Saturday, August 4, 2007

Tera Melos - 2006 - Nevada City

"Just one look and you'll see why TERA MELOS leaves fans stunned and wondering how this band is able to play such complex melodies while hanging from the ceiling or cart-wheeling into the unsuspecting front row.

Sacramento's instrumental four-piece fuses elements of jazz and ambient techno with hardcore punk, creating a unique sound that has been described as a head on collision of the melody of Cap'n Jazz with the aggressiveness of Black Flag, combined with an extremely energetic and, often times, borderline dangerous live-show.

Case in point, the band was just voted "Best Stage Presence" by Sacramento's Alive And Kicking (1/2005), which heaped on extra phrase saying "By far, this is fucking the most insane band I have seen since The Yah Mohs at The Hindenburg. You have to stand back or you will get hurt."

While Tera Melos calls Sacramento home, the young band has already run one van into the ground while playing 95% of their 100+ shows on the road. Constantly on tour, and into their 2nd van, the band truly feels at home on the road playing for fans.

The band came together after friends Nick (Guitar), Nate (Bass), and Jeff (Guitar) found themselves getting bored with the hardcore punk they had been playing for most of their lives. Nate and Nick were veterans of Sacramento's legendary NO REGARD (and Nick had filled in for THE HOODS on bass for multiple tours), while Jeff played in the short-lived but highly successful STABBED IN THE THROAT. Jeff then met Vince (Drums) at an improvisational jazz class and asked him to sit in on a session or two. Vince was initially reluctant to join because he "wasn't into playing punk," but a few practices later it was clear that Tera Melos "wasn't really playing punk.” The four found a chemistry which they continue to develop with each performance.

The band spent some time trying out vocalists, but upon failing to find one with the right chemistry, opted to go on without one, making the voice of the band a purely instrumental one. (This was probably a good idea, as a vocalist would be likely to lose their teeth at the receiving end of a cartwheel to the face.)

Tera Melos is all about on-stage energy. Though they do violently thrash around, like a finely tuned Swiss watch barely avoiding dangerous collisions, violence at shows is not acceptable. Neither are drugs (or meat for that matter, as all four members are vegetarian as well). The passion for their music is most important and sometimes in that fury, things get broken and people get…involved. Hundreds of dollars have been spent repairing broken equipment, and guitar-repair has recently been added to the band's list of skills. Audience members are generally safe, though Nick's guitar has cut open people's faces on two separate occasions -- with both victims returning to the shows, smiling from ear to ear, so that they could purchase CDs and T-shirts and pose for pictures showing off their fresh stitches.

TERA MELOS takes great pride in taking care of their fans, they play lots of fun free shows and sell recycled thrift-store shirts with their logo's hand-screened for under six dollars; anything to connect with the people who take their time to be a part of the experience. This has cultivated a growing rabid fan-base in towns around the country, this mutual support and appreciation make the economics work and the band can continue doing what they love.

TERA MELOS' untitled full-length album will be released by Cupertino, CA's Springman Records on October 4th, 2005, and will be followed in the spring with a feature length DVD chronicling the bands recent adventures across the country, as well as the bands past touring and shows with acts like The Locust, Planes Mistaken For Stars, These Arms Are Snakes, Big Business, Oxes, Desert City Soundtrack, Bear Vs. Shark, Bullet Train To Vegas, and more." ~ Spring Man Records

Live Show Download from 2006:

The Eternals - 2007 - Japan

"Truly warped funk/dub ensemble the Eternals combined the talents of Damon Locks (vocals, keyboards, special EFX), Wayne Montana (bass, melodica, guitar, keyboards), and Dan Fliegel (percussion, guitar, keyboards). Montana and Locks spent years together in the overlooked Trenchmouth, and Fliegel spent time with members of Tortoise as Tom Zé's backing band during touring. Much like Trenchmouth, but with less emphasis on guitar, the Chicago-based Eternals threw together a number of influences — from Lee Perry to the Headhunters to Gang of Four — placing rhythm as the focus with melody and noise not far behind. After releasing two singles on Thrill Jockey in 1999, the Eternals made their self-titled full-length debut on DeSoto a year later. In 2004 the band added drummer Tim Mulvenna (of the Vandermark 5) and released Rawar Style, which was followed in 2006 by the EP High Anxiety, a collection of remixes. Heavy International, the third studio album, was released in 2007." ~ AMG

