Sunday, November 18, 2012

Making Mix Tapes for Girls

This poster is yours. Do with it whatever you'd like.





















Duke and his family FINALLY sit down to talk about girls and the mix tapes we make for them.

Stream online here:  

Download for iTunes here: Making Mix Tapes for Girls.mp3

This one was important. This show meant a lot to me. After several years of plugging away and doing this show, the opportunity at long last presented itself. My father, Reuben, his brother, Smokehouse, and our cousin Dizzee, were all in the same place at one time. We had the means, we had the firepower. We had the bourbon. All we needed was a microphone.

So, after ducking the cops, looting a Best Buy, ducking two Feds, and securing a compound, we sat down with half a pack of cigarettes, most of a bottle of Irish Cream, and a full bottle of Bourbon to create this.

We talked about what the women mean to us, what kind of a relationship we were in - be a strictly bedroom thing, or something greater, more meaningful. The mix tape is indeed an art, and I think, track for track, this is pretty damn great one here.

If you have any suggestions, bitches, gripes, complaints or praise, email the Duke right here: Dukewilbury@gmail.com

The tracks:

Trouble - Bitter:Sweet
Angel Eyes - Frank Sinatra
Dirty Eyes (Sex Don't Sell) - The Raveonettes
Don't Cry - Guns 'N Roses
Lover, You Should've Come Over - Jeff Buckley
You Look Like Rain - Morphine
I Want A Little Sugar In My Bowl - Nina Simone
Glory Box - Portishead
In this World - Moby
Come Over Here - Sarah Bettens
By Your Side - Sade
Stand By Me - Ben E. King
Candy - Paolo Nutini
Makin' Whoopie - Dr. John
The Dark End of the Street - Percy Sledge
Me And Mrs. Jones - Billy Paul
I Just Want to Make Love to You - Muddy Waters
Back Door Man - The Doors
The Tracks Of My Tears - Smokey Robinson & The Miracles
The Tears Of A Clown - Smokey Robinson & The Miracles
The First Cut Is the Deepest - Rod Stewart
I Can't Make You Love Me / Nick of Time - Bon Iver
To love Somebody - Ray Lamontagne & Damien Rice
Into the Mystic - Van Morrison
You're My Best Friend - Queen
Heroes - David Bowie
Something - The Beatles
When Doves Cry - Prince
Night Time - The xx
If Not For You - Bob Dylan
Never Tear Us Apart - INXS
A Hard Day's Night - The Beatles
Love Me Tender - Elvis Presley
To the End - blur
Thank You - Led Zeppelin

Share

Friday, October 26, 2012

Punk Rock Halloween Massacre


This poster is yours to steal and use at will























Stream online here:


Download for iTunes here: Punk Rock Halloween Massacre.mp3

Alright you creeps, you ghouls, you things that go bump in the night, this is your season, this is your time. Embrace the inner werewolf. Call upon the light of the full moon. Talk a walk through cemetary gates with the voodoo doll lover of your choice and take a bite out of her.

We've got a little contest this year. Send me pictures of the naughtiest, ugliest, most gruesome costumes you can find. I'll select the winner and send 'em a framed, autographed poster of this year's show.

If you have any suggestions, bitches, gripes, complaints or praise, email me right here: dukewilbury@gmail.com

The tracks:

1. Laika & The Cosmonauts - Psycko
2. The Misfits - Ghouls Night Out
3. The Cramps - I Was A Teenage Werewolf
4. Nick Cave & The Cavemen - I Put A Spell On You
5. Siouxsie & The Banshees - Halloween
6. The Gruesomes - Jack The Ripper
7. The Meteors - My Daddy Was A Vampire
8. Round Robin - I'm The Wolfman
9. Kip Tyler - She's My Witch
10. X - The Hungry Wolf
11. Dead Moon - Walking On My Grave
12. Minuteman - Voodoo Slaves
13. Beasts Of Bourbon - Psycho
14. Jackie Morningstar - Rockin' in the Graveyard
15. Roy Buchanan - Haunted House
16. Jonathan Richman - Vampire Girl
17. New York Dolls - Frankenstein
18. The King Khan & BBQ Show - Zombies
19. The Fleshtones - I Was A Teenage Zombie
20. The Stems - She's A Monster
21. The Fuzztones - She's Wicked
22. Ramones - Pet Sematary
23. Dead Kennedys - Halloween
24. The Damned - Dead Beat Dance
25. The Birthday Party - Release The Bats
26. Bauhaus - Bela Lugosi's Dead
27. 45 Grave - Evil
28. Samhain - To Walk The Night
29. X Men - Do The Ghost
30. Violent Femmes - Werewolf
31. Concrete Blonde - Bloodletting (The Vampire Song)
32. Dream Syndicate - Halloween
33. Roky Erickson & The Aliens- I Walked With A Zombie

Share

Sunday, October 7, 2012

Shut Up and Play

This is the all-instrumental edition of the Ear Candy Update.

This poster of Link Wray is yours to steal.




















Stream online here:


Download for iTunes here: Shut Up and Play 2.mp3

The greatest of rock instrumentals are evocative. With no lyrics to further the narrative, the musicians have to paint an image with their instruments. In the hands of a visionary, those instruments are capable of extraordinary impressionistic imagery. They can teleport you to the next galaxy, a terrible stretch of Midwestern highway or a beach packed with tanned skin and rippling blue barrels. Let's jam to some impressionistic painters disguised as rock musicians.

If you have any suggestions, bitches, gripes, complaints or praise, email me right here: Dukewilbury@gmail.com

The tracks:
Hip Hug-Her - Booker T. & The MGs
Cissy Strut - The Meters
Beck's Bolero - Jeff Beck
Bustin' Surfboards - The Tornadoes
Classical Gas - Mason Williams
Forty Miles Of Bad Road - Duane Eddy, His Twangy Guitar & The Rebels
Frankenstein - The Edgar Winter Group
The Good, The Bad, And The Ugly - Ennio Morricone
Interstellar Overdrive - Pink Floyd
Maggot Brain - Funkadelic
The Messiah Will Come Again - Roy Buchanan
Midnight In Harlem - Tedeschi Trucks Band
Out Of Limits - The Marketts
Peaches En Regalia - Frank Zappa
Pipeline - The Chantays
Raunchy - Bill Justis And His Orchestra
Raw-Hide - Link Wray
Rebel Rouser - Duane Eddy
Restless - The Cobras
Rumble - Link Wray
Sleepwalk - Santo & Johnny
Slim Jenkins' Place - Booker T. & The MGs
Surfing With The Alien - Joe Satriani
Telstar - The Tornados
Wah Wah Man - Young-Holt Unlimited
Walk, Don't Run - The Ventures
The Pink Panther Theme - Henry Mancini
Juke - Little Walter
One Mint Julep - Earl Palmer, King Curtis
Jessica - The Allman Brothers Band
Little Wing - Stevie Ray Vaughan
Harlem Nocturne - The Viscounts
Closing Time - Tom Waits

Share

Saturday, September 1, 2012

The Power and the Glory



Stream online here:

Download for iTunes here: The Power and the Glory.m4a

It's time. Fly your banners high, sport your team jerseys, hate the other team with all your guts. Welcome to autumn, welcome to football season. For the next six months we're going to rise and fall like the tide based on our team's fate. We glue ourselves to them, united in a common cause. You'll have to search far and wide for something capable of uniting Americans better than our collective hatred of... you get the idea.

