Monday, December 31, 2007

Victor Wooten - 2001 - Live in America


01 - Are you Ready, Baby [02:24]
02 - What Did He Say [06:54]
03 - Hormones in The Headphones [06:46]
04 - Nobody Knows My Name [04:50]
05 - Hero [05:07]
06 - Yinnin' and Yangin'Hey Girl [12:37]
07 - Sacred SilenceThe Jam Man [05:46]
08 - Tappin' and Thumpin' - Medley [05:32]
09 - James Brown!Iron Man.mp3 0:07:47]


01 - Miller Time [10:41]
02 - Good People [07:53]
03 - Imagine This [08:39]
04 - I Dream In Color [04:18]
05 - My Life [04:49]
06 - U Can't Hold No Groove.... [05:24]
07 - Me and My Bass Guitar [04:41]
08 - Pretty Little Lady [04:38]
09 - If You Want Me To StayThank You [09:48]

Saturday, December 29, 2007

Thursday, December 27, 2007

Flora Purim - 1974 - 500 Miles High

"Recorded when she was at the peak of popularity, a result of her stint with Chick Corea's Return to Forever, 500 Miles High presents Flora Purim in concert at the 1974 Montreux Jazz Festival. Accompanied by an all-star band including guitarist David Amaro, flutist Herbie Mann, keyboardist Pat Rebillot, bass legend Ron Carter, and husband (and star in his own right) Airto Moreira on drums, vocals, and various percussion, the Brazilian songstress delivers a fiery performance that must have been a joy to behold. Strictly speaking, this is really more of a band album than a Flora Purim album, as Airto and the guys are featured for extended instrumental romps. However, when Purim is in the spotlight, her vocal magic lifts the proceedings to a high level. The trademark "500 Miles High" is wilder and more electric than in its Return to Forever studio version. Special guest Milton Nascimento leads the ensemble through his "Cravo e Canela" (Cinnamon and Cloves), a joyously percussive highlight of the show. Elsewhere, Airto joins his wife for a vocal give-and-take while the band cooks along underneath. The lengthy set closer, "Jive Talk," is really more a showcase for him than for his wife, but when it kicks into high gear, it provides a scorching climax highlighted by the twosome's wordless vocals. Although a fine document of her live show, 500 Miles High is probably not the best place to go for an introduction to the vocal artistry of Flora Purim. Stories to Tell and Butterfly Dreams would serve this purpose better, as would Corea's Light as a Feather. Nonetheless, it's an enjoyably eclectic and exciting outing." ~ AMG

DJ NOBODY remixes yet to be released Mars Volta track Ouroboros

Low End Theory - Unreleased Beat Invitational #6 12/26/07

Tuesday, December 25, 2007

Pink Floyd-Atom Heart Mother Live Saint Tropez 1970

Sun Ra and his Solar Arkestra - 1965 - The Magic City

"It is notable especially for the title track. While it begins with use of tape echo recalling the experiments on Art Forms of Dimensions Tomorrow, the key features quickly emerge: Ra's simultaneous piano and clavioline intertwining with Boykins' bass as the underpinning for new long-forms of group music-making which draw on varying sub-ensembles from the Arkestra through the course of the piece.

"The Magic City is an early indication and prime example of the direction in which the music of the Sun Ra Arkestra would move, leading almost immediately to The Heliocentric Worlds of Sun Ra later in the same year." ~ Wikipedia

By the mid-1960s, bandleader and composer Sun Ra was delving deeply into extended, improvisation-heavy suites like The Magic City. Reckoned to be a tribute to his hometown of Birmingham, Alabama, this long, circuitous piece comes in two different takes on the CD reissue, and both takes are rambunctiously keeled on Ra's core band members, tenor saxophonist John Gilmore and alto saxophonist Marshall Allen, who each offer scouring, ear-pinning interludes. Even so, the music here is huge, with sprawling collective improvisatons that burst with wholehearted high energy, suggesting a latent power that Sun Ra often channeled through both his own intricate scores and reams of cover tunes elsewhere in his several decades as jazz's chief outer-space renegade. --Andrew Bartlett." ~ Avax Sphere


01. "The Magic City" – 27:22
02. "The Shadow World" – 10:55
03. "Abstract Eye" – 2:51
04. "Abstract "I"" – 4:08

Monday, December 24, 2007

The Bad Plus - 2003 - These Are the Vistas

The Bad Plus
These Are the Vistas
Recording Date: Sep-Oct 2002
Release Date: Feb 2003
Label: Columbia


"Whether or not pianist Ethan Iverson is literally using it, all of the Bad Plus' These Are The Vistas sounds as if it was recorded with the sustain pedal of the piano depressed. It's actually probably mostly the fault of producer Tchad Blake (Soul Coughing, Cibo Matto, Los Lobos), who applies his incredible treatments throughout the album, shining through especially in his work on David King's chaotic drums. Nonetheless, the Bad Plus sound as if they are in a cavernous space. The band rolls out the now-requisite jazz covers of pop tunes (in this case, Nirvana's "Smells Like Teen Spirit," Blondie's "Heart of Glass," and Aphex Twin's "Flim"), but it is their attitude (the very fact that they hired Blake to begin with, for example) that carries them the distance. The band itself is quite compelling. Iverson is a complex piano player. His skills come to bear on the abstract epic "Silence Is The Question," which closes the album, as his spidery piano lines melt into chaotic statements, left hand meeting subtly with bassist Reid Anderson, right hand meeting crazily with King. What is impressive is that the trio manages to sound contemporary using only piano, bass, and drums, and without resorting to electronic gimmicks. Whether or not the band is reinventing jazz is irrelevant. These Are The Vistas is good, interesting music." ~AMG


01 Big Eater
02 Keep the Bugs Off Your Glass and the Bears Off Your Ass
03 Smells Like Teen Spirit
04 Everywhere You Turn
05 1972 Bronze Medalist
06 Guilty
07 Boo-Wah
08 Flim
09 Heart of Glass
10 Silence Is the Question

The Gaslamp Killer - 2007 - It's A Rocky Road Vol. 2

Another unmixed comp of dusty psyche gems from Gaslamp's personal stash! GLK is a complete mystery to most of us here in the BK office, but these collections (and his way too infrequent blog posts) tell us all we need to know - this man is dangerous. 15 tracks, with no silly things like artist names or song titles to bind your mind. For some original Gaslamp beats, check his track on the Secret Hangout EP or his upcoming 12" from Money Studies. Highly recommended. - Turntable Lab

Nobody - 2007 - Valentine's Day Mix

Nobody (Elvin Estela), has been a fixture in the Los Angeles music scene since the early 1990s, first as a producer for many of the premier emcees at the Good Life Cafe/Project Blowed, and then as a remixer, producer, and important member of the global electronic and indie-rock communities. He has worked with, remixed, and toured in support of the Postal Service, Prefuse 73, The Mars Volta, Aceyalone, Mia Doi Todd, and many others. His releases for Ubiquity and Plug Research have garnered him not only critical praise, but the clout to define and redefine his sound as he sees fit. His productions effortlessly flow from the hip-hop themes of his early career to the psychadelia and rock motifs of his most recent work, and his vast musical vocabulary allows him to deliver with each and every mix. - Mush Records

Andy Votel - 2005 - Songs Of Insolence

Mind bending selection of twenty obscure fuzzed-out-psychadelic-
funk rarities taken from Andy Votels “Music To Watch Girls Cry” and “Songs In The Key of death” fat city mix tapes.
The album features 18 tracks in their entirerity that were included on Andys two mix CD’s for fat city. The tracks featured are all things obscure form the worlds of psyche, funk, jazz, soul and exotica including productions from half way around the world including Hungary, Japan, U.S, U.K, German, Czechoslovakia and Poland.
Most noteable artists are Badly Drawn Boy with a track from his now uber collectable first 7 inch on Twisted Nerve. The film score maestro John Barry with a super rare Japanese only release. Billy Childish’s The Headcoatees cover of the Northern classic “Have Love Will Travel”.
Also featured are a handful of exotic cover versions including a wonderous experimantal electronica extranganza of the Beatles classic “Hey Jude”, Otis Reddings “Sitting On the Dock Of The Bay" done Japanese karaoke style backed a hard snap snare, and Gershwins “Rhapsody In Blue” mooged- out Hungarian prog rockers. - Fat City Records

Andy Votel - 2002 - All Ten Fingers

With fingers in design, production, label management, DJing and a whole bunch of other pies, Twisted Nerve honcho Votel has to have every single one at his wanton disposal. With such a busy lifestyle, it's no surprise that it's taken him so long to muster up his first full-length album. The result is as a 15-track album that borrows as much from his label's love of lo-fi acts as it does from their love of electronic noise-smiths like Mum and Dad or Sirconical. All in all, though, it's a dark album where water drips down the studio walls as moody, sullen beats interrupt themselves occasionally with churns of garage-rock guitars. Votel lets his fingers do the talking. - xlr8r

Daedelus - 2006 - Live On Dublab

With a string of releases on Plug Research, Hefty, Tigerbeat 6, Eastern Development, and Alpha Pup, Daedelus has refined a style that has no imitators. Contrasting IDM styled cut-ups with childlike arrangements from the 30s and 40s, he has created a sound that is entirely new. His productions find the hidden common denominator between modern electronics and sampled music from days gone by. Recording out of Santa Monica, Daedelus also incorporates hip-hop into his mix, with guest spots from Busdriver, MF Doom, TTC, Mike Ladd, Absract Rude, Madlib, and High Priest (Anti-Pop Consortium). His live show, which utilizes a custom-built sample trigger device and software package, has amazed audiences across the US, Europe, and Japan and secured his reputation as one of the most exciting producers in electronic music. - Mush Records

this set is not like his usual sets on dublab, he usually will do a playlist of songs but for this special set he brought in his whole live set up and blessed the airwaves with a beautiful hour long soundscape. if you have seen him live then you know that your in for a treat with this set here!