The Eternals
O-nest Tokyo Japan

Source : Audience Recording
Lineage : AT U853A > SP-SPSB-8(Bass Roll-off 95Hz) > Roland R-1 (16bit,44.1kHz) > DigionSound5 Express > SHN > u

download the full live set here:

Jeff Beck - 1968 - Truth

Label: Epic
Catalog#: BXN 26413
Released: 1968
Genre: Rock
Style: Blues Rock, Rock & Roll, Hard Rock
Credits: Bass - Ron Wood
Drums - Mick Waller
Guitar - Jeff Beck
Vocals - Rod Stewart


A1 Shapes Of Things (3:17)
A2 Let Me Love You (4:41)
A3 Morning Dew (4:38)
Piano - Nicky Hopkins
A4 You Shook Me (2:28)
A5 Ol' Man River (3:57)
Bass - Jeff Beck
Organ [Hammond] - John Paul Jones

B1 Greensleeves (1:47)
B2 Rock My Plimsoul (4:11)
B3 Beck's Bolero (2:50)
B4 Blues Deluxe (7:32)
Piano - Nicky Hopkins
B5 I Ain't Superstitious (4:53)

"Despite being the premiere of heavy metal, Jeff Beck's Truth has never quite carried its reputation the way the early albums by Led Zeppelin did, or even Cream's two most popular LPs, mostly as a result of the erratic nature of the guitarist's subsequent work. Time has muted some of its daring, radical nature, elements of which were appropriated by practically every metal band (and most arena rock bands) that followed. Truth was almost as groundbreaking and influential a record as the first Beatles, Rolling Stones, or Who albums. Its attributes weren't all new — Cream and Jimi Hendrix had been moving in similar directions — but the combination was: the wailing, heart-stoppingly dramatic vocalizing by Rod Stewart, the thunderous rhythm section of Ron Wood's bass and Mickey Waller's drums, and Beck's blistering lead guitar, which sounds like his amp is turned up to 13 and ready to short out. Beck opens the proceedings in a strikingly bold manner, using his old Yardbirds hit "Shapes of Things" as a jumping-off point, deliberately rebuilding the song from the ground up so it sounds closer to Howlin' Wolf. There are lots of unexpected moments on this record: a bone-pounding version of Willie Dixon's "You Shook Me"; a version of Jerome Kern's "Ol' Man River" done as a slow electric blues; a brief plunge into folk territory with a solo acoustic guitar version of "Greensleeves" (which was intended as filler but audiences loved); the progressive blues of "Beck's Bolero"; the extended live "Blues Deluxe"; and "I Ain't Superstitious," a blazing reworking of another Willie Dixon song. It was a triumph — a number 15 album in America, astoundingly good for a band that had been utterly unknown in the U.S. just six months earlier — and a very improbable success." ~ AMG

Heres a very exciting and charged set from the Jeff Beck Group in '68

Download Live Show Here:

Here is a smokin' show for you guys. Jeff is jammin' with Rod and Ronnie Wood. The sound is pretty sweet for being in a small club and from 68'....This is great stuff.......................ENJOY

Jeff Beck-Rod Stewart-Ron Wood: LuAnne's-Dallas, TX-July 17, 1968

Let's mosey on down South for some tasty, down-home cookin'. This is a mint, low-gen tape of a blistering performance of the Jeff Beck Group in their prime. (Please see p. 88-89 of "Jeff's Book," an excellent concert and information resource for Beck fans for more info on this gig.). The quality of this fine audience tape is sure to please.

