Singles (compilation) - Revision history

Dotclub: /* Track list */

2024-07-13T04:30:24Z

Track list

← Older revision		Revision as of 21:30, 12 July 2024
Line 14:		Line 14:
	\|"[[Woof]]"		\|"[[Woof]]"
	\|1970		\|1970
	\|		\|''[[Corky's Debt to His Father]]'' outtake
	\|-		\|-
	\|2.		\|2.

Dotclub: /* Reviews */

2023-10-01T08:18:01Z

Reviews

← Older revision		Revision as of 01:18, 1 October 2023
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	== Reviews ==		== Reviews ==

			=== Sunday Times ===
			August 22, 2004

			Stewart Lee<blockquote>The Texan auteur [[Mayo Thompson]] is the Red Krayola. In the 1960s, he shared a label with acid-rock legends the 13th Floor Elevators, and in the 1970s and 1980s impressed punk's smarter, artier elements. He produced the Fall and reconvened Krayola with members of [[Pere Ubu]] and the Raincoats. Today, Krayola comprises Thompson and collaborators from Tortoise, [[Gastr del Sol]] and Sonic Youth. Singles provides more than three decades' worth of snapshots of Thompson's determinedly childlike genius. There's a vaudeville streak, filtered through a frazzled mind, to much of the earlier work, and recent recordings see Thompson, a generous facilitator, allowing new colleagues to make their own voices heard. The reinvigorated [[Hazel]], from 1996, and the double CD of both 1960s albums remain the easiest entry points.</blockquote>

	=== Shredding Paper ===		=== Shredding Paper ===

Dotclub at 08:16, 1 October 2023

2023-10-01T08:16:03Z

← Older revision		Revision as of 01:16, 1 October 2023
Line 1:		Line 1:
	[[File:Singles-front.jpg\|thumb\|]]		[[File:Singles-front.jpg\|thumb\|Front]]
	[[File:Singles-back.jpg\|thumb\|]]		[[File:Singles-back.jpg\|thumb\|Back]]