D Styles - 2005 - Inspiration Information

The leader of the pack to deejays like Ricci Rucker and Mike Boo, D-Styles is the crown ruler at moving the role of the hip hop dj forward. Firstly as a ISP member and subsequently in solo mode guesting on nuff stellar projects plus we can't forget all those perverted battle break albums. This 34 part one hour CD is part old school mix and half a compilation of old school jams that have influenced D's scratching and jams that are obviously some of his favourites. The majority of the tracks are low riding 808 boom tunes, you know the type rocked by Too Short and most influencially by 2 Live Crew on the sick 'Ghetto Bass'. Blunted beatbox rockets drop from DMX and Ready Roc C backing up Fresh Prince and Just Ice. Forgotten crew UTFO feature as well as JVC Force, Gucci Crew, Z-3Mc's, Steady B, School Of Hard Knocks and Jewel T. Extra props for including Knights Of The Turntables 'Techno Scratch', a ill education. Extra bonus tracks at the end of this CD include D rocking with Ricci Rucker and Mr.Henshaw plus much more. Highly recommended. - Bookmat

Dublab Presents - 2002 - Summer

This collection of fresh summertime tunes was released in 2002. Our good friends at Hefty Records distributed the cds and an accompanying "Immediate Action" 12 inch featuring the first four songs. Only 1000 copies of each was produced and they disappeared in a flash. If you missed "summer" the first time around happy hunting!

2. Cody ChesnuTT - serve this royalty
3. PREFUSE 73 - perverted undertone
4. BENEATH AUTUMN SKY - winter solstice
5. BURDY - doobie da da
6. MICHAEL FLUME - agolele (Cosmic Rocker & Zeb remix)
7. I-WOLF - inna meditation
8. BACKYARD BANGERS - if nothing else then this
9. MANITOBA - people eating fruit
10. THE DYLAN GROUP - a hue from the land of plinky
11. TOM CHASTEEN - point dume
12. DAEDELUS & FROSTY - the age of aquariums

long out of print, enjoy!

Miles Davis - 1971 - Live/Evil


Disc 1

01 - Sivad
02 - Little Church
03 - Medley: Gemini/Double Image
04 - What I Say
05 - Nem Um Talvez

Disc 2

01 - Selim
02 - Funky Tonk
03 - Inamorata And Narration by Conrad Roberts


There’s something about the way this music hits me. It’s not as if I haven’t been exposed to lots of hard, loud music – in fact, compared to some of the stuff that now gets called “fusion,” Miles Davis’ version can often seem quaint on the surface. At the time of the shows documented on this 1970 set, he was playing with a new band (something he was doing more often than in any period of his life theretofore), and playing music that, while broached in the previous couple of years by himself and very few others, was rather unheard of to most music listeners of the time, and certainly the canonical jazz guard.

Davis’ ability to pluck players from all over has been fairly well absorbed into the arcane annals of jazz history, and something which I think rock listeners usually take some pride in, especially given that so many of the ones he plucked at that time were at least as much on a rocky road than a jazz one. Maybe that’s why the music they made was so unusual. Whereas the literal fusing of jazz and rock made journalists, critics and DJs have very little problem pigeonholing the sound of a hundred bands with virtually nothing in common except the way they were misunderstood or dismissed by various music experts and traditionalists. You know, Blood Sweat & Tears wins a Grammy in 1969 for “Spinning Wheel” and the rock press cheers their eccentricity and radical introduction of jazz into the pop vocabulary – Davis responds by making fun of the song’s hook on Bitches Brew. It turns out mixing rock and jazz wasn’t always revolutionary. Of course, the rock press redeemed themselves by sheer fickleness in the coming years by writing off bands like BS&T as lightweight clowns.

In the hands of a curious, inspired artist, the exact same convoluted fusion could work. Davis made the initial, relatively clumsy stabs on albums like Miles in the Sky and Filles de Kilimanjaro, and really got down to his genius business on In A Silent Way and Bitches Brew. The way he progressed, mastering one element at a time, from picking his players, experimenting with editing and tape loops in the studio, to jumping headfirst into the rock circus, playing in front of crowds more accustomed to “Suite Judy Blue Eyes” as an encore rather than “Miles Runs the Voodoo Down.” This modular advancement was at once subversive and marvelously efficient. In fact, the only other act in rock at the time to ever make such a successful leap in so short a time was The Beatles (in the mid 60s), and it shouldn't come as a surprise that Davis was highly influenced by Sgt. Pepper’s Lonely Hearts Club Band.

And there really is something about the way this stuff hits me. Live-Evil was released in 1971, and details two sets at The Cellar Door, Washington, DC, in December of 1970, and two recording sessions completed earlier in the year. The session stuff generally finds Davis in full mystical mode, as if starting from “Nefertiti” and working his way through Messiaen and who knows what rootless, exploratory concept of what makes a jazz ballad. The live stuff is a different animal entirely, and is arguably as close as Davis ever got to actual integration of rock and funk into his music. The beats are there, and the bass is right up front, but there is something else.

On paper, you can see how the players would probably sound good: Davis, the ringleader, on his horn, often with the wah-wah and other assorted aggressive filtration; Keith Jarrett, a holdover from the Bitches Brew touring band, on electric piano; Jack DeJohnette and Airto Moreira as the rhythm makers, also from the Bitches Brew band; Gary Bartz on soprano and alto sax, and Michael Henderson, fresh from Aretha Franklin’s band, on bass. A pretty nice lineup, and then there was the last minute addition of one John McLaughlin on guitar – these performances were probably fated to be special, as this kind of apparently offhanded, yet rather essential, arrival (Bartz later said that the group had never played with McLaughlin before this date) generally signals good things to come.

The first music recorded for Live-Evil actually came from sessions just after Bitches Brew, in February 1970. “Gemini/Double Image” is a slow burning, blues-mourn featuring most of the people who appeared on the legendary studio album, and was actually written by Davis’ former keyboardist Joe Zawinul. McLaughlin begins the wail with some very Hendrix-inspired figures, and in fact some of this tune is reminiscent of the more bluesy offerings from Jimi Hendrix’s Band of Gypsys release. Miles plays something like a head, accompanied by various exotic percussion instruments, and a rock-steady, albeit intermittent drum pulse.

In the summer of 1970, Davis entered the studio with a different band (featuring Steve Grossman, Ron Carter and Brazilian transplant Hermeto Pascoal, in addition to most of Davis’ regular partners from the time), and commenced laying down more peaceful tracks than the earlier session. “Selim”, at just over two minutes, is the shortest piece of music on the album, but is also one of the most singularly beautiful. Davis plays the tune, pensive and vulnerable, and is joined by Pascoal’s disembodied vocal. It is reminiscent of the otherworldly, hymnal music from In A Silent Way. “Nem Um Talvez” is in the same vain, though slightly longer, and featuring some subtle, reverb-laden auxiliary percussion. Furthermore, the band recorded “Little Church” the following day, which uses what sounds like a church organ and Pascoal’s (who wrote the tune) whistling alongside Davis’s muted trumpet to enhance the mood a tad. After so many years, it’s still odd to hear the breadth of expression of which these guys were capable. Warm, more than a little spacey and perfectly realized. And this stuff never even made it to the road.

As engaging as the studio material was, it is the live music that gives this release its teeth. “Sivad” begins without any hint of hesitancy over playing fairly unprecedented music, and in fact jumps headfirst into the groove like no music had ever come before. DeJohnette and Henderson are major reasons why Davis’ music from the period retains its power and cutting edge: these men play like hawks, circling around the band, pouncing at all the appropriate (and many other) moments, and just playing LOUD. One aspect of this band, and most of Davis’ bands in the 70s is that they tended towards the rock dynamic even if they played with jazz instrumentation.

“Sivad” begins as hard funk, but soon transforms into a blues lament (again recalling Hendrix), stretching out the hazy vamp for Davis, McLaughlin and Jarrett to take a chorus or six. Conversely, “What I Say” just stays with hard funk. The groove is faster than the former tune, and is superficially less “evil”, though I would add that any tune featuring Davis’ screech hits can never really be all that nice. Henderson lays down an assured ostinato, and DeJohnette plays the rock beats like he invented the stuff. Jarrett wastes no time in launching a solo. The tune also features one of two drum solos by DeJohnette on the record, both of which are great examples of a mixture of abstract jazz exploration and sheer rock pummeling.

“Funky Tonk” is mostly famous for Jarrett’s amazing, unaccompanied solo in the middle of the tune, for which the audience – doubtlessly less familiar with the piano player than they were Davis – emphatically gives its approval. “Inamorata and Narration by Conrad Roberts”, despite featuring the rather stream of consciousness prose from Roberts referenced in the title, is still more prime hard fusion. It would be hard to imagine a band more on top of their game than this one was at the Cellar Door date, and given that Davis would go on to tinker with his lineups increasingly before his early retirement in 1976, that this group of people were playing this closely and passionately is practically a miracle.

