Written, Directed and Produced by Kiko Jones
A Ballsy Production

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Back in the saddle again, friends. We commissioned a guest editor to cook up last week’s stew , but a series of technical and personal problems prevented them from making the deadline. So rather than whip up some half-assed issue, we decided to take a break and return to form the following week. Which brings us to this issue.

Since we’ve been in a reflective mood of late, we felt like listing our Desert Island Discs, and of course, sharing them with you. Funny how this sort of exercise can lead to re-evaluating your record collection: discs that haven’t been in rotation lately can be dusted off and remind you of a certain time and/or place and consequently, why you still love them. Some you may love but aren’t necessarily D.I.D. material. Others may have outlasted their welcome or just don’t pack the same wallop they once did. In any event, it was very hard to come up with the 5 main records on the list at first, but as we looked back on their particular significance in our lives, the list wrote itself. Feel free to opine or even send in your own. We always love to hear from you. Whether or not we agree with what you have to say.


"You can’t erase a dream/You can only wake me up"
–Peter Frampton, "Lines On My Face"

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This was REALLY SCARY: Four of the five things in your "recommended listening" section [5- 8/12/02] have been in my CD player or downloaded from Launch Video in the past month. Like I’ve said, I think we have the same musical chip implanted in our heads. Now I guess I should really give The Soft Bulletin the chance I never gave it since I agree with all your other recommendations.

JOSH NOREK Los Angeles, CA

Check out The Fags dude, they rock ... Never mind the

NELSON GARCIA Santo Domingo, Dom. Rep.

[We did. And they do. Thanks for the tip. –KJ]

Hey Kiko, can five have a movies we love section???? Old and new and cult and all in between (pornos for fun)?

My 5 Faves:

1. Rear Window
2. Fight Club
3. Love And A .45
4. The Exorcist
5. Raging Bull

D. ANGER Sunnyside, NY

[Feel free to send in your faves anytime. –KJ]

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DEFTONES White Pony (Maverick)
THE KNACK Get The Knack (Capitol)
MYRACLE BRAH –self titled- (NotLame)
OASIS Heathen Chemistry (Epic)
RED HOUSE PAINTERS Down Colorful Hill (4 A.D.)

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MR. JONES’ 5 DESERT ISLAND DISCS (in alphabetical order by artist):

THE BEATLES Abbey Road (Apple-1969)
While Sgt. Pepper’s Lonely Hearts Club Band is widely regarded as not only the Liverpudlians finest recorded moment, but the greatest rock album of all time, we are quite partial to their very last album (Let It Be was recorded before Abbey Road but released afterwards in 1970). On the verge of breaking up, the lads came together one last time. And what a way to go out: "Come Together", "Something", "Here Comes The Sun", "Because" , and the side 2 suite (on vinyl) that is to this day a marvel to behold, are a few of the highlights. Kudos to producer/arranger George Martin for his deft handiwork across the board –-literally and figuratively. As we’ve gotten older and truly appreciated the talent and musicianship involved in the making of this album, we find it hard not to put down our guitars in surrender and contemplate a career in, say, carpentry or something.

MILES DAVIS Kind Of Blue (Columbia-1959)
Question: How can this 40 year-old album --and one we’ve loved for so long-- still capture our hearts after uncounted repeated listenings?

Is it that:

a) as musicians we can appreciate the artistry of Miles and the cast of heavyweights on it (including John Coltrane and Bill Evans)?
b) as music fans it speaks to us so profoundly?
c) its presence brings an added reflective quality to any situation: from conversation to romance to bliss?
d) perhaps, all of the above?

Answer: d), silly.