If you have any suggestions, bitches, gripes, complaints or praise, email the Duke right here: Dukewilbury@gmail.com

The tracks:
The Power and the Glory
Up She Rises
A Season Awaits
Round Up
Run With the Big Dogs
The Lineman
Fringe of Battle
A New Game
Dream of a Lifetime
I Like This Kind of Party
Life on the Wildside
The Autumn Wind
The Raiders
Get the Man
West Side Rumble
A Time for Glory
Waltz of the Goliaths
Magnificent Eleven
That's the Enemy
Classic Battle
Heroes of War
Brahma Bull
Golden Boy
Rainbows to the Endzone
Lombardi
The Final Quest
Comeback
Road to Victory
Heroes of the '60s
Ramblin' Man from Gramblin'
Pain is Inevitable
The Equalizer
Be Savage Again
Torpedo
Return to Win
November
The Pony Soldiers
A Season is at Stake
Cossacks Charge
Winds of Victory
Salute to Courage
The Men Who Play It
The Championship Chase

Share

Sunday, August 26, 2012

When World's Collide





Stream online here:

Download for iTunes here: Collision.mp3

Many pieces of this Ear Candy Update were directly inspired and hijacked from this Kirby Ferguson's magnificent series Everything is a Remix. Here's part three of it.




If you have any suggestions, bitches, gripes, complaints or praise, email me right here: Dukewilbury@gmail.com


The tracks:
It Must Be Jesus - The Southern Tones
I've Got a Woman - Ray Charles
Gold Digger - Kanye West feat. Jaime Foxx
When the Levee Breaks - Memphis Minnie
When the Levee Breaks - Led Zeppelin
Rhymin' and Stealin' - Beastie Boys
Raising Hell - Run DMC
Renegades of Funk - Rage Against the Machine
Rebirth of Slick (Cool Like Dat) - Digable Planets
Slim's Return - Madlib
Run On for a Long Time - Bill Landford & The Landfordairs
Run On for a Long Time - The Blind Boys of Alabama
Run On - Moby
God's Gonna Cut You Down - Johnny Cash
Amen Brother - The Winstons
Bring the Noise - Anthrax & Public Enemy
We Care a Lot - Faith No More
Since I Left You - The Avalanches
Midnight in a Perfect World - DJ Shadow


Share

Saturday, August 11, 2012

Ear Candy Update Icons: The Clash

On this edition of the Ear Candy Update, we dedicated more than two hours to the history of The Clash, the only band that ever mattered.

This poster is yours. Do whatever you want with it.





















Stream online here:  

Download for iTunes here: Clash City Rockers.mp3

The tracks:
(White Man) In Hammersmith Palais
Clash City Rockers
White Riot
Career Opportunities
Police & Thieves
Janie Jones (Demo)
Safe European Home
Tommy Gun
Gates of the West
Armagideon Time
Bankrobber
Police On My Back
The Magnificent Seven
Somebody Got Murdered
Rock the Casbah
Radio Clash
Charlie Don't Surf
Should I Stay or Should I Go
London Calling
Brand New Cadillac
Jimmy Jazz
Rudie Can't Fail
Spanish Bombs
Train in Vain
Clampdown
The Guns of Brixton
Wrong 'Em Boyo
Death or Glory
Train in Vain (Stand by Me)
Know Your Rights
Straight to Hell
We Are the Clash

If you have any suggestions, bitches, gripes, complaints or praise, email me right here:Dukewilbury@gmail.com

