Released 33 Years Ago Today

Pet Shop Boys – Very Relentless (1993)

This was one of the first CDs I replaced when I started rebuilding my collection years ago, and remains one of my all-time favorites.

As I wrote last spring:

I love this album, mainly because it was so different [the Relentless disc of the set] from what PSB had put out up until that point.

I will forever associate this disc with a little club I happened upon called The Playground in San Francisco in August of 1993 because it seemed they were always playing it.

I discovered The Playground after I had started boxing up my life to move back to Arizona—for the first time—after nearly a decade in The City. City life—and still pining over Rory—I knew it was time for me to cut my losses and start new.

Once I’d made up my mind to leave however—going so far as to give notice at work and on my apartment—as she is wont to do, The City pulled out all the stops to get me to stay. One evening I was out in front of my apartment building washing the car, and an absolutely gorgeous man happened by, struck up a conversation, and the next thing I knew we were upstairs doing the nasty. I started meeting guys left and right. And then my friend Rick came over one evening and started singing the praises of The Playground.

I was no stranger to sex clubs, having frequented the 1808 on a regular basis just after moving to San Francisco and spending many a rainy night wandering the halls of Mike’s Night Gallery many years later, but I’d drifted away from those venues because it was easy enough to find sex pretty much anywhere in the city if you really wanted it. So why pay for it?

In any case Rick’s full-throated (pardon the pun) endorsement of The Playground let me to check it out one night.

From the description in my Journal at the time:

There ís something very primal about the place, something that ís very much linked to our deepest (and yes, darkest) sexual fantasies. The owners have a gold mine in their hands, if they know how to keep the ambiance alive. 

It s a converted warehouse on 17th Street between Folsom and Harrison. The building itself is at the back of a large parking lot. It’s all gray metal with yellow painted trim. At night there are two rotating yellow beacons located on the loading dock where you go in. When you first enter, to the right is the admission area. When you pass through that, you first enter the television and refreshment area. There are several sofas clustered about a lone TV. If you proceed back, slightly to the left, the next area you come to is the glory hole space. It’s a series of black painted cubicles surrounding a raised platform. Naturally, there are more than ample holes drilled between the cubicles and the platform. Immediately to the right of this area is what I’ve come to call “the drive-in.” There’s an English taxi (vintage unknown) parked there that faces a projection television that plays the same porn videos that are playing in the television area. If you continue back toward the rear of the building from the drive-in, you get into another area dominated by separate cubicles. These cubicles surround another, smaller room, and they have small holes drilled at eye-level, allowing you to look into the smaller room and see whatís going on. When you exit the peep-hole area and head again, toward the rear of the warehouse, you pass “the dungeon” on your left, where you’ll find a sling and various other equipment I could not identify. To your right is the restroom (and yes, people do have sex in there). Continuing back, down a set of stairs, are three more spaces: the jail, the infirmary, and off the infirmary, a small room with a bed and a single lone light bulb. There’s something very eerie about these two rear rooms, although exactly what it is, I haven’t quite been able to put my finger on. The jail, which opened only recently, is very hot. It consists of a large area surrounding four cells, complete with bunks and toilets.

I think this is the building (at least as it appears today). I can’t definitively verify that because gates on street view are blocking the view of the entrance.) The parking lot was much smaller with another building blocking it off to the right of the entrance gate.

After visiting The Playground several more times, combined with all the men falling out of the sky, I abruptly changed my plans to leave and ended up staying in San Francisco for another nine months. By then the downpour of eligible bachelors had ended and I was at wit’s end with the same aspects of city life that had initially prompted my thoughts of moving back to Arizona months earlier. It was then that I returned to Tucson for six months before the siren call of The City prompted my return.

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Life Out Of Balance, Indeed

Philip Glass – Koyaanisqatsi (Complete Soundtrack) – 1998

My introduction to Philip Glass forty years ago. Imagine my joy when the entire score to the film was finally released fifteen years after the original soundtrack, including the full length 22-minute version of The Grid and previously unreleased tracks Organic and Resource.

