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Episode Five Show Notes – Jah Wobble

 

Jah Wobble‘s 2018 World Cup song

New album Dream World available here. One of my favourite records of 2018. Each time I listen to it, I love it more. Lots of energy and flair over a wide range of styles.

 

Classic Wobble bassline in ‘Strange Land’

My first introduction to Wobble’s mighty bass playing was on those first two P.i.L. albums

 

‘Poptones’ is one of the most beautiful and unique pieces of music I know.

 

Another killer bassline in ‘Visions Of You’ by Jah Wobble & The Invaders of The Heart, from their Rising Above Bedlam lp, featuring Sinead O’Connor.

 

Jah Wobble & Julie Campbell’s Psychic Life is one of the best records of the new millenium, a proper update to where post-punk should be now. Def check out Julie Campbell in her Lonelady guise. As Wobble says in the interview, a true artist.

 

‘Feel’ is one of my favourite ever songs. Gorgeous, pop perfection that makes you quite simply feel with every fibre of your being.

 

‘Club Scene Dub’, which Wobble considers one of the best bits of world music he’s ever done.

 

‘Fight Scene’ from the soundtrack Wobble did to the film Fureur.

 

Wobble’s autobiography, Memoirs Of A Geezer: Music Mayhem Life, is a great read. Highly recommended.

 

And you can follow him on Twitter here.

 

Pledge Music page for the upcoming album with Bill Laswell and North American gigs. 

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Episode Five – Jah Wobble

Jah Wobble talks to Aug Stone about his new album Dream World, the 2018 World Cup, his 2011 collaboration with Julie Campbell on Psychic Life, his first musical loves, post-punk, the creative process, film scoring, and more.

“I think that post-punk was such a fascinating area of music and yet the idea of it was generally better than the music that was produced. There were so many variations, so many kind of records you could have made back then – you could have made Metal Box and put radio collages over the top of it – you could’ve done spoken word, you could’ve done so many different kinds of records, there were so many possibilities, you could use disco, it was very post-modern…it was a great anti-bourgeois kind of thing, but there weren’t enough good albums…not enough brave records at that time.”

Show Notes Here…

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