	2004 compilation album		2004 compilation album
Line 6:		Line 6:
	== Track list ==		== Track list ==
	{\| class="wikitable"		{\| class="wikitable"
	\|+
	!		!
	!Song		!Song
Line 13:		Line 12:
	\|-		\|-
	\|1.		\|1.
	\|[[Woof]]		\|"[[Woof]]"
	\|1970		\|1970
	\|		\|
	\|-		\|-
	\|2.		\|2.
	\|[[Old Tom Clark]]		\|"[[Old Tom Clark]]"
	\|1970		\|1970
	\|{{RLink\|Old}}		\| rowspan="2" \|{{RLink\|Old}}
	\|-		\|-
	\|3.		\|3.
	\|[[Pig Ankle Strut]]		\|"[[Pig Ankle Strut]]"
	\|1970		\|1970
	~~\|{{RLink\|Old}}~~
	\|-		\|-
	\|4.		\|4.
	\|[[Wives in Orbit]]		\|"[[Wives in Orbit]]"
	\|1978		\|1978
	\|{{RLink\|Wives}}		\| rowspan="2" \|{{RLink\|Wives}}
	\|-		\|-
	\|5.		\|5.
	\|[[Yik Yak]]		\|"[[Yik Yak]]"
	\|1978		\|1978
	~~\|{{RLink\|Wives}}~~
	\|-		\|-
	\|6.		\|6.
	\|[[Micro-Chips & Fish]]		\|"[[Micro-Chips & Fish]]"
	\|1979		\|1979
	\|{{RLink\|Micro}}		\| rowspan="2" \|{{RLink\|Micro}}
	\|-		\|-
	\|7.		\|7.
	\|[[The Story so Far]]		\|"[[The Story so Far]]"
	\|1979		\|1979
	~~\|{{RLink\|Micro}}~~
	\|-		\|-
	\|8.		\|8.
	\|[[Born in Flames]]		\|"[[Born in Flames]]"
	\|1980		\|1980
	\|{{RLink\|Born}}		\| rowspan="2" \|{{RLink\|Born}}
	\|-		\|-
	\|9.		\|9.
	\|[[The Sword of God]]		\|"[[The Sword of God]]"
	\|1980		\|1980
	~~\|{{RLink\|Born}}~~
	\|-		\|-
	\|10.		\|10.
	\|[[An Old Man's Dream]]		\|"[[An Old Man's Dream]]"
	\|1981		\|1981
	\|{{RLink\|Man}}		\| rowspan="2" \|{{RLink\|Man}}
	\|-		\|-
	\|11.		\|11.
	\|[[The Milkmaid]]		\|"[[The Milkmaid]]"
	\|1981		\|1981
	~~\|{{RLink\|Man}}~~
	\|-		\|-
	\|12.		\|12.
	\|[[Ratman, the Weightwatcher\|Rattenmensch: Gewichtswächter]]		\|"[[Ratman, the Weightwatcher\|Rattenmensch: Gewichtswächter]]"
	\|1981		\|1981
	\|{{RLink\|Ratman}}		\| rowspan="2" \|{{RLink\|Ratman}}
	\|-		\|-
	\|13.		\|13.
	\|[[Future Pilots\|Zukunftsfleiger]]		\|"[[Future Pilots\|Zukunftsfleiger]]"
	\|1981		\|1981
	~~\|{{RLink\|Ratman}}~~
	\|-		\|-
	\|14.		\|14.
	\|[[The Red Crayola on Forty-Five]]		\|"[[The Red Crayola on Forty-Five]]"
	\|1993		\|1993
	\|{{RLink\|Forty}}		\| rowspan="2" \|{{RLink\|Forty}}
	\|-		\|-
	\|15.		\|15.
	\|[[Your Body is Hot]]		\|"[[Your Body is Hot]]"
	\|1993		\|1993
	~~\|{{RLink\|Forty}}~~
	\|-		\|-
	\|16.		\|16.
	\|[[14]]		\|"[[14]]"
	\|1994		\|1994
	\|{{RLink\|14}}		\| rowspan="2" \|{{RLink\|14}}
	\|-		\|-
	\|17.		\|17.
	\|[[Stink Program]]		\|"[[Stink Program]]"
	\|1994		\|1994
	~~\|{{RLink\|14}}~~
	\|-		\|-
	\|18.		\|18.
	\|[[Chemistry]]		\|"[[Chemistry]]"
	\|1996		\|1996
	\|{{RLink\|Chemistry}}		\| rowspan="2" \|{{RLink\|Chemistry}}
	\|-		\|-
	\|19.		\|19.
	\|[[Farewell to Arms]]		\|"[[Farewell to Arms]]"
	\|1996		\|1996
	~~\|{{RLink\|Chemistry}}~~
	\|-		\|-
	\|20.		\|20.
	\|[[Come on Down]]		\|"[[Come on Down]]"
	\|1999		\|1999
	\|{{RLink\|Come}}		\|{{RLink\|Come}}
	\|-		\|-
	\|21.		\|21.
	\|[[Stil de grain brun\|Stil De Grain Brun (Radio Edit)]]		\|"[[Stil de grain brun\|Stil De Grain Brun (Radio Edit)]]"
	\|2002		\|2002
	\|{{RLink\|Free}}		\|{{RLink\|Free}}

Dotclub at 12:56, 19 July 2023

2023-07-19T12:56:22Z

← Older revision		Revision as of 05:56, 19 July 2023
Line 147:		Line 147:

	David<blockquote>Might seem a bit contradictory for a comparatively outré outfit like RK to have actually released singles, but release them they did, and this collection features almost all the tracks from same, including those very rare and unreleased. The band’s sound went through many a change over the years, thanks in no little part to a fluid lineup (mainman Mayo Thompson has been the only consistent throughout its almost-four-decade history) though for the most part he’s stayed most comfortably at the outskirts of what usually gets termed “conventional” music. (One would think there'd be a sense of knowing irony over having “radio edits”). The early 80s material - stuff that was recorded concurrent with and fit comfortably alongside (if not overshadowing) the better post-punk works of the era (some of the musicians responsible for same appearing here as well) and the stuff that was recorded with Art & Language hold up the best. Overall worth investigating, especially if your RoughTrade waxings are getting worn. </blockquote>		David<blockquote>Might seem a bit contradictory for a comparatively outré outfit like RK to have actually released singles, but release them they did, and this collection features almost all the tracks from same, including those very rare and unreleased. The band’s sound went through many a change over the years, thanks in no little part to a fluid lineup (mainman Mayo Thompson has been the only consistent throughout its almost-four-decade history) though for the most part he’s stayed most comfortably at the outskirts of what usually gets termed “conventional” music. (One would think there'd be a sense of knowing irony over having “radio edits”). The early 80s material - stuff that was recorded concurrent with and fit comfortably alongside (if not overshadowing) the better post-punk works of the era (some of the musicians responsible for same appearing here as well) and the stuff that was recorded with Art & Language hold up the best. Overall worth investigating, especially if your RoughTrade waxings are getting worn. </blockquote>