My favorite cut and the one scene (other than the hot dogs and escalators scene “The Grid”—something you’ll immediately recall if you’ve ever seen the film) that’s stayed with me for the last 40 years:

Philip is my go-to guy whenever I need to center and recharge. There isn’t a piece of his music that I don’t love. (Okay, 1000 Airplanes On The Roof is borderline—and surprising considering my lifelong interest in the subject matter it’s supposed to depict—but I won’t ever outright refuse to listen to it.)

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RIP

Duncan Sheik – Duncan Sheik (1996)

Singer and songwriter Duncan Sheik, who was Grammy nominated for his 1996 hit “Barely Breathing” and won two Tony Awards as the composer of “Spring Awakening,” died September 17, 2026, at a hospital in New York City of cardiac arrest at the age of 56. 

Sheik’s career traced an unusual arc from pop radio to the theater world, and in doing so he helped redraw the boundary between the two. He proved that intimate, literary songwriting could carry a Broadway score just as it drove an alternative hit. This opened the door for a generation of singer-songwriters who followed him from the recording studio to the stage.

Born November 18, 1969, in Glen Ridge, New Jersey, Sheik attended Phillips Academy in Andover, Massachusetts. He studied semiotics at Brown University, where his classmates included Lisa Loeb, known for her 1994 song “Stay (I Missed You).” The two were in the band Liz and Lisa together; Sheik played guitar. His early career also included a guest appearance with the Seattle alternative band His Boy Elroy.

On his own, Sheik signed with Atlantic Records and released his self-titled debut in 1996. Written largely by Sheik, it included “Barely Breathing,” which topped the Adult Alternative Airplay chart and spent more than a year on the Billboard Hot 100 chart, peaking at No. 16. The song was ranked among VH1’s “100 Greatest Songs of the ’90s” and was nominated for a Grammy Award for Best Male Pop Vocal Performance.

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It Turns Out That Ten Is Enough

It’s just that the particular ten change over time.

I sold the silver D-EJ985 (recouping what I’ ‘d spent for it), so I immediately turned around and added the D-NE820 to the collection. This one came from a seller in Japan, and while the general consensus is that buying from Japan is at best a crapshoot, the few times I’ve done it I’ve never had any problems. This time I was worried about tariffs, but they were already included in the very reasonable US $15 shipping cost, and I’ll say this about Japanese sellers: they pack things to survive the journey.

The NE820 is my current favorite. Unlike the EJ915 or the EJ985, it’s all plastic construction, but damn if it isn’t heavy. The fit and finish of the player definitely highlights Sony’s expertise at the time. And again, the color. People got all excited when Apple introduced a pale rainbow of iMacs a few years ago or even the latest burgundy iPhone [rolling eyes], but they could still take a lesson from Sony. Sony knew how to do color twenty years ago, and they weren’t afraid use it.

And with that, because I have any of this stuff, we come to tonight’s jazz fusion musical selection:

Jerry Goodman – On The Future Of Aviation (1985)

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A Fun Afternoon Soundtrack

Various Artists – Dancing Queens (2001)

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Happy Equinox!

And in honor of the day, the morning soundtrack:

Jean Michel Jarre – Equinoxe (1978)

And once again I am twenty years old, skimming over a vast sea of golden dunes in my landspeeder under a double sun in a hazy, wheat-colored sky…

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Sunday Afternoon Through The Stargate

Constance Demby – Novus Magnificat (1986)

This piece of music burst into my life when I was still living in Tucson, a few months before relocating to San Francisco. There was a program of “Space Music” that aired on our local NPR FM station every Sunday night called Hearts of Space that I faithfully recorded onto cassette for later listening enjoyment. Novus Magnificat was the music I subsequently used for meditation for many years afterward, but the one instance of that mediation that really stands out in my memory was one afternoon in June or July 1986. I was floating on an air mattress in the swimming pool, my little tape walkman in a sealed plastic bag to prevent it from getting wet, headphones in place, and eyes closed.