Share
The problem inherent with punk music as a genre is that it destroys itself. Perhaps it’s a byproduct of the subject matter. Disillusionment, cynicism, boredom, frustration, rage fueled by a socioeconomic stigma – all available at your local record store, front page of the paper, and the evening news. Frustration breeds frustration and before too long the pot boils over.
     The punks turn against each other in a mélange of safety pins and dog collars, and force each other back into the garage. Born of desperation, punk’s origins were, not surprisingly, unglamorous. Never mind that most punks didn’t have the musical chops of the folks gracing the cover of Billboard magazine. Never mind the vocals were not slickly honed. Hunger was the crucial ingredient there. Hunger would provide enough fuel.
     By 1977, half-talents and quarter-wits infiltrated the Top 40. A glance back at the era reveals artists like Heart, Boston, Kansas, the Steve Miller Band, Styx, the Eagles, Linda Rondstadt et al, running amok. Arena rock was big, glam was in, disco was hot, and the future of rock and roll was looking bleaker and bleaker with every Foreigner and Peter Frampton single. God help the likes of Bruce Springsteen, who hit a high-water mark with 1975’s “Born to Run.” The architecture of rock’s most stunning acts had metamorphed into pomposity, bloated arrogance, and tombstones. Led Zeppelin was buckling under the weight of their own swollen egotism, playing 25-minutes songs that went nowhere, proving the song did in fact remain the same. In response, both sides of the pond, the north and south poles of musicdom throughout the nineteen sixties and seventies, England and New York, turned their weary ears and eyes to the truth. Three chords and the truth, to be exact.
     The Sex Pistols ripped, snorted, injected, and chortled their way into the path of rock and roll’s established order. Getting banned was good for your record sales. The Ramones fired salvos in blistering four-four time like a rail-thin Chuck Berry toting a Tommy Gun. Fantastic as Rockaway Beach and Pretty Vacant are, the kids in the street couldn’t make heads or tails of who or what was punk. Was this a fashion movement? At times, yes. Was this about three chords and the truth? Rebellion? Who the hell knew? Again, punk destroys itself.
     The question “What are we fighting for?” must be asked during the launching of any good insurrection. The question was asked in early 1977 and no one could stand and deliver the answer. Punk had reduced the house the MC5 and the Stooges had built into a hive divided by territorial pissings and infighting. The emissaries of NYC’s Lower East Side, the Talking Heads, Blondie, Television, the Patti Smith Group, were artistically aware. Punk was becoming more of a mentality than anything else. Necessity is the mother of invention, they say.
     When the megaton bomb that was the Clash unleashed their self-titled first album in April 1977, the shockwave crumbled the towers and the call to arms was self-evident. Yep, it took long enough, but hell had broken loose. Somebody gave a damn. Somebody had an idea about what to do with all this hostility bred from isolation. The Clash’s unvainglorious approach appealed to the volatile punk masses in ways unheard of. They listened to reggae for God’s sake! Mick Jones, Joe Strummer, Paul Simonon, and Topper Headon paid attention to the politics of their nation and others. They’re strongest assets were keen self-awareness and a deep sense of history. They knew what they were up against before the dam broke. They knew and they were unafraid. The wave that washed over the U.K. swept right over the Atlantic and, even without the benefit of a massive marketing campaign or even a radio-friendly single, the Clash sold 100,000 copies of their first record in the states. At the time, it was the biggest selling import record ever. When the Sex Pistols finally imploded, the Clash were well on their way to punk Valhalla. The Clash LP was the call to arms. 
     In 1979, the Clash answered their own beckoning with the vast London Calling. Enormous yet tightly focused, London Calling did more than lay the groundwork. With their lyrics, Jones and Strummer stitched together the battle flag the band would carry into battle, the same flag that U2 and later Rage Against the Machine would take up once the punk legends called it quits.
     All told, they recorded five proper studio albums, an astonishing 16 sides of fury and hope infused with well-heeled politics and indignation. The Clash could play their asses off, shimmying and leaping, snarling and pumping their fists. They could focus, so much so that at times they sounded like a cross-pollination of Bombay raga and Memphis soul – raw and rollicking. The possessed the mentality of CBGB’s finest, the look of Malcolm McLaren’s pet project. More importantly, they possessed an unmistakable aura.
     Even the name of the band fit perfectly – The Clash. It fuels the imagination with scenes of a Light Brigade locked in desperate skirmish. It does not roll off the tongue per se, but rather, forces the sides of the mouth wide like a primal scream. Clash as in a mishmash of musical styles. Clash as in the raucous explosion of punk music.
    The dogmatic insistence of the band to tell the truth at whatever cost eventually tore them apart. As it should have been. A band, or any organization of people for that matter, that cannot be square with each other may as well throw the damn towel in from the start. There will be no sad ending in these words though. Jones, Strummer, Simonon and Headon understood the pitfalls of their chosen profession. Considering their brand of music, the pitfalls were deeper, wider, and much more costly than others were.
     History has shown us that a band’s success or influence (the two do not necessarily run hand-in-hand) is dependent, to a certain degree, of the times in which they arrive. The Beatles would still be the Beatles without the Rolling Stones. Would the Stones be who they are without the Liverpool beat merchants? The Stones provided contrast and a necessary evil. Nirvana’s rise came at the most opportune of times with hair metal choking on its own stiffened hair. Bob Dylan’s charred ember voice rose up as a vox populi when a nation, still in turmoil from the assassination of JFK, most needed one. The Clash did as much to chronicle their times as they did to define them. In annals of rock history, the rights to the years between 1977 and 1982 are the exclusive property of the Clash. From ’77 to ’82, the Clash owned the deed to the world, and they put the world on notice: rent was due.