			=== Spin ===
			November 2010<ref>https://archive.org/details/sim_spin_2010-11_26_10/page/n99/mode/1up?q=%22red+krayola%22</ref><blockquote>Proving Americans (Texans, even!) can be just as pretentious as any Old Worlder, this conglomeration (basically, singer-guitarist Mayo Thompson plus whomever else) began by out-freaking psychedelia in '60s Houston, took a lengthy hiatus, then by the '80s were enlisting Raincoats and Essential Logic gals to help conflate Lenin and Jackson Pollock. They didn't stop there, spilling lots of 45s — compiled here — along the way.</blockquote>

	== References ==		== References ==

Dotclub at 12:49, 19 July 2023

2023-07-19T12:49:08Z

← Older revision		Revision as of 05:49, 19 July 2023
Line 140:		Line 140:

	MT: Hell-no. I live for the day. I mean that’s not why I play but I live on the hope that they will do their job.</blockquote>		MT: Hell-no. I live for the day. I mean that’s not why I play but I live on the hope that they will do their job.</blockquote>

			== Reviews ==

			=== Shredding Paper ===
			Fall 2004<ref>https://archive.org/details/shredding_paper_18/page/n54/mode/1up</ref>

			David<blockquote>Might seem a bit contradictory for a comparatively outré outfit like RK to have actually released singles, but release them they did, and this collection features almost all the tracks from same, including those very rare and unreleased. The band’s sound went through many a change over the years, thanks in no little part to a fluid lineup (mainman Mayo Thompson has been the only consistent throughout its almost-four-decade history) though for the most part he’s stayed most comfortably at the outskirts of what usually gets termed “conventional” music. (One would think there'd be a sense of knowing irony over having “radio edits”). The early 80s material - stuff that was recorded concurrent with and fit comfortably alongside (if not overshadowing) the better post-punk works of the era (some of the musicians responsible for same appearing here as well) and the stuff that was recorded with Art & Language hold up the best. Overall worth investigating, especially if your RoughTrade waxings are getting worn. </blockquote>

	== References ==		== References ==

imported>Dotclub at 19:49, 13 June 2023

2023-06-13T19:49:13Z

← Older revision		Revision as of 12:49, 13 June 2023
Line 127:		Line 127:
	[[Albert Oehlen]], 2003<ref>https://web.archive.org/web/20031128075022/http://www.wendy-gondeln.de/Einzelseiten_Wendy/news.html</ref><blockquote>Important news in music:		[[Albert Oehlen]], 2003<ref>https://web.archive.org/web/20031128075022/http://www.wendy-gondeln.de/Einzelseiten_Wendy/news.html</ref><blockquote>Important news in music:

	Auf DRAG CITY erscheint demnächst eine Kompilation aller Singles von Red Krayola. Mit insgesamt 29 Tracks ist endlich ein guter Überblick über deren Schaffen möglich!</blockquote>[[Mayo Thompson]], 2005<ref>https://fnewsmagazine.com/2005/04/dead-letters-to-lost-worlds/</ref>		Auf [[Drag City\|DRAG CITY]] erscheint demnächst eine Kompilation aller Singles von Red Krayola. Mit insgesamt 29 Tracks ist endlich ein guter Überblick über deren Schaffen möglich!</blockquote>[[Mayo Thompson]], 2005<ref>https://fnewsmagazine.com/2005/04/dead-letters-to-lost-worlds/</ref><blockquote>[...] It’s got twenty-one tracks on it. It started in ’68. There’s a lot of stuff in it and it’s kind of strange to hear it. I characterized it to somebody. I said Dead letters to lost worlds. And so I feel slightly sad when I listen to these tunes because I begin to see them in time in that way. And there’s a certain sense of loss or something like that, but then on the other hand. I think to myself, hmmmm, turn on that record, there’s still a radio. Who knows? It’s never too late. Something could come back and catch the public ear and it could work, so I hold out hope that out of that stuff, some of those singles will catch some ears somewhere and get into the conversation.
	* SL: Is there anything you wanted to say about the new singles collection?
	** MT: Ah. It’s got twenty-one tracks on it. It started in ’68. There’s a lot of stuff in it and it’s kind of strange to hear it. I characterized it to somebody. I said Dead letters to lost worlds. And so I feel slightly sad when I listen to these tunes because I begin to see them in time in that way. And there’s a certain sense of loss or something like that, but then on the other hand. I think to myself, hmmmm, turn on that record, there’s still a radio. Who knows? It’s never too late. Something could come back and catch the public ear and it could work, so I hold out hope that out of that stuff, some of those singles will catch some ears somewhere and get into the conversation.		[...] I mean, I condone the compilation on the grounds that a lot of that stuff is just completely lost. There’s no way that I could make those available as a single or something like that, because there are commercial constraints and it’s pointless to make singles if you can’t distribute them.
	* SL: I just heard some of them for the first time. ~~I’ve been playing Yik-Yak constantly~~.
	** MT: That’s the problem. I mean, I condone the compilation on the grounds that a lot of that stuff is just completely lost. There’s no way that I could make those available as a single or something like that, because there are commercial constraints and it’s pointless to make singles if you can’t distribute them.		[...] All of them had small distribution. I mean some of them didn’t even get pressed. Some of the things that are on that record were never intended to be singles and therefore I feel vindicated in putting them out. But some of those things never even saw the light of day. So this is the end of the rubric of singles compilations. I can put some songs out there that nobody’s ever had any access to. I hope in the long run that, I mean, I had fantasies, of course, that somebody’s gonna hear this song or that song and then maybe market it all around the world and then there’d be one of those songs off that record that would hit. That they would connect in some way.
	* SL: But a lot of these had small distribution?
	** MT: All of them had small distribution. I mean some of them didn’t even get pressed. Some of the things that are on that record were never intended to be singles and therefore I feel vindicated in putting them out. But some of those things never even saw the light of day. So this is the end of the rubric of singles compilations. I can put some songs out there that nobody’s ever had any access to. I hope in the long run that, I mean, I had fantasies, of course, that somebody’s gonna hear this song or that song and then maybe market it all around the world and then there’d be one of those songs off that record that would hit. That they would connect in some way.		SL: What kind of connection do you want to make?
	* SL: What kind of connection do you want to make?
	** MT: Listen. I’m playing for all the marbles. Should we get a hit? Gimme. Gimme. Gimme.		MT: Listen. I’m playing for all the marbles. Should we get a hit? Gimme. Gimme. Gimme.
	* SL: So you’re not averse to the idea of a hit.
	** MT: Hell-no. I live for the day. I mean that’s not why I play but I live on the hope that they will do their job.		SL: So you’re not averse to the idea of a hit.

			MT: Hell-no. I live for the day. I mean that’s not why I play but I live on the hope that they will do their job.</blockquote>

	== References ==		== References ==

imported>Dotclub at 00:03, 3 June 2023

2023-06-03T00:03:09Z

← Older revision		Revision as of 17:03, 2 June 2023
Line 122:		Line 122:

	=== Cover art ===		=== Cover art ===
	The cover art is a 2003 painting by Glenn Brown ~~called~~ "Modern Movement"<ref>https://glenn-brown.co.uk/artworks/123/</ref>.		The cover art is a 2003 painting by Glenn Brown titled "Modern Movement"<ref>https://glenn-brown.co.uk/artworks/123/</ref>.