And even beyond all the grooves and tunes and solos and mystical cul-de-sacs, there is still something about Live-Evil that hits me strangely. Most of Davis’ other live albums from the period are a lot spottier than this one, especially as he got closer to retirement. It could be that he hadn’t gotten so heavily into drugs and the “rock star” lifestyle by the time of this album that he couldn’t still have some semblance of control of his sound. Or, it could be that this band of players simply couldn’t go wrong, and were actually on the verge of becoming so powerful, they had to split off, one-by-one, to start their own journeys. But what I really think it is, what I really believe makes Live-Evil so great is its sheer aggressive spirit. Miles Davis didn’t claim to be the best bandleader or the best trumpet player, but he did lead by example, and his bands played harder than anyone else I can think of. Live-Evil is a testament to what can happen when a real leader and artist sets his group free to tear down barriers, and on these dates, they did like no others.
--Dominique Leone

AstroNation Mixtape Vol. 6

01 - Free The Robots - Diary
02 - Rhythm of Black Lines - Sweet Naess of the Sun
03 - Black Uhuru - Sponji Reggae
04 - Frank Zappa - Dummy Up
05 - Radiohead - Nude
06 - Stanley Clark - Life Is Just A Game
07 - The Evens - All These Governors
08 - Roy Ayers - aragon
09 - Mono - are you there
10 - Albert King - Oh, pretty woman
11 - Jimmy Smith - Can't Get Enough
12 - Give Love Another Try
13 - ...Is Pushing Luck
14 - Herbie Hancock - Man-Child - 05 - Steppin' in It

The Roots feat. Roy Ayers: Proceed 2

Freddie King live @ Ann Arbor Blues Festival 1969


Freddie King
Ann Arbor Blues Festival

lineage unknown, but it seems to be a SBD or pre-fm record sound quality is B+ to my hears. i got it here flac (level 8) and burnt it on CDR, then i reencoded it today into shn format.

1. San HO Zay
2. See See baby
3. Have you ever loved a woman ?
4. Get out of my life woman
5. Hideaway
6. I just play it cool (fades out)

Dead Kennedys - Rhienterassen , Bonn Germany 15.10.1980



Lineage TAPE - CDR - WAVE - FLAC

Cleaned up & levels normalised using nero 6 with a little stereo widening added

Clearish soundboard recording



this was shared previously at ZOMB by BrockDenker, I believe, but I could be wrong as it is no longer on that tracker anymore. Sounds pretty good. Sorry no samples but if your hesitant then just DL 1 song to sample sound quality.

Bob Marley and The Wailers - 1975 - Manhattan Center, New York





sound quality : AUD: A







Ian Francis

"I was influenced by a huge range of people when I was growing up; I think probably the biggest single influences were Reggie Pedro, for the fantastic compositions & painting, Stanley Donwood, simply because I love some of the textures he uses and Dave McKean for the mixed-media & computer aspect.

The sometimes apocalyptic feel of my work comes from the combination of the fact we're probably the safest and wealthiest we've ever been against both the mass media sense of impending doom and also the fact that a potential world resource shortage could realistically mean that we won't be living this lifestyle for that much longer.

I'm interested in life, small inter-personal relationships, celebrities, etc. Against that backdrop there are a lot of huge apocalyptic things that you read about or see on the news that aren't always immediately obvious when you walk out the door. It’s about pornography and news reports from war zones instead of sex and death.

“My work is about modern life, particularly television, world events, celebrities, and day-to-day living.”" ~ Prime Arts

Chi Coltrane - Thunder and Lightning

Sunday, December 23, 2007

Chin's Calypso Sextet


As Jamaica's original music, all other Jamaican music can trace its roots to mento.
Some styles of mento would evolve into ska and reggae. (As a matter of fact, some mento songs are still being recorded "inna dancehall stylee" today.)

01 Honeymoon
02 Monkey's Opinion
03 Look Before You Leap
04 Riddle Me This
05 Guzoo Doctor
06 Why Jamaican Man Tan So
07 No Money No Music
08 Woman's Style
09 Jamaican Bananas
10 My New Year Rules
11 Mussu And John Tom
12 A Food Wedding
13 Woman's Tenderness
14 Adam And Eve
15 Melda
16 Why Blame Calypso

Calypso/Mento recorded for Chin's Radio Service at 48 Church St. in Kingston Jamaica,in the 50s. personally recorded by the artist. A classic, vintage recording.

The Chin's Calypso Sextet Band consisted of a Rumba Box,a Bamboo Saxophone, a Bamboo Flute, a Banjo, a floor Bass Guitar with four strings, a regular Guitar, two heavy sticks called clave, which they knock together, and a pair of Maracas. Most of the instruments were made with local materials, the Maracas was made from a fruit called Calabash, with some Jancrow beads put in as shaker. Most of the musicians were from the country districts but lived in Kingston, Everard F. Williams was the lyrics composer and band manager, Alerth Bedasse was the musical arranger, singer and director of the band.

All the recordings were done with a recording machine that used a cutting needle to cut grooves into 10inch 78 rpm vinyl resin discs. The microphones used were the large old ribbon types, RCA and Shure, they were very good.There were no acoustic rooms for recording, the recordings were done in the store at nights, after the store was closed, the floor was concrete, the ceiling was low and made with gypsum.

The musicians in the Chin's Calypso Sextet Band were the salt of the earth Jamaicans of the old days, they played calypso/ mento music from their hearts, they put everything they had into their music.

Most of the lyrics were done in Jamaican English PAT WA (PATOIS ).

Toshio Hosokawa/Gagaku: Deep Silence


In spite of a kinda new-age title, a thick, tight, laser-focused record of ur-timbral drone-magic...maybe one of my favorite drone-oriented recordings ever. Awesome.

Toshio Hosokawa / Gagaku: DEEP SILENCE (Wergo Concept Series 68012)

Label description:

“Music,” says Toshio Hosokawa, “is the place where notes and silence meet.” This identifies his aesthetic concept as a genuinely Japanese one. It is found both in Japanese landscape painting and in the music, such as the courtly gagaku, in which audible sound always stands in relation to nonsound, i.e. to silence. In their rhythmic proportions Hosokawa's compositions are oriented around the breathing methods of Zen meditation, with their very slow breathing in and very slow breathing out: “Each breath contains life and death, death and life.”
Mayumi Miyata (sho – the instrument of the universe or of tradition) and Stefan Hussong (accordion – the human or contemporary instrument) are among the most important interpreters of Hosokawa's music, which here is framed by four traditional gagaku pieces.

Toshio Hosokawa:

1. Cloudscapes. Moon Night for sho and accordion
2. Sen V for accordion
3. Wie ein Atmen im Lichte for sho solo

Traditional Gagaku:

1. Banshikicho no choshi for accordion and sho
2. Oshikicho no choshi for sho solo
3. Hyojo no choshi for accordion solo
4. Ichikotsucho no choshi for accordion and sho

Aki Takahashi - Piano Space


LP1 (CP23):
Side A:
Toru Takemitsu: Uninterrupted rests 8:45
Toru Takemitsu: Piano distance 5:38
Joji Yasa: Cosmos haptic 7:38
Joji Yasa: On the keyboard 7:39

Side B:
Keijiro Satoh: Calligraphy for piano 5:53
Yori-Aki Matsudaira: Allotropy for piano 8:24
Shuko Mizuno: Tone for piano 13:20

LP2 (CP24):
Side A:
Toshi Ichiyanagi: Piano media 6:13
Maki Ishii: Aphorismen für einen Pianisten 8:35
Shigeaki Saegusa: Baire's theorem 18:57

Side B:
Jo Kondo: Air I for amplified piano with trumpet 5:14
Yuji Takahashi: Maeander 22:58

LP3 (CP25):
Side A:
Anton Webern: Variationen für Klavier Op.27 - 7:08
Pierre Boulez: Première Sonate pour piano 4:48 + 5:00
Luciano Berio: Sequenza IV 10:48
Iannis Xenakis: Herma 6:42

Side B:
Olivier Messiaen: Mode de valeurs et d'intensités 3:26
Karlheinz Stockhausen: Klavierstück XI 7:05
Sylvano Bussotti: Piano Pieces for David Tudor 3 - 7:35
John Cage: Winter Music (1957) 9:20

Aki Takahashi, piano. Hosei Soken, trumpet (in Kondo)

Podcast: In My Continental December 22, 2007


01 Jay Electronica - Eternal Sunshine
02 Jay Electronica - …Because He Broke The Rules
03 Jay Electronica - Paper Thin
04 Jay Electronica - Voodoo Man
05 Jay Electronica - FYI
06 Ngoma - On The Day The Pope Died
07 Jon Brion - Phone Call
08 Rick James - Bustin’ Out (On Funk)
09 Nicole Willis - All The Time (Jimi Tenor Dub With Chris Dawkins)
10 Jon Brion - Collecting Things
11 Kanye West - Take Over (Interlude)
12 Kanye West - Take Over (Instrumental)
13 Chaka Khan - Through The Fire
14 Steve Fisk & Benjamin Gibbard - Overture
15 Benjamin Gibbard - Indian Summer
16 The Four Tops - Are You Man Enough
17 Marva Whitney & Osaka Monaurail - I Am What I Am (Part 1 & 2)
18 Charles Wright & The Watts 103rd Street Rhythm Band - Express Yourself
19 William De Vaughn - Be Thankful For What You Got
20 Cymande - Brothers On The Side
21 Ohio Players - Funky Worm
22 Teddy Pendergrass - Love TKO
23 Bob Marley & The Wailers - So Jah Seh
24 The Melodians - Rivers Of Babylon
25 Bob & Marcia - Young, Gifted & Black