Lineup: Jeff Beck: Guitar - Rod Stewart: Voice & rhythm guitar* - Ron Wood (if you let him): Bass - Mickey Waller: Drums.

Low gen tape>dat>cd-r>flac
(from a trading friend in the Great White North - Posted by Mesquite 5/7/06)

X Audio Compression Toolkit 1.57 Flac File Checksum Verification run on 5/7/06 (see text notes in folder that contain flac fingerprint and flac verification.)


First Set:
1. You Shook Me
2. Let Me Love You
3. I Can't Hold Out
4. Beck's Boogie
5. Sweet Little Angel
6. Shapes of Things
7. Hi Ho Silver Lining

Second Set:
8. Beck's Bolero*
9. Rock My Plimsoul
10. Oh Pretty Woman
11. Morning Dew
12. Mother's Old Rice Pudding
13. The Sun is Shining
14. I Ain't Superstitious

Both sets total: 79:27

Los Crudos

Reunion @ Southkore Fest, Chicago ILL 2006


Older Performance

on Chic-A-Go-Go

Sonic Youth and Nirvana - 1991 - The Year Punk Broke

Charles Mingus - 1964 - Oslo

Cinematic Orchestra - 2001 - Montreux Jazz Festival

W. Lee Wilder - 1954 - Killers From Space

Rahsaan Roland Kirk - I Eye Aye

Weather Report - 1976 - Montreux Jazz Festival

Mahavishnu Orchestra - 1972 - Syracuse University

American Folk Blues Festival

T-Bone Walker - Don't Throw Your Love On Me So Strong

John Lee Hooker - Hobo Blues

Howlin Wolf - Love Me Darlin'

Willie Dixon - Nervous

Otis Spann - Spann's Blues

Sonny Boy Williamson - My Younger Days

Muddy Waters - Got My Mojo Working

Friday, August 3, 2007

Gordon M. Douglas - 1954 - Them!

taken from

THEM! (director: Gordon M. Douglas; screenwriters: story by George
Worthing Yates, Russell S. Hughes/Ted Sherdeman; cinematographer: Sidney
Hickox; cast: James Whitmore (Sgt. Ben Peterson), Edmund Gwenn (Dr.
Harold Medford), Joan Weldon (Dr. Patricia Medford), James Arness
(Robert Graham), Onslow Stevens (Brig. Gen. O'Brien), Chris Drake
(Officer Ed Blackburn), Fess Parker (Crotty), Sandy Descher (The Ellison
Girl), Olin Howland (Jensen), 1954)

Reviewed by Dennis Schwartz

One of the better sci-fi'ers to emerge from the 1950s. This one was has
ants that have become mutants because of the radiation from atomic bomb
tests in 1945, White Sands, New Mexico. They have reached giant
proportions between 8-to-20-feet, and are attacking people at night,
during the day the bright light and intense heat bothers them, so they
remain in their nest.

The only part of the film that is in color, is the red letters of the
title. The action starts off in melodramatic form, as a traumatized five
year old girl (Sandy Descher) is picked up by Sergeant Ben Peterson
(Whitmore) and Officer Ed Blackburn (Drake), as she is walking in the
desert. Soon they discover a trailer with the girl's dead parents, and
unusual footprints that no one can determine what it is and the trailer
smashed by a terrible force. No money is taken, only sugar. Go figure
its ants that did this! So you can't blame Sgt. Peterson for leaving his
state highway partner Blackburn to watch the general store that was
destroyed, with Gramp's murdered body, as he goes back to interview the
girl who is too petrified to speak, hoping to get her to tell him what
happened. The ants do their thing with the officer, as soon as Peterson
leaves him. This lays a guilt trip on the sergeant, even though his
precinct captain tells him he followed procedures and did the right

Since the girl's father was a F.B.I. agent on vacation, this makes it a
federal crime and the F.B.I. is called in to investigate, in the person
of, Bob Graham (James Arness).