Saturday, July 7, 2012

Ear Candy Update for July 7

This poster is yours to steal at will.


Download for iTunes here: Ear Candy Update for July 7.mp3

Stream online here: 

Here you go, folks. This is our very first show from inside FCC headquarters. These guys are real jerks, but fortunately they can't regulate what we do or say here. Also, we fart in the elevators.

If you have any suggestions, bitches, gripes, complaints or praise, email me right here: Dukewilbury@gmail.com

The tracks:
 You Rascal You - Hanni El Khatib
Hang Loose - Alabama Shakes
Shark Inside - The Meemies
In Your Nature - Zola Jesus
My Perception - Black Box Revelation
The Wonder of Love - The dBs
Hey Na Na - Galactic
Wack Writing - Hannibal Buress
Chambermaid Swing - Parov Stelar
Waltz for Koop - Koop
Rebel Side of Heaven - Langhorne Slim
The Walk - Mayer Hawthorne
Thriller - Imogen Heap
Origins - Tennis
Temporary - White Rabbits
Bartholomew - The Silent Comedy

Share

Sunday, April 15, 2012

Shooby Dooby Doo

An Ear Candy Update dedicated to that glorious sound of Doo Wop from the '50s and '60s.



This poster is yours to do with whatever you choose.

The tracks:

Stream online here:

Written deep within the source code of rock and rock lies the subject of this edition of the Ear Candy Update, Doo Wop. Doo Wop, as it was defined in the '50s and '60s still exists as it has been nearly entirely incorporated into rock and roll. The Beatles, Beach Boys, Frank Zappa, The Ramones, The Misfits, Billy Joel, and the Red Hot Chili Peppers have all incorporated Doo Wop themes, tempos, and styles. But this is not a celebration of those who use the style, this is a celebration of those who invented it. So here's to those boys huddled around trash-can fires, here's to the boys with the slicked hair clapping their hands and popping their fingers. We owe you one.

-Duke Wilbury

If you have any suggestions, bitches, gripes, complaints or praise, email me right here: Dukewilbury@gmail.com

The tracks:
Blue Moon by The Marcels
Lily Maebelle by The Valentines
Money Honey by Clyde McPhatter & The Drifters
Goodnite, Sweetheart, Goodnight by The Spaniels
Sh-Boom by The Chords
Earth Angel (Will You Be Mine) by The Penguins
Mary Lee by Rainbows
Story Untold by The Nutmegs
Only You (And You Alone) by The Platters
One Mint Julep by The Clovers
At My Front Door by The El Dorados
I Met Him On a Sunday by The Shirelles
Get A Job by The Silhoettes
Book of Love by The Monotones
I Wonder Why by Dion & The Belmonts
Everyday of the Week by The Students
16 Candles by The Crests
Since I Don't Have You by The Skyliners
Pizza Pie by Norman Fox & The Rob Roys
Sorry (I Ran All The Way Home) by The Impalas
A Teenager in Love by Dion & The Belmonts
Shimmy, Shimmy Ko-Ko Bop by Little Anthony & The Imperials
Tonight I Fell In Love by The Tokens
Barbara-Ann by The Regents
Rama Lama Ding Dong by The Edsels
Never Let You Go by The Five Discs
Denise by Randy & The Rainbows
Stay by Maurice Williams & The Zodiacs
Share

Sunday, March 25, 2012

The British Are Coming

An Ear Candy Update dedicated to the Brit Pop explosion of the 1990s.