All of a sudden I saw myself in San Francisco and I had just met Justin Banks, cover and featured model of the June 1986 issue of MEN. My heart fluttered.

It was a premonition that actually manifested about eighteen months later. The details of our meeting were very different from what I saw in my vision, but the fact that the meeting and subsequent brief affair happened at all still seems fantastical. Was that future already in place and my meditative state just allowed me a distorted glimpse into it, or did my meditation cause it? Was it all just sheer coincidence? I’ll never know. But I do know is that I came away that instant with the absolute certainty that eventually our paths would cross. I didn’t know where. I didn’t know when (especially since the actual timing and circumstances of my San Francisco move were still very nebulous), but I knew it would happen. Looking back at it all now while it’s true that our relationship that never turned into anything more than casual dating/fucking, much less the love-of-my-life thing that I’d hoped for while floating in that pool, Justin was a lesson—albeit a painful one—that I needed to learn. (And it wasn’t just “never date a porn star.”)


But back to Novus Magnificat, I had the pleasure of meeting Constance Demby in person a few weeks before I met Justin. Dave, a guy I’d been dating somehow managed to get us invited to the small recital she was holding one night at her home in Marin County.

It wasn’t a huge house, but the energy it contained was amazing. “Sparkly and Purple” are two words that even today, nearly 40 years later, best describe it. I remember several museum-quality crystals scattered around the living room, but the one that stands out the most in my memory of the evening was a three-foot-tall group of amethyst crystals that was standing off to the side of where she had her instruments set up. (Probably where the “sparkly and purple” impression came from come to think of it.)

She sat down to play and the room fell silent. When we left several hours later I won’t go so far as to say we were high, but we were definitely buzzing.

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Saturday Evening Soundtrack (Literally)

Peter Gabriel – Passion (1988)

When The Last Temptation of Christ originally opened on August 12, 1988, it was playing at the Northpoint Theater in San Francisco. This was not one of my usual movie venues in The City, but there was such buzz about the film I wanted to see it nevertheless. I don’t remember who I saw it with, although it was probably Philip, a very cute bear I was dating whom I met—at The Detour nonetheless—the night of the Pride Parade the previous June.

Philip is a story unto himself and maybe someday I’ll share it. He’s no longer with us, another victim of the early 90s, so I’ll be kind because I do have mostly fond memories of our time together.

Anyhow, the release of the film was highly controversial, drawing significant protests, which led Universal to release it six weeks earlier than originally planned. Despite opening in only 123 theaters across the United States and Canada, it grossed over $400,000 in its opening weekend.

Frankly, I’m surprised it grossed that much.

The film didn’t move me one way or another. The strongest memories I have of it (I only saw it that once) was of the dream sequence (?) Jesus was having as he hung on the cross wherein had gone on to live a “normal” life and raise a family, and the protestors who greeted us as we left the theater, threatening us with hellfire and eternal damnation.

I do remember laughing in their faces.

But the music was ambient and haunting, and that’s what prompted me to purchase (and recently repurchase) the CD. With a few exceptions, I’ve never been a fan of Peter Gabriel’s work, but for some reason Passion really captured me.

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Lunchtime Tunes

Orville Peck – Stampede (2024)

Okay, in the interest of full disclosure, I loved Orville’s album of duets, Stampede.

Cowboys Are Frequently Fond Of Each Other, Midnight Ride, the famous Glen Campbell song Rhinestone Cowboy, and You’re An Asshole I Can’t Stand You And I Want A Divorce, are probably my favorite tracks, but I have to say his latest album, Mule, grabs me in a way this one only brushes against me.

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And Her Face Just Ghostly

Munich Machine – A Whiter Shade Of Pale (1978)

Another lesser-known project by “The Godfather of EDM,” Giorgio Moroder. It was also the debut of Chris Bennet, whom he collaborated with on Giorgio & Chris the following year.

My two favorite tracks on the album harken from Side 2 of the original vinyl release: La Nuit Blanche and In Love With Love.