When Graham sends the footprint to the F.B.I. lab, they send them
father-and-daughter entomologists Dr. Harold Medford (Edmund Gwenn) and
Dr. Patricia Medford (Joan Weldon). She departs from the plane showing
us her pretty calves, as she comes down the ladder, this is enough for
her to get agent Graham's attention for the remainder of the film. Now
Dr. Medford is a real ornery character, in a rush to get started in
investigating his theory to the cause of the deaths. But first they
revive the comatose girl with a concoction of folic acid, as she awakens
startled and frightened out of her wits yelling, "It's THEM."

Back to the desert and a sand storm at night for the cops and
scientists, as Pat is attacked by one of the giant ants and we hear the
frightening cricketlike sounds they make, which is the language they use
to communicate with each other. Dr. Medford directs the cops to kill the
ant by destroying its antenna, thereby it can't see and loses control.
He also tells them we got a national crises on our hands, as air force
intelligence General O'Brien (Onslow) enter the crime scene, with Dr.
Medford telling him that this has to be kept top secret or else there
will be a panic in the country.

What ensues is a story relating both to a biblical prophesy (the world
will be destroyed) and to a science gone amok (radiation will destroy
the world).

Under Dr. Medford's direction the ant's nest is spotted and bombed with
cyanide and sprayed with flame throwers, but two queen ants escape and
fly off undetected, as Dr. Medford explains that this could be the end
of mankind if these ants are not destroyed immediately. They could give
birth to thousands of ants and their strength is 20 times their weight,
which means they could lift a ton; also, they are very dangerous because
they are the only animals other than man who are capable of making war.

One queen ant is spotted by a pilot (Fess Parker) in Texas, who thinks
he saw a UFO in the form of a giant ant flying, but is locked up in a
mental ward so the secret could be kept from the public. Soon one of the
queen ants attacks a naval ship and is destroyed, which leaves one

A patient (Olin Howland) in an asylum, sees them entering the sewer
system in Los Angeles, as he comically keeps telling the military people
questioning him about what he sees, as he keeps saying the following
refrain: "make me a sergeant and give me the booze!" It is these
constant little touches throughout the film, more so than the special
effects, that make this film come to life.

The film ends in fast-paced action after hitting a long stretch of
tedium, as the public is finally alerted to the dangers and the army
goes into the Los Angeles sewers to get the queen ant. By now 2 months
has elapsed since the first ants were spotted and there are scores of
other ants in the sewers. The only catch to the army attacking them, is
that two little boys are in there and it becomes a moral dilemma whether
they should lose their lives for the greater concern of the masses or
should someone try to rescue them, risking the chance that some ants
might escape. It is decided that Sergeant Peterson should go in first
and try to rescue the children, which he does heroically, giving up his
life to get the kids to safety, as an ant crushes him.

This film was intelligently presented, the special effects were
effective enough, and the cast, especially Edmund Gwenn, all provided
fine performances, all this adding up to a really decent and subtle


Dennis Schwartz: "Ozus' World Movie Reviews

Luis Buñuel

Luis Buñuel Biography

Luis Bunuel was born in 1900 in Calanda, a village of about three thousand inhabitants, located 115 kilometers from Zaragoza in Spain. He was the first born of seven children. At the end of the last century Bunuel's parents owned a small cottage in Calanda, which they ripped down to build a larger one. In the mean time, they rented a stately mansion from a rich noble family. Here Luis was born to a wholesale merchant who had spent most of his life in America, and a Spanish native who had married him at the age of seventeen. Luis was baptized in Calanda just prior to his family moving to Zaragoza, the capital of Aragon.

Growing up he was a quiet little boy who served at mass, sang in the choir, and enjoyed playing with his two brothers and four sisters. The Bunuel children would dress up and put on plays using written dialogues. Sometimes Luis would participate in sadistic games, such as daring one another to swallow cigarette butts found in the street, or to eat sandwiches covered with ants.