Listen To The Podcast Here

Al Di Meola - 2007 - Diabolic Inventions and Seduction for Solo Guitar, Volume I, Music of Astor Piazzolla

"Too some, Al di Meola is best known for is shredding guitar work as part of Return to Forever, and also his early solo albums. But di Meola has always had an interest in flamenco styled acoustic playing ("Mediterranean Sundance" off of Elegant Gypsy, anyone?) — which is the six-string style that he fully embraces on his 2007 release, Diabolic Inventions and Seduction for Solo Guitar, Vol. 1: Music of Astor Piazzolla. Like its title says, the album is comprised solely of renditions of tunes by Argentine tango composer Astor Piazzolla, who is best known for trailblazing the nuevo tango style (which contained traces of both jazz and classical). And di Meola has no problem offering up a fine tribute, especially on such tracks as "Campero" and "Romantico." With Diabolic Inventions and Seduction for Solo Guitar, one of the world's most technically gifted guitarists proves once and for all that he is also one of the most versatile, as well." ~ AMG


1 Campero 4:49
2 Poema Valseado 4:27
3 Tangata del Alba 5:17
4 Adios Nonino 4:52
5 Tema de Maria 5:59
6 Milonga del Angel 4:58
7 Romantico 4:35
8 Milonga Carrieguera 3:06

Czeslaw Niemen Tapes & Rarities (1962-1999)


Artist: Czeslaw Niemen
Title: Tapes & Rarities
Lineage: tracks are mostly FM sourced, quality differs from poor to very good :)

My flood of unreleased Niemen recordings continues. This time I decided to look through various CDs/files and collect all tracks and concert fragments that are too small to make separate release, but too precious to just throw away. To my surprise it turned out to be over 4 hours of music.

First part: the 60ies. You'll find here some ridiculous tracks from Niemen's early career, like "Felicidade" (samba from "Orfeu Negro" movie, sang in Portuguese), or Little Eva's cover "The Loco-Motion", and lots of other early songs in different, radio versions.

[01] Felicidade (live, 1962, Szczecin, Poland)
[02] Czy mnie jeszcze pamietasz (live, 196x, unknown location)
[03] Allilah (radio version, 1968)
[04] Byc moze (radio version, 1965)
[05] Dziwny jest ten swiat (live, 1967, Opole, Poland)
[06] Ciuciubabka (live, 196x, unknown location)
[07] Domek bez adresu (radio version, 1967)
[08] Dziwny jest ten swiat (live, 1967, Sopot, Poland)
[09] Gdzie to jest (radio version, 1967)
[10] Locomotion (radio version, 1963)
[11] Nigdy sie nie dowiesz (radio version, 1963)
[12] Przyjdz w taka noc (radio version, 1965.10, with "Studio Rytm" ansamble)
[13] Jezeli (radio version, 1968)
[14] Pamietam ten dzien (radio version, 1967)
[15] Jak mozna wierzyc tylko slowom (radio version, 1965)
[16] Nie badz taki bitels (radio version, 1965)
[17] Nigdy sie nie dowiesz (radio version, 1967)

Part two: 70ies. Including brilliant early radio version of "Pielgrzym" with Grupa Niemen and studio version of Krzysztof Komeda's "Kattorna" (in truly hard-core-jazz-rock version).

[01] Pielgrzym (radio version)
[02] Daj mi wstazke blekitna (radio version)
[03] Smutny ktos, biedny nikt (radio version)
[04] 41 potencjometrow pana Jana (live, Jazz Jantar Festival, Sopot 1974, Poland)
[05] Daj mi wstazke blekitna (radio version)
[06] Kamyk (live, Opole 1974, Poland)
[07] Daj mi wstazke blekitna (live, Opole 1974, Poland)
[08] Kattorna (1972, studio?)
[09] Boze uchron nas (live, Niemen, Nadolski, Jazz Jamboree '75, Warsaw, Poland)
[10] Piesn Chochola; Miales chamie zloty rog (from "Wesele" by Andrzej Wajda, 1972)
[11] Nim przyjdzie wiosna (live, Sopot 1979, Poland)
[12] Piosenka o mojej Warszawie (live, Sopot 1979, Poland)
[13] Piosenka o mojej Warszawie (studio, 1979)

Part three: 80ie. Including three tracks from 1984 concert in Berliner Ensamble Theatre (I really wish I had the whole thing) and some soundtracks for movies and theatre plays.

[01] Moja ojczyzna (live, Berliner Ensamble Theatre, 1984-02-16, Germany)
[02] ? (live, Berliner Ensamble Theatre, 1984-02-16, Germany)
[03] Psalm XV (live, Berliner Ensamble Theatre, 1984-02-16, Germany)
[04] Wszystkim ludziom co do pracy spiesza (from TV show for children)
[05] Trzy etiudy Chopina (soundtrack)
[06] Etiuda rewolucyjna (F. Chopin)
[07] Psalm XV (from "Zaglada na ciebie" soundtrack)
[08] Wspomnienie (jubilee of Niebiesko-Czarni, 1987-07-xx)
[09] Dzis prawdziwych cyganow juz nie ma (OPPA, Wroclaw 1988, Poland)
[10] Usnij nam
[11] Maz i zona - Kontredans (theathre music)
[12] Maz i zona - Piosenka (theathre music)
[13] Maz i zona - Kontredans (theathre music)
[14] Maz i zona - Final (theathre music)
[15] Amen (live, unknown location)
[16] List do Koryntian (studio?)

Part four: (mostly) 90ies. Starting with medley of greatest hits sang with orchestra and including early demos from "Terra Deflorata" album and extremely rare duet with Italian singer Farida.

[01] Medley (live, Orkiestra Zbigniewa Gornego, 1980)
[02] Dziwny jest ten swiat (live, Korty Legii, Niemen i Perfect)
[03] Terra Deflorata (demos)
[04] Spod chmury kapelusza (live, Sopot, Poland)
[05] Musica Magica (1990, with Farida)
[06] Terra Deflorata (live, Italy 1990)
[07] Czy mnie jeszcze pamietasz (live)
[08] Dziwny jest ten swiat (live)
[09] Wiem ze nie wrocisz (21 lipca 1995 Sopot, Poland)
[10] Czy mnie jeszcze pamietasz (21 lipca 1995 Sopot, Poland)
[11] Pod papugami (Trojka, 1999-11-06, Warsaw, Poland)


Albert King - 1967 - Born Under a Bad Sign

"Albert King recorded a lot in the early '60s, including some classic sides, but they never quite hit the mark. They never gained a large audience, nor did they really capture the ferocity of his single-string leads. Then he signed with Stax in 1966 and recorded a number of sessions with the house band, Booker T. & the MG's, and everything just clicked. The MG's gave King supple Southern support, providing an excellent contrast to his tightly wound lead guitar, allowing to him to unleash a torrent of blistering guitar runs that were profoundly influential, not just in blues, but in rock & roll (witness Eric Clapton's unabashed copping of King throughout Cream's Disraeli Gears). Initially, these sessions were just released as singles, but they were soon compiled as King's Stax debut, Born Under a Bad Sign. Certainly, the concentration of singles gives the album a consistency — these were songs devised to get attention — but, years later, it's astounding how strong this catalog of songs is: "Born Under a Bad Sign," "Crosscut Saw," "Oh Pretty Woman," "The Hunter," "Personal Manager," and "Laundromat Blues" form the very foundation of Albert King's musical identity and legacy. Few blues albums are this on a cut-by-cut level; the songs are exceptional and the performances are rich, from King's dynamic playing to the Southern funk of the MG's. It was immediately influential at the time and, over the years, it has only grown in stature as one of the very greatest electric blues albums of all time." ~ AMG


01. "Born Under A Bad Sign" (Bell/Jones) – 2:47
02. "Crosscut Saw" (Ford) – 2:35
03. "Kansas City" (Leiber/Stoller) – 2:33
04. "Oh, Pretty Woman" (Williams) – 2:48
05. "Down Don't Bother Me" (King) – 2:10
06. "The Hunter" (Cropper/Dunn/Jackson/Jones) – 2:45
07. "I Almost Lost My Mind" (Hunter) – 3:30
08. "Personal Manager" (King/Porter) – 4:31
09. "Laundromat Blues" (Jones) – 3:21
10. "As The Years Go Passing By" (Malone) – 3:48
11. "The Very Thought Of You" (Noble) – 3:46

Albert King live @ the The Purple Carriage in St. Charles, IL 1974


Albert King
The Purple Carriage
St.Charles, IL

original lineage: FM broadcast > ? > CDR > EAC > FLAC

01. Believe
02. Don't burndown the bridge
03. I wanna get funky
04. Crosscut Saw
05. Stormy monday
06. Station ID
07. I'll pay the bles for you
08. Breaking up somebody's home
09. Blues power
10. Born under a bad sign