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In Which Your Host Effects A Successful Repair On A Piece Of Vintage Stereo Gear Without Destroying It

The other day I was dusting in the Living Room and after I moved my big Yamaha (as in main component) CD player to get underneath it I went to put on some music and the drawer wouldn’t open. I know it wasn’t the belt because I had successfully changed that with the proper size and thickness a couple weeks ago and it had been working without any problem ever since. No, this was something new. I was able to pry the drawer open with my fingernail and it worked just fine afterward, but the next time I moved it the problem returned.

I finally got tired of dealing with it, so I popped the cover yesterday to see if I could determine what was happening. I had the cover off 30 seconds and I immediately identified the problem.

There’s a wide copper grounding strap that makes contact with the metal tray when it slides into place. The raised nubbin that makes the actual contact with the strap was getting snagged on the strap when the tray attempted to slide out.

When I changed the belt, I pressed down on the copper strap a little too forcefully, and since tolerances are everything in this equipment, it made contact just fine, but was too tight to let the drawer slide back out. I gently bent the piece back upward a hair’s breadth, and everything worked normally again; something I need to keep in mind in case I ever have to swap the drawer belt on this unit again.

I don’t know why this just started acting up, or why it worked fine and then stopped once the unit had been moved (probably because I haven’t used it but a couple times since I changed the belt, preferring instead to concentrate on my portable players) but it’s fixed now, and that’s good enough for me.


When I was doing some research the other day, I learned that the DAC (Digital To Analog Converter) in this player was actually made by Panasonic. Panasonic, not Yamaha itself or even Sony. Panasonic.

Why is this significant? This deck dates from the period that Technics/Panasonic were pushing their own “MASH” (“Multistage Noise Shaping,” a 1-bit digital-to-analog conversion technology developed by Technics/Panasonic to improve sound quality and reduce distortion in CD playback) chips—yet there is no “MASH” branding anywhere on this player.

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Period Specific For The Player

Yanni – Keys To Imagination (1986)

Yanni before he became YANNI and the caricature of all that was horrible about 80s New Age music. The second—and my first—of his albums holds a special place in my heart because it—along with Patrick O’Hearn’s Ancient Dreams were a gift from my ex the first Christmas we were in San Francisco. I hadn’t heard of either artist, but immediately fell in love with both.

I bought only two more of Yanni’s albums—Out of Silence and Chameleon Days—before he hooked up with Linda Evans and his music went to hell..

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Oh Great…

Now I’ve got The Lonely Goatherd as an earworm the rest of the day.

No, not this version:

That file still makes me laugh.

I don’t remember the context under which I created it, other than the screaming goat was sort of an inside joke between myself and a coworker at DISH in response to something our horrible supervisor did.

Said coworker was the closest thing I’ve ever had to a work husband, but I cut off all contact after we moved back to Phoenix and he admitted he voted for Trump in 2016. It was kind of a surprise because he was a very liberal guy.

Gawd…I don’t even remember his name at this point.

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Morning Ambient

Chris Spheeris – Desires Of The Heart (1987)

Chris is only one of two artists whom I’ve written (as in a handwritten, ink on paper) who has ever responded. For that reason alone, he remains one of my favorite Ambient/New Age artists

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Morning With Pussy

Pussy Tourette – In Hi-Fi (1993) & Who Does She Think She Is? (1995)

Whatever happened to Pussy Tourette? An extensive internet search comes up with precious little. The most comprehensive thing I found was via grokpedia (including her real name, Mark Cliser, who, through further searching I learned is now 63 years old). Seems the last thing she released was EP1 in 2007—now only available for download via iTunes. There isn’t any physical media available for this release.

These albums prompt so many good memories of my life in SF during the 90s, including my return to The City in ’98 as I was winding my way through Oakland, just before I crossed the Bay Bridge.

I remember how scandalous the lyrics were considered at the time. Now you hear much worse on a daily basis.

And while you’re at it, GET OFF MY LAWN!

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