At the young age of six, he was sent to the College of the Brothers of the Sacred Heart, and at seven moved to the Jesuit College where he worked on his baccalaureat, of bachelor degree, until he was sixteen. He always received top grades, but was embarrassed when he received titles like "Laurel Crown", "Carthiginarian". When he was fifteen, he began spending all holidays in San Sebastian, returning home only for Easter.

His early life was not irrelevant to his development later in life as a film artist. He liberated himself violently from his religion, which had been the cause of a lot of anxiety earlier in life. Another aspect of his early life that he rebelled against was his social status. He was a product of the bourgeoisie, and his family was part of an urban culture that was liberal and intellectual, but also landowners. Bunuel's work as a film artist was a pitiless analysis of his childhood, filled with aesthetic reminders whether they be musical, literary, or simply objects.

Bunuel's chief interests after achieving his bachelor degree were music, being the violin, and natural sciences. Bunuel opted to continue his study of music, but his father refused, insisting that he continue his studies within his other interest. He was sent to the Students Residence in Madrid to study to be an agricultural engineer. He learned to hate his studies during this time as he was forced to study mathematics for three years. After that, Bunuel was determined to succeed without his father's advice or help. In 1920 he enrolled as a student under Dr. Bolivar, an entomologist and director of the Museum of Natural History in Madrid. He studied insects, but after a year realized that he was more interested in the life or literature of insects than their anatomy.

During this time he formed many friendships in the Students Residence with a group of young artists who would influence him greatly. Among them were the poets Federico Garcia Lorca and Moreno Villa, and painter Salvador Dali. Bunuel preferred having discussions with these friends to sitting at a microscope at the museum. Together, the young artists collaborated on literary publications and wrote poetry. Bunuel also pursued sports during this time. He became an amateur boxing champ in Spain.

It was his contact with the young artists, though, and their shared existence that was a catalyst to Bunuel as the celebrated film artist that he is known as today. The artists headed the Surrealist movement, from which Bunuel drew inspiration. Since 1920, Spain's most outstanding names in the fields of science, arts, and sociology have come from that incredibly strong movement. Many names along with the recognizable Bunuel and Salvador Dali are Alberti Guillen, Damaso Alonzo, Barradas, Palencia, Vazquez Diaz, Jose Ortega, and Adolfo Salazar.

Luis Bunuel went on to have an extensive film career. His important works often included details that were taken from his youth. The dreamlike imagery in his early films like 1928's Un Chien Andalou can be accounted for by his less than common childhood, his struggle with his religious beliefs, and his inspiration from his friends in the Students Residence.

Later, his work changed as he moved into another period of his life. Films like Robinson Crusoe explore his entry into commercial cinema to a degree. Bunuel never lost sight of his goals as a film artist and he took from his past to create much of the imagery that turns up in his work.

Jimi Hendrix, Miles Davis, Quincy Jones, Sun Ra, Roland Kirk...

Note: I found this on the fantastic site, I have no clue how much of this is speculation, but it sure is one interesting read, check it out of you have some time:

Jimi & Miles played together quite a few times, tho' never in a
formal setting. On one of the bootleg tapes I heard (there are quite
a few), Miles is on the piano & Jimi on guitar plugged into a tiny
amp. This jam is taking place at one of Miles' infamous parties in
his upper NYC townhouse/apartment. Most of the playing is drowned out
by the voices & chatter of the party crowd & it's not really a jam
session. It's more of a learning session for Jimi. Clearly all
through the jam, Jimi is lost most of the time, as Miles is comping
through extensive jazz chording while yelling out the key changes to
Jimi who is playing confusingly on top of the changes. The only time
in this jam he relaxes & stretches out is when Miles periodically
comps on one chord. Velvert Turner had 2 such informal recordings
from Jimi's own recorder of Miles & Jimi from other time periods.

