Queen - The Fairy Feller's Master-Stroke

Freddie Mercury was inspired by Richard Dadd's painting The Fairy Feller's Master-Stroke at the Tate Gallery in London. The fantasy-based lyrics make direct reference to characters and vignettes detailed in the painting and in Dadd's companion poem, Elimination of a Picture & its Subject—called The Feller's Master Stroke. Characters include Queen Mab, Waggoner Will, the Tatterdemalion, and others. The use of the word "quaere" in the twice-repeated line "What a quaere fellow" has no reference to Mercury's sexuality, according to Roger Taylor.
In some markets the album included a fold-out cover with a reproduction of the painting. Author Neil Gaiman wrote about the painting and the album on his blog: 
Reason tells me that I would have first encountered the painting itself, the enigmatically titled "Fairy Feller's Master Stroke," reproduced, pretty much full-sized, in the fold-out cover of a Queen album, at the age of fourteen or thereabouts, and it made no impression upon me at all. That's one of the odd things about it. You have to see it in the flesh, paint on canvas, the real thing, which hangs, mostly, when it isn't travelling, in the Pre-Raphaelite room of the Tate Gallery, out of place among the grand gold-framed Pre-Raphaelite beauties, all of them so much more huge and artful than the humble fairy court walking through the daisies, for it to become real. And when you see it several things will become apparent; some immediately, some eventually.
For the intricately arranged studio recording, Mercury played harpsichord as well as piano, and Roy Thomas Baker played the castanets. Taylor called this song Queen's "biggest stereo experiment", referring to the use of panning in the mix. The song was performed only a few times during the Queen II Tour, and there was thought to be no live recording of the song until 2014, when it was released on Live at the Rainbow '74.  From: https://en.wikipedia.org/wiki/Queen_II#%22The_Fairy_Feller's_Master-Stroke%22 

Xenia Rubinos - Whirlwind

 

Throughout “Whirlwind”, the third song on Xenia Rubinos’ debut album Magic Trix, there’s a joyous vocal choppiness that darts between speakers like a figure in a stop-motion film. There’s the seesawing groan of a squeaky door, low, crunching keyboards, and a hectic, roiling drumbeat that Zach Hill wouldn't be ashamed of. When you listen closely, you realize there are words to Rubinos’ scrambled ululations: “When you get the feelin’ that you’re startin’ to wake up,” she trills, like an alarm. “Something I really wanted on this record, and in general, is exuberance,” the young Brooklyn-dwelling singer told Rookie recently. She's triumphed unambiguously: Magic Trix is a startling lightning bolt of a record.
There are four primary parts to Rubinos’ busy sound: her electric, smoky voice; overdriven keyboards, which often seem like electric guitar but aren't; the contributions of syncopation-happy drummer Marco Buccelli and funk-inclined bassist Adam Minkoff. Magic Trix recalls tUnE-yArDs, Battles, Camille, and the melodies of St. Vincent’s Marry Me remade with a Strange Mercy-era approach-- but true to the record’s title, Rubinos has a wizard's unique flair.
Rubinos is of Puerto Rican and Cuban origin, and sings in English and Spanish. (The Spanish-language songs here are either fantastical, punky jump-rope chants, or sweetly sad lullabies.) She has as much of a cool, incisive way with intimate as political matters: “Ultima” opens with a collage of beatboxed vocals, and is exhausting and soothing, like watching an extravagant display while lazing on a beach. She coolly recounts how, in Cuba, simple things like going to the bank are different enough to throw you for a moment. After an indignant, yelped chorus of “Oye, yo soy la ultima!” (“Hey, I’m the last one!” your cue to join the back of a line) she flips the sentiment back onto herself: “You know it really, really takes a long, long time/ To understand what’s going on around you/ To grow and change.”
Magic Trix deals with the fear that time will destroy the things you love, but it’s not so paralyzing that you’re unable to take advantage of the new wisdoms it brings, particularly concerning romance-- and Rubinos writes sexy, surrealist love songs. On “When You Come”, her keyboards take on a seductive, sleazy tone, and she describes her crush in deliciously weird terms: “He ties my heart in knots/ Just like Polish sausages.” Her odd, folkloric intentions (also: laying an egg into his mouth) stave off her impulses to look beyond the fantasy of the guy who "makes love to [her] like [he’s] seen something new" and folds her clothes afterwards, preferring “to keep pretending/ You are the sweet thing/ I made you out to be.”
Navigating the balance between all-out fantasy and dulling realism is another of Magic Trix's strong suits. (Rubinos channels Poly Styrene on "Pan Y Cafe", where she recasts the mice behind her refrigerator as Martian invaders.) On “Hair Receding”’s vibrant mathy bent, Rubinos laments the passing of time, writ in the wrinkles of a face she's starting to forget. The temperature drops on the ensuing “Cherry Tree”, where frenzied drums melt into blossoming keys, and she yells with frustration, knowing that her memory of this guy is already fading. By “Let’s Go Out”, the drums slump with dejection: She's given up trying to remember. After the tropical wilds that precede it, the synthetic, silvery keyboards here sound effectively bleak.
Although Rubinos’ heart is aching, she's not completely giving up on life in color; “I Like Being Alone” is a chirruping ode to solitude: “Because it means I don’t have to be something I’m not.../ Because it means I don’t have to consider you/ I can just be awful like I am/ I can be as lazy as I am.” It’s that comfort with her own ideas and company that makes Magic Trix so life-affirming, transcending its sound-a-likes to proudly show off a unique new pop personality. Rubinos' remarks on exuberance reminded me of something the similarly single-minded Natasha Khan said recently, about our culture emphasizing art that is "down, dark, and fucked up-- so when there's unabashed joy, that's embarrassing for people. It's too much, or it's not cool." If you're looking for a way out of those doldrums, then Magic Trix is the glitter in the dark.  From: https://pitchfork.com/reviews/albums/18119-xenia-rubinos-magic-trix/

