International War On Simon Cowell
I know it's gonna piss off a few indie kids to open this page and find The Cowell rasp-berrying them, but what the hell, you can't expect the Electric Roulette team to be super hellafied bad-ass dons of untouchably hip record collecting cool 24/7, shit, we gotta take a break from listening to all 9 CDs of The Complete Stax/Volt Singles 1958-1968 Box Set back to back sometime, and this bein' the case you cats is just gonna have to get used to us occasionally wading in the murky waters of ...(enormous clap of thunder etc etc) MAINSTREAM POP MUSIC! WHA HA HA!
From last night's X-Factor -
Simon Cowel:"You're not fighting a war, you're a bloody girl group!"
WOAH. Hold the phone. You mean this isn't 'War Factor'? These people aren't competing to win an 18 month extended tour of duty in Helmand Province? So what's this Boot-Camp they keep talking about? It's just Simon Cowell's 36 room mansion in Beverly Hills? Are you kidding? Seriously, there's no war at all? It's just a regular talent show? I'm not gonna sit here watching that! I've been through all this before with 'Dragons Den!' There wasn't a single dragon in the whole damn show! (Paul Fuzz)


It's 1984. The Hip-Hop bug has bitten you like a 10 pound cockroach. You've been honing your beat-boxing skillz all week, and your Mum's pissed 'cos you cut a piece of her living room carpet out so you could practise breakin' in the park. You've got a boom-box the size of a Shetland pony, and you're rockin' a fly box-fresh pair of Adidas Gazelles. And yet, despite all this, something's still missing...you're hangin' round the Arndale Centre droppin' some bad (that's bad meaning good, not bad meaning bad) lyrics in the cipher, your graf is on some next level shit, but you still ain't gettin' the props you so clearly deserve. Then it suddenly dawns on you. It don't matter what sort of game you got...if you don't got a Fat Gold Chain. The mighty Run-DMC, pictured here, knew the power of the Fat Gold Chain. This ain't no ordinary bling. This is a huge gold rope around your neck that says: "I'm takin' care of business."
What can you do with old records? Turn 'em into ashtrays? Personally, I play 'em. In saying that, there's an awful lot of surplus LPs around, some of 'em sound awful but have lovely middles, so with these recycled vinyl LP books the latest way of getting that surplus down.


I can't really make or tail of this album. There must be a group called Affinity who were once called The Baskervilles. Presented on this CD is some sketchy info about various band members who were once part of one or both of these bands talking about this and that. It's all largely of no consequence... very much like this long player.



Pet Shop Boys signal the release of ‘Disco 4,’ the fourth album in a continuing series, with a groundbreaking video for the politically-inspired new track 'Integral.’
40 years ago today in 1968 butt naked hippysploitation rock musical 'Hair' opened at the Shaftsbury Theatre where it played 1998 times until 1973. The musical score, by Galt MacDermot, is pop psyche-soul par excellence, and produced THE HIT RECORDS 'Aquarius' and 'Let The Sunshine In'. Since the release of the Original Cast Recording there have been 4672 Hair covers LPs produced. Actually I made that figure up. I don't know if it's 4672, but it's loads. Some Hair covers LPs just plain suck, like the Moogtastic drum machine hell of Mort Garson's 'Electronic Hair Pieces.' Some of them are just plain trad jazz, like the tradtastic trad jazz hell of Sandy Brown & His Gentlemen Friend's 'Hair At It's Hairiest.' Some of them are by James Last. Basically, if you were a musician in 1971 and you'ld run out of ideas and your record company was on your back demanding some new product, you had two options: Beatles covers LP, or Hair covers LP. 
If there is a grander, more beautiful psychedelic LP than Nirvana's Dedicated To Markos III, then I wanna know about it. The Irish/Greek pairing of Campbell-Lyons and Spyropoulos made the sweetest melancholia in Old Blighty, filled with full-on orchestrations that would make Morricone and Alexrod weep and melodies so fine that it actually makes you want every other band to just pack up and go home.
George 'Shadow' Morton: This guy wrote wrote & produced, among other melodramatic teen-pop masterpieces, 'Walking In The Sand' and 'Leader Of The Pack', by The Shangri-Las. 'Leader Of The Pack' - featuring talky gossipy girl bits, motorcycle sound effects bits and lasting 2:53 minutes is: The Perfect Pop Song. Then the other day I learnt that he produced proto-heavy rock combo Vanilla Fudge's first two LPs, including their insane hammond powered psyche-soul version of 'You Keep Me Hanging On', and even though Der Fudge couldn't write a decent tune for toffee, I've always thought their SOUND was just incredible, massive drums, loadsa overdriven organ, fuzz guitar, I mean, it's like a PASTICHE of that sorta sound almost, it's a huge, OTT sound, and when I learnt 'Shadow' Morton was the architect of this sound I was like "Oh, MAN! This guy's A TOTAL GENIUS! Of COURSE he produced the first two Vanilla Fudge LPs! The Shangri-Las and Vanilla Fudge! WHAT ELSE DID HE DO?"
Deep funk freaks will probably be familiar with these two A1, super heavy psyche-soul tracks, but as they've just been reissued on 45 by tasty new French label 



I first became aware of Kid Acne through his brilliant artwork for Plaid's 'Rest Proof Clockwork' LP. When I bought the album, the chap in the record informed me that he thought that this Kid Acne made his own tracks. I ignored him but presumed that it would be some wonky electronica. Is it bollocks. Kid Acne makes boisterous UK hip-hop from the mean streets of Yorkshire.

With Death Proof out on general release this Friday, I figured it was worth reminding ourselves of why a new Tarnatino movie is an event not just in the motion picture world, but in the world of motion picture soundtracks too.Reservoir Dogs revolutionised the Various Artists Motion Picture Soundtrack. Not since Scorsese had a movie maker shown such an understanding and love of pop music. This wasn't some unit shifting Bodyguard blockbuster ballad bollocks, or some grungy, studio execs-trying-way-too-hard 'alt. rock' collection; this was genuine, straight-up, hipster cool, and it totally rewrote the rules of how pop music was used in cinema.


When My Drug Hell got in touch, I couldn't really believe it. I remember the group from my youth when someone put their hit, Girl At The Bus Stop on a compilation tape for me. I looked for it on 45, but couldn't find it. It's laconic fugged groove breezed along telling an adolescent tale of love and lust. It was great. It was weird. I couldn't quite make head-or-tale of it. It was pop, but not as I knew it.