Albert King I'll Play The Blues For You Live @ Blues Carnival in Japan 1989

Albert King Fillmore East, 9.23.70

Saturday, December 22, 2007

Fifty Foot Hose - 1968 - Cauldron Plus

"A CD reissue of their rare 1968 LP, with the addition of seven interesting bonus tracks. Cauldron itself is erratic but fascinating. When married to routine blues-rock, the electronic squiggles seem to be covering up the inadequacy of the basic material, and the occasional bleats of pure electronic passages will bore rock-oriented listeners. Yet when combined with lilting-but-disquieting jazz-psychedelic compositions, like the title track and "If Not This Time," tit's genuinely original, similar in feel to the oscillation-toned rock of the United States of America (though the U.S.A.'s one-shot album was more consistent and smoothly produced). The bonus tracks include the four-song home demo that got them their Limelight contract (two of the cuts would be re-recorded on the LP); except for the rambling and indulgent "Desire," these are up to par with what came out officially. Topping things off are both sides of the "Bad Trip" single by Cork Marcheschi's previous group, the Ethix; the willfully inacessible blasts of noise-rock are among the most uncommercial and downright difficult relics of the psychedelic era that ever made it onto vinyl." ~ AMG

Susan Christie - 1970 - Paint a Lady

"The material on this album, heard by few until it was issued on CD in the early 21st century, might have been built up as a little weirder than it is by some of the collectors who've raved about it. While it's not the most uplifting stuff in the world, much of it is haunting but not all that out-there pop-folk. Susan Christie's fairly strong, strident vocals and moody melodies, occasionally embellished by strings, aren't the most uncommercial mixture that could have been concocted, though apparently they were too uncommercial to find release when they were originally recorded. What is unusual — and what sets it most apart from some singers she might bear the vaguest of resemblance to at times, like Melanie, Tim Buckley, Sandy Denny, and Bobbie Gentry — are the unexpectedly forceful distorted guitars, near-hard rock organ, and angular rhythms and mild dissonance used in some of the arrangements. In addition, for an eight-song, half-hour album, it's certainly unpredictable in the wide territory it covers — "No One Can Hear You Cry," unlike anything else on the record, is close to sounding like a fine lost Dionne Warwick outtake, though even that gets set aside from the usual Bacharach/David production by the insertion of off-the-wall exotic tinkles of descending instrumental glissandos. If that's not odd enough in this company, there's also a cut, "When Love Comes," that's not too far off early Marianne Faithfull at her best. In contrast, "Yesterday, Where's My Mind?" is freaky at the outset, with its pummeling, tumbling drum breaks, creepy organ, and trippy ominous whisper-to-a-scream recitation, but even that track settles back into a relatively conventional song after three minutes. "For the Love of a Soldier" is another standout, managing to mix affecting antiwar folk-rock with a funky hard rock chorus quite effectively. Though Christie's not quite a major talent based on these relics, this is nicely dreamy and varied folk-rock for the most part that shows a lot of sadly unfulfilled potential, and if it's more downbeat than the norm for the genre, it's hardly gloomy." ~ AMG

Jr. Walker and the All Stars

Funkadelic - 1975 - Let's Take It To The Stage

"One of Funkadelic's goofiest releases, Let's Take It to the Stage also contains more P-Funk all-time greats as well, making for a grand balance of the serious and silly. Perhaps the silliest is at the end — there's not much else one can call the extended oompah/icing rink start of "Atmosphere." The title track is as much a call to arms as "Free Your Mind and Your Ass Will Follow" is, but with a more direct musical performance and a more open nod to party atmospheres (not to mention the source of one of Andrew Dice Clay's longest-running bits). The targets of the band's good-natured wrath are, in fact, other groups — "Hey, Fool and the Gang! Let's take it to the stage!" There's no mistaking the track that immediately follows makes it even more intense — "Get off Your Ass and Jam" kicks in with one bad-ass drum roll and then scorches the damn place down, from guitar solo to the insanely funky bass from Bootsy Collins. It may only be two and a half minutes long, but it alone makes the album a classic. Hearing Collins' unmistakable tones is usually enough to get anything on the crazy tip, but "Be My Beach" just makes it all the more fun, as does the overall air of silly romance getting nuttier as it goes. "Good to Your Earhole" sets the outrageous mood just right — it's one of the band's tightest monsters of funk, guitars sprawling all over the place even as the heavy-hitting rhythm doesn't let one second of groove get lost. Of course, there's also one totally notorious number to go with it, but "No Head No Backstage Pass" has one of the craziest rhythms on the whole album, not to mention lip-smackingly nutty lines delivered with the appropriate leer." ~ AMG

Chick Corea Elektric Band - 1986 - Chick Corea Elektric Band

"Nine years after the breakup of the final version of Return to Forever, Chick Corea ended a long period of freelance projects by forming his Elektrik Band. This set, the group's initial release, finds Corea meeting up for the first time with the great bassist John Patitucci and drummer Dave Weckl; half of the selections also have either Carlos Rios or Scott Henderson on guitar. Due to the high musicianship, the personalities of the players, and Corea's colorful compositions, the Elektrik Band quickly became one of the top fusion groups of the late '80s." ~ AMG


01. City Gate
02. Rumble
03. Side walk
04. Cool Weasel Boogie
05. Got A Match?
06. Elektric City
07. No Zone
08. King Cockroach
09. India Town
10. All Love
11. Silver Temple

Chick Corea - Keyboards, Synthesizer Programming
Scott Henderson - Guitar
Carlos Rios - Guitar
John Patitucci - Acoustic Bass, Electric Bass
Dave Weckl - Drums

Roy Ayers - 1973 - Coffy

"A blaxploitation masterpiece on par with Curtis Mayfield's Superfly and Isaac Hayes' Shaft, Roy Ayers' soundtrack for the 1973 Pam Grier vehicle Coffy remains one of the most intriguing and evocative film scores of its era or any other. Ayers' signature vibes create atmospheres and textures quite distinct from your average blaxploitation effort, embracing both heavy, tripped-out funk ("Brawling Broads") and vividly nuanced soul-jazz ("Aragon"). The vocal numbers are no less impressive, in particular the rapturous opening cut, "Coffy Is the Color." Richly cinematic grooves, as inventive and cohesive as any of Ayers' vintage Ubiquity LPs. Highly recommended." ~ AMG

"What can I say? This is one of the greatest soul soundtracks ever! In a market that was dominated by the big-selling Shaft and Superfly albums, Roy slipped in this masterful blend of jazzy vibes and wah wah funk that's easily one of the best-composed records of the blacksploitation genre! The album's much more unified than your average funky soundtrack, and each track moves between styles that you'd hear on any of Roy's great albums from the time. There's heavy funk on the track Brawling Broads, cool vibes and electric piano on Aragon, off-beat jazz on Coffy Sauna, and great soul on cuts like Coffy Is The Color and Coffy Baby.
Wonderful all the way through, and another jewel in the already-big crown of the great Roy Ayers! Enjoy it!" ~ OufAr KhAn Blog


01 Coffy Is The Color (2:58)
Vocals - Denise Bridgewater* , Roy Ayers , Wayne Garfield
02 Pricilla's Theme (3:53)
03 King George (2:55)
Vocals - Roy Ayers
04 Aragon (2:52)
05 Coffy Sauna (2:13)
06 King's Last Ride (1:05)
07 Coffy Baby (2:23)
Vocals - Denise Bridgewater*
08 Brawling Broads (2:40)
09 Escape (2:14)
10 Shining Symbol (3:49)
Vocals - Wayne Garfield
11 Exotic Dance (3:14)
12 Making Love (2:45)
13 Vittroni's Theme - King Is Dead (1:58)
14 End Of Sugarman (1:04)

Eddie Hazel - 1977 - Game, Dames and Guitar Thangs

"A hidden gem among the many Parliament/Funkadelic-affiliated albums released during the mid- to late '70s, Eddie Hazel's only official solo album may not sport any perennial classics and may be a bit short on content, yet it became incredibly revered in subsequent years following its quiet release. Part of this album's magnetic allure to P-Funk fans no doubt arises from its rare status as a considerable collector's item capable of fetching substantial prices. There's more to the album than rarity, though. Hazel never really garnered the acclaim he deserved as a pioneering funk-metal guitarist during his time, and this album showcases just how stunning his guitar abilities really were. Each of the six full-length songs on the brief album feature Hazel laying down fiery guitar solos over loose song structures while the rest of his bandmates hold the song together and the Brides of Funkenstein handle a majority of the vocals. The two epic covers of "California Dreamin'" and "I Want You (She's So Heavy)" — clocking in at six-and-a-half and nine-and-a-half minutes, respectively — demonstrate this perhaps better than anything else on the album, as the band spends more time jamming than concerning itself with staying true to the originals. The other songs here are rather traditional late-'70s Parliament/Funkadelic songs written by George Clinton and Bootsy Collins that emphasize yet more of Hazel's manic lead guitar. Though this album doesn't exactly boast great songwriting or stand as a landmark album in the sense of Mothership Connection, it does feature some amazing guitar work on Hazel's part, clearly a vehicle for his soloing. And that in itself makes it great and worth hearing, particularly since the pioneering guitarist seemed to disappear into near oblivion after the Maggot Brain album, leaving fans with little recorded output to appreciate after his untimely demise." ~ AMG


1 California Dreamin'
2 Frantic Moment
3 So Goes the Story
4 I Want You (She's So Heavy)
5 Physical Love
6 What About It?
7 California Dreamin' (Reprise)

Sun Ra Arkestra @ Wilhelmshaven, Germany, Pumpwerk 1988



Sun Ra Arkestra

Wilhelmshaven, Germany,

Michael Ray,tp,voc Martin Banks,tp Tyrone Hill,tb
Marshall Allen,as,fl,EWI,per Pat Patrick,as Eloe Omoe,as,bcl,cl,per
John Gilmore,ts,cl,per Kenny Williams,bs James Jacson,basson,fl,ancient-egyptian-infinity-dr
Owen Brown,vio
Sun Ra-p,synthy,key,voc Bruce Edwards,g Rollo Redford,e-b Earl Buster Smith,dr
June Tyson,voc

CD1: 1. Set: 46:55
1 Mystery 12:44
2 Title 4:22
3 Mood Indigo 6:19
4 Title 3:53
5 East Of The Sun 4:49
6 Title 3:22
7 I Dreamed ... 5:14
8 St. Louis Blues (fade-out) 6:09

CD2: 2. Set: 47:02
9 Title 3:57
10 Title (SR,p-solo) 3:28
11 Title 4:46
12 Title 10:27
13 Title 3:44
14 Title 6:30
15 Title 3:53
16 I Want To Be Happy 7:14

Lineage: aud > cdr trade > flac > dime

Sound Rating: AUD A

* Please note, this is the first time this show has been put into public circulation! New Sun Ra is always a good thing.