Sons Of Zöku - Earth Chant (Acoustic)

Sons Of Zöku are a self-professed hybrid tribe of Portuguese-born Ricardo Da Silva and Ica Quintela, and Australian-born Jordan Buck, Oscar Ellery, Eddie Hannemann, and Hannah Yates. The band are known for their raw, world-influenced psychedelic sound, transcending the mainstream by blending elements of rock and folk with global music traditions, folding sitar and flute melodies into distinctive vocal hooks, rhythmic chanting, and upbeat, layered percussion. Selected as “Most Popular Experimental Artist” at the South Australian Music Awards for five years running, word spread of their live sonic offerings, leading to a spot performing at WOMADelaide 2023, and appearances at a slew of other festivals across Australia. I’m reliably informed their live shows are especially spell-binding, the ensemble experimentally blending any number of instruments across a psychedelic-rock canvas, showcasing a yin/yang of unexpected dynamic changes.  
With their second studio album Endless now released, Sons Of Zoku push further on the boundaries of dynamics and repetition, drawing listeners deeper into their cohesive yet kaleidoscopic sound. The result is a modern, manifolded experience that teems with the energy of change. According to frontman Ricardo, “The recording process was very simple, consisted with all of us stepping into our headquarters and devoting our craft into creating a soundscape that best represented each track. Individually we all came in and recorded our own layers of colours until we felt the song has opened a door to somewhere we had never been before.”
The album opens with a slightly disconcerting tribal chant intro, that morphs gently into the beautifully languid single Moonlight. The band somehow effortlessly capture the essence of a star-laden night, a laid-back warm wash of flute and semi-acoustic melody that is quite hypnotic. The pace picks up halfway through with a more esoteric multi-layered percussive rhythm driving the track. Vocals aside, I’m suddenly struck by a vision of mid-period Man in their more expansive live performances. This sextet are anything but loose, mind, it’s a carefully blended mixture of (okay) slightly hippy-ish sound that works so well! I’ve seen someone else use the phrase “a hypnotic haze of colourful kaleidoscopic sounds” and its bang on.
Earth Chant is the latest single off the album, it’s an exquisitely captured production, no easy feat considering the sheer number of instruments and vocals involved – it could have been so muddy and mangled, but fear not the sound is beautifully crisp. A fascinating blend of tribal and desert-like ‘nomadic’ rhythms and percussions forms the bedrock to this little treat, complemented by choral harmonies and an insidious ear-worm of a guitar line. Like so many others, this tracks strongly reminds me of the Kimonos.  From: https://www.velvetthunder.co.uk/sons-of-zoku-endless-copperfeast-records/