PETER FRAMPTON Frampton Comes Alive! (A&M–1976)
Referred to in certain circles as "the Star Wars" of music (i.e., the blockbuster album that officially turned the music business into BIG business), Frampton Comes Alive! came at a crucial time in the career of its namesake: Four albums into a solo career that hadn’t really taken off, the former Humble Pie guitarist went into the studio to listen to live tapes from the previous year’s tour in support of Frampton (A&M-1975) for an upcoming live album. Upon hearing the tracks, visionary record man and A&M boss Jerry Moss was so excited by the results that he demanded the album be released as a double LP. Like there’s a chance in hell that the bean counters and corporate lackeys of today would let that happen now. Anyway, the bet paid off: Frampton Comes Alive! went on to become the biggest selling live album of all time and Frampton himself became a huge star and ‘70s icon. Sure, "Show Me The Way" and "Baby, I Love Your Way" have been played to death, but they still stand up. The acoustic tracks are quite lovely and heartfelt; the cover of The Stones’ "Jumping Jack Flash" rivals the original; and "Lines On My Face" and "Do You Feel Like We Do" retain their majesty and momentum more than a quarter of a century later. And we didn’t even get to Frampton’s rockin’ band and killer guitar playing! On the occasion of its 25th Anniversary, Universal released a deluxe edition of Frampton Comes Alive! in 2001. This album was love at first sound for us and it’s still very near and dear to our hearts. Obviously.

NIRVANA Nevermind (DGC-1991)
Disgusted and tired of the hair-band epidemic that had infected both the audio and visual airwaves during the second half of the ‘80s, we submerged ourselves in the music of college radio heavyweights such as The Cure, The Replacements, The Church, The Smiths, and –-at the time-- some slightly more obscure acts like Soundgarden and Mudhoney. So, as the hair farmers’ careers started dying off and a new vibe was in the air, we found ourselves catching the video for "Smells Like Teen Spirit" on MTV, late one night after 120 Minutes (we have since discovered it was the first time it ever aired on the video channel). After being won over by the song’s raw power, infectious melody and highly symbolic video clip (talk about the changing of the guard: a parallel universe-type gymnasium with tattooed cheerleaders; shaved, dreadlocked, and rainbow colored heads; and Bad Brains t-shirted misfits), we proceeded to purchase this soon to be ‘90s pop culture artifact and alt-rock landmark. Then and now, we were floored by the power, angst, and ultimately, catchy nature of Kurt Cobain’s songs and the monster Novoselic-Grohl rhythm section. A big influence on us ever since. That the mighty KC was born on our birthday is just a sweet plus.

DAVID SYLVIAN Gone To Earth (EMI-1986)
While always an interesting figure during his tenure as Japan frontman, David Sylvian has opted to go further away from the mainstream in his solo pursuits. A highly underrated art-rocker, Sylvian has collaborated with the likes of composer Ryuichi Sakamoto, the late Can bassist Holger Czukay and King Crimson guitarist Robert Fripp. Gone To Earth is the beginning of his fruitful collaborations with the latter (they’ve made about half a dozen records together) and one of the most moving, beautiful and accessible experimental rock records ever made. Not to trivialize the dreamy soundscapes and the profound feeling of passion it evokes, but Gone To Earth also happens to be a perfect soundtrack for certain pleasures of the flesh. When it comes to that aspect of it, the album has become our veritable aural American Express: can’t leave home without it.

JUST A FEW HONORABLE MENTIONS (well, maybe not a few):
THE BEATLES Revolver; MIGUEL BOSE Bajo El Signo de Cain; WILLIE COLON presents RUBEN BLADES Metiendo Mano; CROSBY STILLS & NASH self-titled; NICK DRAKE Pink Moon; BLACK SABBATH Paranoid; THE CURE Wish; JUAN LUIS GUERRA & 440 Soplando; GUNS & ROSES Appetite for Destruction; JANE’S ADDICTION Ritual de lo Habitual; JELLYFISH Spilt Milk; LIVING COLOUR Time’s Up; JONI MITCHELL Blue; MY BLOODY VALENTINE Loveless; THE POLICE Zenyatta Mondatta; THE POSIES Amazing Disgrace; SMASHING PUMPKINS Gish; SODA STEREO SueƱo Stereo; SOUNDGARDEN Superunknown; MATTHEW SWEET Girlfriend; YES Close To The Edge; and many, many more.

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IN THE FLESH: Toni Tennille (as in The Captain and …) sings backup on Pink Floyd’s The Wall.
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Comments, Praises, Death Threats and info on previous "5"s: KikoJonesUSA@yahoo.com