Friday, December 21, 2007

The Evens - Cache Is Empty

"The Evens (featuring Ian Mackaye & Amy Farina) Recorded live at Fuse on 9th March 2007 in Sumner-Christchurch-New Zealand."

Fugazi - 2000 - Waiting Room @ Helsinki, Finland


"Flash to the coastal town of Goleta, California, center of all beachfront intrigue for the undergrads at UC Santa Barbara, circa 1994. Five local anti-beach boys lock themselves in a garage with a bunch of instruments, which they use to make strange noises. When they come out they are called iG-88, and they are playing a discordant, experimental brand of hardcore punk that, you can be sure, was unlike anything that had ever hit Goleta before. After recording a five-song demo, The Revolt of the Faceless Humanoids, the band learned of the existence of another iG-88 and became EX-iGNOTA.

After releasing a seven-inch (Lazurus is back to report...sunny skies in heaven), and touring extensively, EX-iGNOTA went home to Goleta to record the songs for their debut full-length, Jammin' on the One. Unfortunately, it turned out to be a posthumous release, as the band broke up before the album came out. Jammin' on the One is a versatile, complex hardcore symphony, full of measured, brooding guitars that set the stage before giving way to volcanic bursts of lyrical energy that inevitably exhaust themselves, leaving behind layers of damaged, busy guitar squiggle. You can hear a number of influences buried in EX-iGNOTA's expansive and diverse sound: Sonic Youth's alternately tuned walls of guitar, Slint's angular, atmospheric guitar interludes, Fugazi's hardcore rage, Clikatat Ikatowi's twisted, furious poetry. It all comes together as something bigger than the sum of EX-iGNOTA's parts. From bang and clatter to shriek and scream to somber reflection, EX-iGNOTA's musical vocabulary covers an incredible range of emotions." ~ Epitonic

Mr. Oizo - 2000 - Analog Worms Attack

Mr. Oizo
Analog Worms Attack
Release Date: Feb 22 2000
Label: Mute

Experimental IDM

"The album debut for Quentin Dupieux may not have received worldwide distribution had it not been for its most publicized track, the notorious Levi's advert and crossover hit named "Flat Beat." But it's doubtful Dupieux will turn into a one-hit wonder — and if he does, there's always his directing career — since Analog Worms Attack is an inventive album that somehow marries the experimental side of techno (Cristian Vogel, Laurent Garnier) with the outrageous flair of novelty tracks usually seen on, well, television commercials. Even including "Flat Beat" (which was wisely added only as a bonus track), the highlights are "Monophonic Shit" and "No Day Massacre," two tracks that blend surprisingly deep grooves and oddball effects. It's not so much a sense of humor that Dupieux displays here; it's closer to the playful side of quasi-pop electronica fashioned by Mouse on Mars and Like a Tim. Fans of the trademarked "Flat Beat" sound will find much to love as well ("Smoking Tape" and "Flat 55" are most similar to the hit), making Analog Worms Attack a left-field treat for both pop-culture seekers and genuine music fans." ~AMG


01 Bad Start
02 Monophonic Shit
03 No Day Massacre
04 Smoking Tape
05 Last Night a DJ Killed My Dog
06 The Salad
07 Bobby Can't Dance
08 Analog Worms Attack
09 One Minute Shakin
10 Inside the Kidney Machine
11 Miaaaw
12 Flat 55
13 Feadz On
14 Analog Wormz Sequet
15 Flat Beat [* bonus track]

John Frusciante - 1995 - Niandra Lades and Usually Just a T-Shirt

John Frusciante
Niandra Lades and Usually Just A T-Shirt
Release Date: 1995
Recording Date: N/A
Label: American

Alternative/Experimental Lo-Fi

"Upon leaving the Red Hot Chili Peppers in 1992, guitarist John Frusciante delved into home recording, eventually completing a 12-track album titled Niandra Lades that bore the influence of '60s oddballs like Syd Barrett and Captain Beefheart. Niandra Lades languished on the shelf for a while until it was paired with another 12-track collection of Frusciante's home-taping efforts; this one, titled Usually Just a T-Shirt, concentrated on pleasant psychedelic instrumentals with plenty of backward-guitar effects. While some might find the jump from bizarre vocal numbers to atmospheric instrumentals (and the resultant shift in mood) a bit jarring, the two halves do share certain characteristics. Frusciante's singing voice has a fragile, wispy quality that sits well next to the often delicate second half, and the sparse arrangements of the first half help set the stage for the gossamer guitar work later on. Because the whole project has a definite stream-of-consciousness feel, it does fall prey to underdeveloped ideas at times, but overall, Niandra Lades and Usually Just a T-Shirt is an intriguing and unexpected departure from Frusciante's work with the Chili Peppers." ~AMG


01 As Can Be
02 My Smile Is a Rifle
03 Head (Beach Arab)
04 Big Takeover
05 Curtains
06 Running Away into You
07 Mascara
08 Been Insane
09 Skin Blues
10 Your Pussy's Glued to a Building on Fire
11 Blood on My Neck from Success
12 Ten to Butter Blood Voodoo
13 Untitled #1
14 Untitled #2
15 Untitled #3
16 Untitled #4
17 Untitled #5
18 Untitled #6
19 Untitled #7
20 Untitled #8
21 Untitled #9
22 Untitled #10
23 Untitled #11
24 Untitled #12
25 Untitled #13


Thursday, December 20, 2007

The Mars Volta - 2007 - Berkeley Community Theater

The Mars Volta
Live at the Berkeley Community Theater
Berkeley, CA
March 31, 2007

Taped from the lower balcony.

Recorded with:
Giant Squid Omni Mics > Battery box w/bass roll-off > iRiver H100 w/Rockbox installed
>Split into tracks, EQed, and normalized using Cubase LE
>Exported to .wav
>Flac using FLAC Frontend

1. Fela Kuti's "Expensive Shit" (pre-show music) + Fistfull of Dollars Intro
2. Rapidfire Tollbooth (Bedlam in Goliath)
3. Roulette Dares
4. Cygnus...Vismund Cygnus
5. Viscera Eyes
6. Idle Tooth ((Wax Simulacra))
7. Drunkship of Lanterns
8. Vermicide
9. Tetragrammaton
10. Meccamputechture
11. Day of the Baphomets

New drummer- Thomas Pridgen- he is LOUD on this recording.
Cedric was a bit sick, so vocals werent exactly top notch.
Overall, amazing energy/performance!

Check out these youtube clips from this performance:

Drunkship pt 1

Drunkship pt 2

Jimmy Smith - 1974 - Paid in Full

organ Jimmy Smith
piano Jimmy Smith *
guitar Ray Crawford
bass Larry Gales
congas & percussion Buck Clarke
drums Donald Dean
producer Jimmy Smith
engineer Jack E. Hunt

side a 1

01. Bro' Pugh *
Jimmy Smith

02. Killing Me Softly With His Song
Norman Ginbel / Charles Fox

side b

01. Paid In Full
Jimmy Smith

02. Can't Get Enough
Jimmy Smith

Wednesday, December 19, 2007

The Mercury Program - 2000 - From the Vapor of Gasoline

The Mercury Program
From the Vapor of Gasoline
Recording Date: Jan-Feb 2000
Release Date: May 2000
Time: 43:25
Label: Tiger Style


"A post-rock album that doesn't sound like Sonic Youth B-sides. Florida-based the Mercury Program tempt their chin-stroking muses by creating a collection of songs that use the seemingly conventional setup of rock clichés (guitar solos, mumbling vocals, etc.), but they also embrace the more free-form patterns of experimental jazz. The good information is that unlike most post-rock contemporaries, the "feedback squalls = artistic" belief is kept at a minimum. The bad information is that it still rarely succeeds. For example, the track listing reads like a series of in-jokes ("Down on Your Old Lung" is a highlight), the loose structures start to chafe, and the whole experiment feels too much in love with itself to connect with an audience. However, even the most antagonistic of listeners would be hard-pressed to dismiss the hovering interest of the album's title track or the engaging murmur of the finale "Highways Like Veins." It's just that, more often than not, the album sounds like cerebral intentions gone awry. Like most American experimentalists, the hope is that the band tends to hone in on their true musical character somewhere down the line. Because as it stands, From the Vapor of Gasoline comes across like music theory students trying to impress their professors." ~AMG