This poster is yours. Use it at will.

Steam online here:

Download for iTunes here:
The British Are Coming.mp3


Britpop however refers to the legion of '90s bands who drew more consciously from the Beatles tradition than ever before. Although the movement originated in the U.K. indie scene, Britpop was unabashedly commercial - its bands prized big, shiny, catchy hooks, as well as the glamour of mainstream pop stardom and the sense that they were creating the soundtrack to the lives of a new generation of British youth. And it was very definitely British youth they were aiming at; Britpop celebrated and commented on their lives, their culture, and their musical heritage, with little regard for whether that specificity would make them less accessible to American audiences. Britpop's youthful exuberance and desire for recognition were reactions not only against the shy, anti-star personas of the early-'90s shoegazer bands, but also the dourness of American grunge and the faceless producers behind the growing electronic-dance underground. Musically, Britpop drew from the Beatles, of course, but also from the pastoral sound of late-'60s Kinks, the mod movement (the Who, the Small Faces), '70s glam (David Bowie, T. Rex, Roxy Music), punk and new wave (the Jam, the Buzzcocks, Wire, Madness, XTC, Squeeze, Elvis Costello), and the alternative guitar-pop of the Smiths. All those artists were quintessentially British -- they crafted their images, lyrics, and sounds from a distinctly British frame of reference, which was why few of them became anything more than cult artists in the U.S. (and why Britpop functioned much the same way). Apart from those influences, Britpop had its most immediate roots in the Madchester scene, whose emphasis on good times and catchy tunes pointed the way around the shoegazer aesthetic. The Stone Roses' effortless pop hooks and rock-star attitude were the most important part of the foundation, but the true founding fathers of Britpop were Suede. Released in 1993, their self-titled debut became an unexpected smash with its fusion of glam-rock majesty and Smiths introspection. Suede opened the doors for even bigger breakthroughs in 1994 by Blur (Parklife) and Oasis (Definitely Maybe), who quickly became Britpop's two most popular superstars. With their success came a giddy explosion of similarly inspired bands; Elastica, Pulp, Supergrass, and the Boo Radleys were among the biggest. In 1996, Oasis became the only Britpop band to become genuine mainstream stars in the U.S. 1997 brought the first signals that the Britpop boom was beginning to run out of steam, namely Oasis' poorly reviewed third album and Blur's move toward American indie rock, along with the rise of Radiohead in the wake of their third album, OK Computer. Soon, newer bands merged the moodiness of Radiohead with the workingman stance of Oasis -- a combination heard in everything from Coldplay to Kasabian -- and that became the British Alternative sound of the new millennium.

- Duke Wilbury
If you have any suggestions, bitches, gripes, complaints or praise, email me right here: Dukewilbury@gmail.com

The tracks:
Wake Up Boo! - The Boo Radleys
Love Spreads - The Stone Roses
303 - Kula Shaker
Flowers in the Window - Travis
Kung Fu - Ash
Elephant Stone - The Stone Roses
On Your Own - Blur
Trash - London Suede
On and On - Longpigs
Girl From Mars - Ash
Ten Storey Love Song - The Stone Roses
Sale of the Century - Sleeper
Rock and Roll Star - Oasis
Place Your Hands - Reef
Common People - Pulp
Tattva - Kula Shaker
Lips Like Sugar - Echo & The Bunnymen
Lazarus - The Boo Radleys
Laid - James
Parklife - Blur
Just Like Heaven - The Cure
Cigarettes and Alcohol - Oasis
Stay Beautiful - Manic Street Preachers
The Only One I Know - Charlatans UK
Loaded - Primal Scream
Ladykillers - Lush
There She Goes - The La's
Here's Where the Story Ends - The Sundays
Alright - Supergrass
Live Forever - Oasis
Share