	== Retrospectives ==		== Retrospectives ==
			[[Albert Oehlen]], 2003<ref>https://web.archive.org/web/20031128075022/http://www.wendy-gondeln.de/Einzelseiten_Wendy/news.html</ref><blockquote>Important news in music:

			Auf DRAG CITY erscheint demnächst eine Kompilation aller Singles von Red Krayola. Mit insgesamt 29 Tracks ist endlich ein guter Überblick über deren Schaffen möglich!</blockquote>[[Mayo Thompson]], 2005<ref>https://fnewsmagazine.com/2005/04/dead-letters-to-lost-worlds/</ref>
	* SL: Is there anything you wanted to say about the new singles collection?		* SL: Is there anything you wanted to say about the new singles collection?
	** MT: Ah. It’s got twenty-one tracks on it. It started in ’68. There’s a lot of stuff in it and it’s kind of strange to hear it. I characterized it to somebody. I said Dead letters to lost worlds. And so I feel slightly sad when I listen to these tunes because I begin to see them in time in that way. And there’s a certain sense of loss or something like that, but then on the other hand. I think to myself, hmmmm, turn on that record, there’s still a radio. Who knows? It’s never too late. Something could come back and catch the public ear and it could work, so I hold out hope that out of that stuff, some of those singles will catch some ears somewhere and get into the conversation.		** MT: Ah. It’s got twenty-one tracks on it. It started in ’68. There’s a lot of stuff in it and it’s kind of strange to hear it. I characterized it to somebody. I said Dead letters to lost worlds. And so I feel slightly sad when I listen to these tunes because I begin to see them in time in that way. And there’s a certain sense of loss or something like that, but then on the other hand. I think to myself, hmmmm, turn on that record, there’s still a radio. Who knows? It’s never too late. Something could come back and catch the public ear and it could work, so I hold out hope that out of that stuff, some of those singles will catch some ears somewhere and get into the conversation.
Line 134:		Line 137:
	** MT: Listen. I’m playing for all the marbles. Should we get a hit? Gimme. Gimme. Gimme.		** MT: Listen. I’m playing for all the marbles. Should we get a hit? Gimme. Gimme. Gimme.
	* SL: So you’re not averse to the idea of a hit.		* SL: So you’re not averse to the idea of a hit.
	** MT: Hell-no. I live for the day. I mean that’s not why I play but I live on the hope that they will do their job.~~<ref>https://fnewsmagazine.com/2005/04/dead-letters-to-lost-worlds/</ref>~~		** MT: Hell-no. I live for the day. I mean that’s not why I play but I live on the hope that they will do their job.

	== References ==		== References ==

imported>Dotclub at 16:44, 8 May 2023

2023-05-08T16:44:23Z

← Older revision		Revision as of 09:44, 8 May 2023
Line 137:		Line 137:

	== References ==		== References ==
			{{Singles}}

	[[Category:Drag City]]		[[Category:Drag City]]

imported>Dotclub at 20:52, 23 March 2023

2023-03-23T20:52:58Z

← Older revision		Revision as of 13:52, 23 March 2023
Line 1:		Line 1:
	[[File:Singles-front.jpg\|thumb\|]]		[[File:Singles-front.jpg\|thumb\|]]
			[[File:Singles-back.jpg\|thumb\|]]