01 The Sea Is in Here
02 Re-Inventing a Challenge for Machines
03 Leaving Capitol City for Good
04 Nazca Lines of Peru
05 Every Particle of the Atmosphere
06 From the Vapor of Gasoline
07 Fastest Way Through the South
08 Down on Your Old Lung
09 The Vortex East
10 Highways Like Veins

Lazy Sunday Instrumentals

1. Flying Lotus - $tunt
2. Lemon Jelly – In the Bath
3. Prefuse 73 – Beaten Thursdays
4. DJ Signify and Blockhead – Nobody’s Smiling 7” (Side B)
5. Hudson Mohawke – Unreleased
6. Hudson Mohawke – Unreleased 2
7. Daedelus – My Beau
8. Thavius Beck – To Make Manifest
9. Thavius Beck – Under Pressure
10. RJD2 – Bus Stop Bitties
11. DJ Food – Well Swung
12. Sixtoo – Boxcutter Emporium pt. 3
13. Ras G – Funny (How Love Can Be…)
14. Georgia Anne Muldrow – Wrong Way
15. The Heliocentrics – Before I Die
16. Flying Lotus – Ankleboybackyard
17. Kid Koala – More Dance Music
18. The Herbaliser – Shorty’s Judgment
19. RZA – State of Grace
20. Lucky Me – Bumper
21. Daddy Kev – By Your Side
22. FLYamSAM – Green Tea Power
23. Sixtoo – Jackals and Vipers and in Envy of Man, pt. 4
24. Free the Robots – Satellite Station
25. Heralds of Change – Spotted

Tuesday, December 18, 2007

Phases of the Moon: Traditional Chinese Music

Phases of the Moon collects traditional and contemporary Chinese compositions, including "Moon on High," "Dance of the Yao People," "Purple Bamboo Music," and "Spring on a Moonlit River." A graceful, meditative collection, and a good overview of past and present music from China. ~ AMG

01. The Moon Mirrored in the Pool
02. The Moon on High
03. Days of Emancipation
04. Dance of the Yao People
05. Peking Opera Melody: Flowing Water
06. Tashwayi
07. Spring on the Pamir Plateau
08. Purple Bamboo Melody
09. Dancing in the Moonlight
10. Song of the Herdsmen
11. Spring on the Moonlit River

Monday, December 17, 2007

Sun City Girls - 1990 - Torch of the Mystics

Torch of the Mystics represents the pinnacle of the first phase of the Sun City Girls. A concise, pinwheeling album that captures the band's pure commitment to emotional transcendence through music, the 11 songs here fly off into the netherworld of ethnic avant-garage rock with startling clarity. The band had never fully explored the Middle Eastern tones accumulating in their brains as they did on this 1990 masterpiece, nor had they been as clearly and smartly recorded as they are here: guitarist Rick Bishop's tone slices, drummer Charlie Gocher is wider than he has ever been, and bassist Alan Bishop rumbles with an ominous ferocity. Songs like the pile-driving "Esoterica of Abyssynia" sound like your radio has leapt into a dreamy foreign astral plane of its own volition. "Space Prophet Dogon" is a dance of the seven veils as played by the freaked-out Mothers of Invention, while "Radar 1941" crash-lands in the middle of Egyptian Top 40 as imagined by "Count Five." Every track contains a shimmering melodic phrase or haunting undertone that the Girls mine like pure manna, and the occasional bursts of delirious chanting still summon goosebumps on the listener's skin. Every argument made for the greatness of the Sun City Girls has its roots in this platter, and if you have never understood what the fuss is all about or if you ever needed something to convince you of their (deservedly) sterling underground reputation, this is the original testament. ~ AMG

01. Blue Mambo
02. Tarmac
03. Esoterica Of Abyssynia
04. Space Prophet Dogon
05. Shining Path, The
06. Flower, The
07. Cafe Batik
08. Radar 1941
09. Papa Legba
10. Vinegar Stroke, The
11. Burial In The Sky

Cadillac Jones - 2005 - The Big Takedown

Cadillac Jones - The Big Takedown

From Home Grown Music:

Cadillac Jones rolled onto the Atlanta music scene in 1999 and began drop-shifting heavy funk grooves across the city. From East Atlanta's Village Lounge, to Smith's Olde bar, to the Star bar, to Lenny's, to the Clairmont Lounge last Halloween, to the International Artists Guild and all the way up to the Stella Blue Theatre in Ashville, NC, Cadillac Jones has slammed into every gig with exceptionally powerful, hip shaking beats.

Track List

1.Intro 0:25
2.Narq 5:24
3.Hottub 5:29
4.Tarzan 4:54
5.14th Street Hustle 4:54
6.Speakeasy 2:12
7.East Coast Eddie 6:07
8.Blackbyrds' Theme 3:56
9.The Mac 7:52
10.Casin' The Joint 5:14
11.Ike's Regret 0:47
12.Barbados 5:48
13.Power 5:14
14.Return of the Narq 2:57

Cadillac Jones - 2003 - Junk In The Trunk

Cadillac Jones - Junk in the Trunk

From Home Grown Music:

Cadillac Jones is shifting into overdrive and careening through the Atlanta music scene, with side swiping neo-funk grooves, pelvic pounding rhythms and Hot Tub chic melodies made for modern loving. Standing on the shoulders of giants like Herbie Hancock, James Brown, Charlie Parker, and Grant Green, taking deep breathes of innovators like John Scofield, Charlie Hunter and Karl Denson, Cadillac Jones' sound is one part jazz, two parts funk and three sheets to the wind. When they're bad, they're better.

Track List

1.Tilt 4:53
2.Upper Decker 3:38
3.Sammy Sosa 6:44
4.Galaxy Galore 4:18
5.Friend Or Foe? 8:38
6.Yahtzee Champ 3:35
7.Giant Steps* 5:13
8.Concourse '73 5:40
9.Janine Is Fat 4:46
10.Your Mama 6:47
11.Adults Making Love 7:19
12.Anthesis 10:18

*John Coltrane Cover

Stanley Clarke, Al DiMeola and Jean Luc Ponty as The Rite Of Strings

Al di Meola, Jean-Luc Ponty & Stanley Clarke. Rite of Strings Nov 24 2007 Belo Horizonte, MG, Brasil

Indigo part 1

Indigo part 2 - Song to John part 1

Song to John - part 2 conclusion

Memory canyon

Al's solo set

Jean-Luc's solo set

Stanley's solo set


Mediterranean Sundance

Encore: Song to John Reprise


Rite Of Strings
August 14 1995
Lewiston NY

Sony D3 Pro Cassette>Soundforge>wav>flac

Stanley Clarke Al DiMeola Jean Luc Ponty

recorded by: Chunga NY

CD 1
1 Song To John
2 Indigo
3 Memory Canyon
4 La Cancion De Sofia
5 Jean Luc Ponty solo
6 Al DiMeola solo
7 Stanley Clarke solo

CD 2
1 Morocco
2 Change Of Life
3 Chilean Pipe Song
4 Renaissance
5 ?Untitled Encore?

Do not encode to MP3,please distribute freely AS/IS

Over The Counter Culture Vol. 1

Over The Counter Culture Vol. 1

01. Eroc - Noderland
02. Erkin Koray - Mesafeler
03. 3 Urel - Omur Biter Yol Bimez
04. The Gris Gris - Cuerpos Haran Amor Extrano
05. Dennis Olivieri - I Cry In The Morning
06. The Gaslamp Killer - A Duet
07. Susan Christie - Paint A Lady
08. Apryl Fool - Tomorrow's Child
09. Fifty Foot Hose - Rose
10. Bonnie Dobson - Bird Of Space
11. Selda - Utan Utan
12. Orient Express - Cobra Fever
13. Doris - You Never Come Closer
14. Jyotitindra Moitra & Ustad Ali Akbar Khan - Title Music
15. Erkin Koray - Estarabim
16. Selda - Adaletin Bumu Dünya
17. Yasseen Mohamed - Ndege kaa Ufikiri

Sunday, December 16, 2007

Les Savy Fav @ The El Rey Theater, Los Angeles December 15th, 2007


Les Savy Fav

December 15th, 2007

The El Rey Theater, Los Angeles

Audience Camera
Sony Cyber-shot DSC-W1

Format: MPEG-1
Codec: MPEG-1
Resoulution: 640x480
Bit Rate: 2854 kbps
Aspect: 4:3
Frame Rate: 25


Notes: 3 separate files include the entire show. I stopped and restarted after the first song to zoom in a bit. I stopped once more during the encore break.

Any help with the setlist would be appreciated.

Maceo Parker - Shake Everything You Got

Einstürzende Neubauten - Perpetuum Mobile (2004)

Einstürzende Neubauten
Perpetuum Mobile
[Mute; 2004]

There was a time when Blixa Bargeld and his band were the spree killers rampaging through malls on busy Saturdays, all searing anger, deafening noise and violent flash. The visceral power of their first decade of work is undeniable-- they had christened themselves Einsturzende Neubauten (German for "collapsing new buildings") and they made music to match the moniker, employing scrap metal and dental equipment to give it the necessary sturm-und-drang. After releasing a series of lackluster albums in 1990s which lost the immediacy of their prime work, the band made an impressive rebound with 2000's Silence Is Sexy, and they've all but perfected the more restrained approach begun on that album with Perpetuum Mobile: Where once they embodied bursts of malevolent violence, they're now something more akin to a different kind of murderer: the long-term, reclusive serial killer, whose neighbors find to be the quietest, most polite person on the block, but who has secretly buried 48 bodies in the woods behind his house.

