The Little Dog Laughed Radio #50: Why don´t you listen? – A Spoken Word Special

A special for the little dog laughed radio #50 home edition with spoken word tracks all about the situation in the USA right before the election and after the racist attacks over the last years.

It´s range is from 60ies beat poetry, 70ies spiritual jazz, 80ies Punk focussing especially on the black conciousess movements in USA. There are some excursions as well to south african (Spaza) and to Canadian Postrock. 

Listen, Listen, Listen – Why don’t you Listen ? or:

“The international stock exchange will buy out the human Race (Tuli Kupferberg, the new internationale)”


Whitey on the Moon – Gil Scott Heron (Soul of a Nation II Compilation, Souljazz)

When the revolution comes – The Last Poets (s/t)

Why don´t you listen ? Horace Tapscott & with the pan african peoples orchestra and the great voice of UGMAA ( live at LMCAA 1998)

Kersaia – Matana Roberts (Coin Coin Chapter 1)

The Black Consciousness Movement –
Spaza (Uprize ! Full Release: 16.10.20)

America (excerpt & mixed with Kerouac)
Allen Ginsberg (Howl)

Amican haikus (excerpt & mixed with Ginsberg)
Jack Kerouac (the complete Jack Kerouac Vol 1, Blues and Haikus)

Tuli Kupferberg
Greenache Village / the and song / long poem/
the new internationale (Tuli & friends)

The Fugs – We are the Fugs (Virgin Fugs)

Stephen John Kalinicz
– America (A world of Peace must come)

Numün – tranquility base (voyages au soleil)

the pop group – nations (Split Seaford Mods 7″)

Godspeed You! Black Emperor – Blaise Bailey Finnegan III (F♯A♯∞)



Spaza – Uprize! (Release 16.10)

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…this too shall pass

A quiet summer into fall compilation with (mostly) recent releases from 2020

w/Angélica Salvi/ Laraaji / Norberto Lobo / Alabaster Deplume / Spaza / Numun / 
Benndrix Littleton / Gabriel Birnbaum / Aziz Balouch
after a break: Simon Joyner

Here are some links to the amazing releases. Especially the new Spaza “Uprise” Score the title track is featured here, released officially in October, I´m really looking forward to. And as well the New Yorker ambient / post rock band Numün and the Angelica Salvi LP “Phantome”, you should give a closer listen to.

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The School of 2001: The Mountain Goats´ Songs for Pierre Chuvin & The Microphones in 2020

Except for the vivid london or chicago jazz szene there hasn´t been a lot of new releases that really moved me in 2020.   Clovid 19 seems to have killed all inspirations. But lately there are two releases by my old beloved bands the Mountain Goats (in april already) and in early august (the LP is released the End of august) this is the first release by the Microphones since their masterpiece “the Glow pt.II” in 2001, when “Mount Eerie” and the LP by the Microphones unter that name in 2003 was the new project of Phil Elverum and the sound changed from indie rock to all variations of experimental non – classifiable sounds.

So lets start with the Mountain Goats. it´s an incredible deep album (cassette already sold out) by the mountain goats. They sound like in their early days, stripped down, with a rough guitar sound but with  melodies that stuck in your mind for hours.

John Darnielle says :

SO THIS TAPE STARTED while the entire band was decamped at an undisclosed location working on the next Mountain Goats album, and I had brought books with me to read, and one of them was Pierre Chuvin’s A Chronicle of the Last Pagans, which I was reading as research material for another thing I’m working on; and it’s been a long time since I sat around playing music and thinking about antiquity, but I used to do it all the time, and several of you know that because the old tapes are all littered with stories about Ajax and Agamemnon and the cult of Cybele, stories which, when I was learning them, got me so fired up that as soon as I got out of class I’d drive home in my yellow 1969 Superbeetle and write songs about them.

At our undisclosed location, one morning, immersed day and night in our work but also beginning to get the feeling that the increasingly febrile pitch of the newsfeed would continue to rise until it reached registers not seen in a while, I had a thought—what if the next Mountain Goats album was just songs about these pagans? And I wrote down the title “Aulon Raid.”

I GOT HOME about seven days later and the world was a very different place by then, and I took my old boombox down from the shelf where it sits flanked by brass deities from a former period of my life, and I got a wild idea to stand it on its end to reduce the unpleasant clicking that made it unusable—the hum & grind are one thing, basically ambient noise that adds to the pleasure of the sound if you’re into it, but the clicking I’m talking about developed sometime in the early 2000s and is not a conscriptable effect, it renders the Panasonic unusable.

Unless you stand it on its end, I learned, by accident, one day during the early weeks of the new days.

AS THESE DAYS WERE DEVELOPING, I realized, as I’d feared a week before, that the work schedule my band and I had planned for spring probably wouldn’t be panning out. The four members of the band split up our touring income equally, nightly pay & sales of merchandise; before we split up that income, we pay several people from gross receipts: Brandon, our soundman and tour manager of over a decade; Trudy, who works the merch table with style and flair; and Avel, who manages the stage no matter how unmanageable I become. I can’t do what I do without these people and I take great pleasure in trying to make their job a fun place to work. All seven of us rely on the Mountain Goats for our paycheck.

The boombox and I knew we had to do something. Back in the early nineties, when I’d first met Peter Hughes, I wanted to make a tape to be on his label, Sonic Enemy. It was Christmas break and I was on a hot streak, so I decided to try to make a full tape over the course of the break. That tape became Transmissions to Horace, which consisted entirely of work done on a daily basis during that span. I haven’t tried anything like that in a while.

I WROTE A SONG EVERY DAY for the next ten days while reading A Chronicle of the Last Pagans, starting with “Aulon Raid” and working in exactly the style I used to work in: read until something jumps out at me; play guitar and ad-lib out loud until I get a phrase I like; write the lyrics, get the song together, record immediately. Those original lyrics, exactly as written on the cardstock I save from comic books I buy, with corrections and everything, will be randomly inserted into orders; each is one of a kind, an original first draft of the lyrics to the first all-boombox Mountain Goats album since All Hail West Texas. It seems unlikely that I will ever again offer original drafts of lyrics for sale or otherwise, but pandemics call for wild measures.

I dedicate this tape to everybody who’s waited a long time for the wheels to sound their joyous grind: may they grind us into a safe future where we gather once again in rooms to sing songs about pagan priests & hidden shelters, and where we see each other face to face.

Hail the Panasonic! Hail the inscrutable engines of chance! Hail Cybele!

—John Darnielle, Durham, NC, March 2020

Phil Elverum´s return to The Microphones is as consequent and authentic as the next steps in his musical career had always been.

The autobiographical narration, that started with the heartbreaking sad masterpiece “A crow looked at me” and the follow up “Now only” is contunued here with a personal history of memories that inspired his career, Bands like Red house painters, Eric´s Trip,  Sonic Youth etc. and its as well the personal history of the band the microphones over the last 20 years. 

And  it reminds  as well a bit like Mark Kozelek´s development getting into epic storytelling . But while Mark Kozelek´s latest LP´s were really disappointing and they were hardly to be called “Songs” but boring egocentric stories about nothingness,  this one long song is meandering between so many important musical and lyrical phases as is life. Listen to the keyboards / accordion (?) in min 27!

When I first listened i almost  had tears in my eyes.

And the song ends, as always, in an open chord. This song has no end – it could go on forever.

Thank you Phil again.


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