	2004 compilation album		2004 compilation album

imported>Dotclub at 01:23, 21 March 2023

2023-03-21T01:23:29Z

← Older revision		Revision as of 18:23, 20 March 2023
Line 9:		Line 9:
	!Song		!Song
	!Date		!Date
	!~~Original~~		!Single
	\|-		\|-
	\|1		\|1.
	\|[[Woof]]		\|[[Woof]]
	\|1970		\|1970
	\|		\|
	\|-		\|-
	\|2		\|2.
	\|[[Old Tom Clark]]		\|[[Old Tom Clark]]
	\|1970		\|1970
	\|{{RLink\|Old}}		\|{{RLink\|Old}}
	\|-		\|-
	\|3		\|3.
	\|[[Pig Ankle Strut]]		\|[[Pig Ankle Strut]]
	\|1970		\|1970
	\|{{RLink\|Old}}		\|{{RLink\|Old}}
	\|-		\|-
	\|4		\|4.
	\|[[Wives in Orbit]]		\|[[Wives in Orbit]]
	\|1978		\|1978
	\|{{RLink\|Wives}}		\|{{RLink\|Wives}}
	\|-		\|-
	\|5		\|5.
	\|[[Yik Yak]]		\|[[Yik Yak]]
	\|1978		\|1978
	\|{{RLink\|Wives}}		\|{{RLink\|Wives}}
	\|-		\|-
	\|6		\|6.
	\|[[Micro-Chips & Fish]]		\|[[Micro-Chips & Fish]]
	\|1979		\|1979
	\|{{RLink\|Micro}}		\|{{RLink\|Micro}}
	\|-		\|-
	\|7		\|7.
	\|[[The Story so Far]]		\|[[The Story so Far]]
	\|1979		\|1979
	\|{{RLink\|Micro}}		\|{{RLink\|Micro}}
	\|-		\|-
	\|8		\|8.
	\|[[Born in Flames]]		\|[[Born in Flames]]
	\|1980		\|1980
	\|{{RLink\|Born}}		\|{{RLink\|Born}}
	\|-		\|-
	\|9		\|9.
	\|[[The Sword of God]]		\|[[The Sword of God]]
	\|1980		\|1980
	\|{{RLink\|Born}}		\|{{RLink\|Born}}
	\|-		\|-
	\|10		\|10.
	\|[[An Old Man's Dream]]		\|[[An Old Man's Dream]]
	\|1981		\|1981
	\|{{RLink\|Man}}		\|{{RLink\|Man}}
	\|-		\|-
	\|11		\|11.
	\|[[The Milkmaid]]		\|[[The Milkmaid]]
	\|1981		\|1981
	\|{{RLink\|Man}}		\|{{RLink\|Man}}
	\|-		\|-
	\|12		\|12.
	\|[[Ratman, the Weightwatcher\|Rattenmensch: Gewichtswächter]]		\|[[Ratman, the Weightwatcher\|Rattenmensch: Gewichtswächter]]
	\|1981		\|1981
	\|{{RLink\|Ratman}}		\|{{RLink\|Ratman}}
	\|-		\|-
	\|13		\|13.
	\|[[Future Pilots\|Zukunftsfleiger]]		\|[[Future Pilots\|Zukunftsfleiger]]
	\|1981		\|1981
	\|{{RLink\|Ratman}}		\|{{RLink\|Ratman}}
	\|-		\|-
	\|14		\|14.
	\|[[The Red Crayola on Forty-Five]]		\|[[The Red Crayola on Forty-Five]]
	\|1993		\|1993
	\|{{RLink\|Forty}}		\|{{RLink\|Forty}}
	\|-		\|-
	\|15		\|15.
	\|[[Your Body is Hot]]		\|[[Your Body is Hot]]
	\|1993		\|1993
	\|{{RLink\|Forty}}		\|{{RLink\|Forty}}
	\|-		\|-
	\|16		\|16.
	\|[[14]]		\|[[14]]
	\|1994		\|1994
	\|{{RLink\|14}}		\|{{RLink\|14}}
	\|-		\|-
	\|17		\|17.
	\|[[Stink Program]]		\|[[Stink Program]]
	\|1994		\|1994
	\|{{RLink\|14}}		\|{{RLink\|14}}
	\|-		\|-
	\|18		\|18.
	\|[[Chemistry]]		\|[[Chemistry]]
	\|1996		\|1996
	\|{{RLink\|Chemistry}}		\|{{RLink\|Chemistry}}
	\|-		\|-
	\|19		\|19.
	\|[[Farewell to Arms]]		\|[[Farewell to Arms]]
	\|1996		\|1996
	\|{{RLink\|Chemistry}}		\|{{RLink\|Chemistry}}
	\|-		\|-
	\|20		\|20.
	\|[[Come on Down]]		\|[[Come on Down]]
	\|1999		\|1999
	\|{{RLink\|Come}}		\|{{RLink\|Come}}
	\|-		\|-
	\|21		\|21.
	\|[[Stil de grain brun\|Stil De Grain Brun (Radio Edit)]]		\|[[Stil de grain brun\|Stil De Grain Brun (Radio Edit)]]
	\|2002		\|2002