I’m constantly getting this early Ultravox cut stuck in my head
https://www.youtube.com/watch?v=xjZpD-uFqZI
Pere Ubu has long been a big fave, especially the first three LPs. Also, “Dub Housing” has got to be one of the best album titles ever.
Hypnotic instrumental goodness from early-80s Portland
And one more for now
Spent the afternoon listening Gilles Peterson best 20 post punk (78 - 82) tracks. It focusses mostly on Britain – Pop Group, Jah Wobble, A Certain Ratio and all that. The full version of Bella Lugosi’s Dead by Bauhaus sounds a lot fresher (and dubby) than I remember. Good to see Maximum Joy on his list, a band often overlooked.
Never thought I’d see a post punk selection from Gilles Peterson, good on him. Must check it out.
Weatherall’s ‘9 O’Clock Drop’ and his sets down The Griffin opened my ears to more of the post-punk (punk funk?) sound. The tracklist still stands up now, but then that Weatherall. I always loved he fierce percussion of 23 Skidoo and seeing them play at one of the Metal Dance events cemented it further. There’s also some amazing artwork and typography on those sleeves courtesy of Neville Brody.
Yes, the Nine O’Clock drop is an excellent compilation. Torch Song, 400 blows, a lot of what used to be called “industrial funk” . Discogs has it listed for a tenner – which is a steal.
More modern PP tackle, really good band, they have another track called Freebird 2 lol
That Impossible Dreamers tune is so good.
I dont know much about post punk, but golden teacher evoke these kinda vibes with me. More dubby tho
An old old old thread that’s catching my attention because I’ve been gathering a compendium of house/techno-friendly punk/ post punk on vinyl because it’s just so fun to play and really shakes up my go-to stuff edits and classics, etc.
in addition, does anyone know the story behind Mesopotamia by the B52s becoming a regular staple of house mixes? I’ve heard it as far back as Farley Jackmaster Funk and Ron Hardy, but it continues with Theo Parrish and so many others (I even heard Yu Su drop it at Making Time Fest a couple years ago and it sort of flopped). It’s a fun tune but I feel like there must be more to the story of why it’s persisted as a classic. Most of my friends who are b52 fans have never even heard it.
Someone in the office played this recently. Hadn’t heard it for years. Had forgotten how great it is.
I think one of the reasons it was a big track with the older Detroit heads was because the Electrifying Mojo played it a lot on his radio shows that were really influential in that city.