- Pitchfork

Lyrics in German and English:

Saturday, December 15, 2007

Miles Davis Memorial BBQ 89.35 SBD w/ Zappa, Doors, & Beefheart Alumni October 1st 1991


I was asked to pass this along. Ironic as I usually pass my shows to others to upload. My bandwidth is narrow so be patient please.

Miles Davis Memorial BBQ
Lotek Studio, Mar Vista, CA
October 1st 1991

Source: 1st or 2nd generation soundboard
Lineage: Sony TC-WE8258 cassette deck>Maxell XLII Cassette>Gina20>Sound Forge 7.0 (record/edits)>FLAC Level 8>wav> Soundforge 5: speed correction, tracking > flac lvl7 w/SBA

Line Up:
Arthur Barrow - bass
Bruce Fowler - trombone
Tommy Mars - electric piano, synthesizer
Robert Williams - drums, percussion
Bruce Gary - drums, percussion
Robbie Krieger - guitar (on tracks #2 and 3)

Set list:

1) Miles Davis Memorial Jam [29:17]
2) Milestones [43:54]°°° tf/cut at 16:37
3) Bitches Brew [16:24]

total time 89.35 min

Speed correction notes:
1) MD Mem Jam: 0 to -20cts
2) Milestones side A portion: -20 to -30cts
Milestones side B, first 11 min: -20 to -30cts, the rest -30cts
3) Bitches Brew: -30cts

A D&F production gem

A Tribe Called Quest - Find a Way

Tom Waits - Rain Dogs (Live)

Lee Perry & the Upsetters- (1976)- " Super Ape "

Photo Sharing and Video Hosting at Photobucket

Despite clocking in at a whopping 4 feet eleven inches, Lee Scratch Perry looms head and shoulders over reggae’s history, much like the gorilla on the cover of this album. Not only is Perry regarded as having taken roots dub to new depths, many people (likely including Perry) would assert that he invented it himself. Noted both as an engineer and producer, it was at his Black Ark studios that Bob Marley recorded some of his earliest tracks (which Perry then sold to Trojan Records, allegedly pocketing the cash and effectively derailing his relationship with Marley). Always flamboyant (his attires suggests Sun Ra’s Salvation Army stylee), Perry presided over the Upsetters, a number of whom would come to greater notoriety as Wailers. The Upsetters had performed on Max Romeo’s earlier success, War Ina Babylon (also on Hip-O Select), and Perry, who seemed to inhabit the studio 24/7, felt it was time to unleash his studio band as a performing unit in its own right. Comprised of a half-dozen-strong percussion session, a horn section of similar size, and several vocalists including Prince Jazzbo and Perry himself, the Upsetters took a dark and swampy turn on this album. The congas and bass hold down the bottom end with an almost ominous interplay, and the vocals swirl in and out in a tropical fever state. When they put the album’s motto on the front cover, proclaiming “Dub It Up Blacker Than Dread,” they weren’t fooling. As it states in the opening verse of Zion’s Blood,” I and I shall never fade away.” By making albums such as Super Ape, Lee Perry guaranteed it.


1- Zion Blood
2- Croaking Lizard
3- Black Vest
4- Underground Root
5- Curly Dub
6- Dread Lion
7- Three In One
8- Patience Dub
9- Dub Along
10- Super Ape

Grateful Dead - 1965 to 1967 - Acid Tests


Grateful Dead & Merry Pranksters
The Acid Test Reels

A chronological compilation of the Acid Test recordings listed in
The Grateful Dead Tapers Compendium Volume One.

DISC ONE: Fillmore Acid Test/Sound City Acid Test

The Fillmore Acid Test
Fillmore Auditorium, San Francisco, CA
January 8, 1966
1. Stage Chaos/More Power Rap
2. King Bee
3. I'm A Hog For You Baby
4. Caution: Do Not Step On Tracks >
5. Death Don't Have No Mercy
6. Star Spangled Banner / closing remarks

The Sound City Acid Test
363 6th Street, San Francisco, CA
January 29, 1966
7. Ken Kesey interviewed by Frank Fey
8. Ken Babbs and harmonica
9. Take Two: Ken Kesey
10. Bull
11. Peggy The Pistol
12. One-way Ticket
13. Bells And Fairies
14. Levitation
15. Trip X
16. The End

7-16 The Acid Test: A Sound City Production

DISC TWO: Pico Acid Test /S.F. State U Acid Test (pt.1)

The Pico Acid Test
Danish Center, Los Angeles, CA
March 12, 1966
1. Viola Lee Blues
2. You See A Broken Heart -Commercial Release (Deleted)
3. In The Midnight Hour

The San Francisco State Acid Test
Whatever It Is Festival
San Francisco State University, San Francisco, CA
Stereo Control Room Master (rec. 4:00AM - 6:00AM)
October 2, 1966
4. The Head Has Become Fat Rap
5. A Mexican Story: 25 Bennies
6. A Tarnished Galahad
7. Get It Off The Ground Rap >
8. It's Good To Be God Rap >
9. Nirvana Army Rap >
10. The Butcher Is Back
11. Acid Test Graduation Announcement
12. Send Me To The Moon >Closing Rap

Credits on 10/2/66:
Voices: Ken Kesey and Hugh Romney
Guitar: Ken Kesey
Violin: Dale Kesey
Organ: Jerry Garcia
Engineering: Steve Newman, Ken Kesey, Mountain Girl

DISC THREE: S.F. State U Acid Test (pt. 2)/Graduation Jam

The San Francisco State Acid Test
Whatever It Is Festival
San Francisco State University, San Francisco, CA
October 2, 1966
1. Ken Kesey's dialogue (isolated remix)

Merry Prankster Sound Collage Sequences
October 2, 1966
2. Prankster Music/Sound Collage #1(sequence 1)
3. Kesey Rap > Prankster Music/Sound Collage #2 (sequence 2)
4. Prankster Sound Collage #3 > Prankster Raga(sequence 3)
Prankster Recordings broadcast over the P.A.

End of Whatever It Is Festival
October 2, 1966
5. Closing Jam
6. Prankster Electronics

Acid Test Graduation Jam
Winterland, San Francisco, CA
October 31, 1966
7. Jam Session (musicians unknown)
from The World Of Acid film soundtrack

Disc Four: Related Recordings

Neal Cassady & The Warlocks 1965
1. Speed Limit
studio recording/Prankster production tape circa late 1965
Straight Theater, Haight Street, San Francisco, CA July 23, 1967
2. Neal Cassady Raps (backed by The Dead)
recording released as a flexi-disc in the 1st printing of The Dead Book

Acid Tests Production Reel
3. Jerry Garcia commentary with Acid Test audio
710 Haight Street House, San Francisco, CA summer 1967
4. - 6. Jerry Garcia
one hour interview about music, drugs, politics and social changes circa

Disc Five: Supplementary CD#1 [74:04]
The Watts Acid Test February 12, 1966
Youth Opportunities Center, Compton, CA

01. Who Cares Rap (Pigpen, Weir, etc.) [6:08}

The Pico Acid Test March 12, 1966 (EXPANDED VERSION)
Danish Center, Los Angeles, CA

02. Viola Lee Blues [11:54]
03. One Kind Favor [4:19]
04. I Know You Rider [2:41]
05. You See A Broken Heart [3:18]
06. It's A Sin [4:47]
07. Beat It On Down The Line [4:06]
08. Heads Up [6:17]
09. Next Time You See Me [5:04]
10. unknown blues instrumental[8:15] - might be Death Don?t also (Tony Middleton)???
11. Death Don't Have No Mercy [6:03]
12. Midnight Hour [11:06]
The 8th song, previously notated as "unknown instrumental" on Deadlists, is a cover of Freddy King's "Heads Up." The 9th tune, previously listed as "The Same Thing (instrumental)," is definitely NOT that song. Although it is a
standard blues and sounds similar at the beginning, closer listening makes it pretty obvious that it is an entirely different song, title unknown. The Viola Lee Blues on this expanded version is a different version than on the
previous three song version of Pico Acid Test. This is an ongoing mystery, although it should be said that both versions are worth having.

Disc Six: [41:56]
Supplementary CD#2 - San Francisco State Acid Test (alternate version)
"Whatever It Is" Festival October 2, 1966
San Francisco State University, San Francisco, CA
Stereo Control Room Master (rec. 4:00AM - 6:00AM)
Source(s) unknown, this has different lineage, and some different edits to the "intact" version. Specifically some contemorary (Tomorrow show '81?) interviews are spliced in, and the sound collages towards the end are presented in a different sequence.

01. Jerry Garcia intro 0:20
02. A Mexican Story: 25 Bennies 3:41
03. Get It Off The Ground Rap 9:32
04. It's Good To Be God Rap 2:40
05. Nirvana Army Rap 0:52
06. The Butcher Is Back 3:14
07. Acid Test Graduation Announcement 1:29
08. Send Me To The Moon 1:22
09. Jerry Garcia interview 0:40
10. Sound Collage 3:43
11. Ken Kesey Interview 0:22
12. Sound Collage #2 9:58
13. Jerry Garcia Interview 0:19
14. Music / Sound Collage #1 2:14
15. Ken Kesey Interview 0:15
16. Sound Collage 1:15

compilation and package by Alan Bershaw
shn discs by TaW
Note 1: I split the 1h Jerry interview on disc 4 into 3 smaller pieces (a-c).
Note 2: The shn-tracks for audio disc 4 are split between shn-discs 2 and 3!