This jam takes place around the time Jimi was getting more into jazz
extensively, which is why he dug Larry Young so much. Larry was
forcing him to delve more into jazz as well as forcing him to listen
closely to Larry Coryell's playing. Young's drummer at the time, Tony
Williams, actually got up & walked out in the middle of one of their
jam sessions, yelling out to Jimi that he didn't know his instrument
& to learn the language of jazz! ......I have posted on this board a
few times how Quincy Jones (who was also close to Jimi) convinced
Jimi to take the Berklee College of Music's correspondence course,
for arranging, composition & theory.

Actually, I didn't want to dive back into this debate, but since someone used an old quote of mine on this thread, I said 'what the hell'. In my 30 or so years of doing lecture/demonstrations about Jimi on radio, TV & at colleges, I take on all challenges......

I've always maintained emphatically that for the most part, either the wrong folks have written books about Jimi or that the right folks were never COMPREHENSIBLY interviewed.

Folks like:

(1) the Allen twins, Tundre Ra & Taharka, who would not only verify the Miles meetings, but more importantly verify the spiritual teaching that MOST folks, even on this board, say Jimi was NOT into (because Jimi himself turned these 2 guys onto the teachings which they still follow today). Their very names reflect this teaching.

(2) Velvert Turner, who in my opinion is one of the 3 main folks really qualified to write about Hendrix with any accuracy. It's a real tragedy that no one felt it necessary to really document his days with Jimi.

(3) Quincy Jones, who is not only left out of the list of Jimi's closest friends, but is singlehandedly responsible for getting Jimi & Miles back together as friends after Betty Davis got caught in the affair she supposedly never had with Jimi. Even Alan Douglas verifies how Quincy was going to be actively involved in Jimi/Miles sessions that were upcoming. Considering what Quincy did for Michael Jackson, his work with Jimi would've been astounding.

(4) Super bassist/multimusician/model Cleo......A "secret weapon" of Jimi's he was grooming to be the spearhead of his new Electric Lady movement. He spoke & wrote about her countless times. The only folks I ever heard mention her is Velvert (who unsuccessfully tried to 'date' her), Vishwa & Monika. After the death of another close Jimi friend Tom Nitelife, she acquired all of the writings, audio tapes & scripts Jimi left Tom when he found out he was being constantly followed. According to her, she & Betty had a 'cat fight' at one of the parties while Jimi & Miles was in the bedroom playing softly.

Miles' townhouse parties were not closed affairs. They usually spilled out into the uptown streets. Anyone who was hanging in the city at the times of these parties knew about them by 'word of mouth' & for the most part, anyone could simply walk in uninvited. Aside from Jimi's acquaintances, a simple interview with any musician close to Miles, not only during that time but in Mile's later years (Marcus Miller especially), would once & for all lay to rest this debate of Jimi & Miles informally playing together. Miles himself talked about it many a time. I personally have heard some mindblowing stories of Jimi & Miles hanging/playing informally together by quite a few musicians who played with Miles. Hendrix was a topic Miles never got tired of discussing.

It is also a major myth that no tapes of these informal jams exist. There were quite a few audiophiles who made it their duty to follow Jimi around & tape him. A couple of them have approached me on gigs & either let me hear samples of these jams or invited me to their place to hear some of these tapes. And yea, they are definitely worth 'killing for' (altho' that's not my style). I couldn't even get copies of what I heard. They're priceless & the acquisition of these & other famous folks 'lost tapes' is itself a worldwide underground 'black market' that would rival the drug trade.

As I type this, I am frantically Googling in the early '70's Downbeat magazine archives for an article that comes to my mind of Miles mentioning this very topic.......So far no luck.

Also, I was not the only member of Jimi's fan club at that time. I'm sure with today's technology, it is possible to track down other members of the fan club from that era (68-70). My efforts in this endeavor have not been so successful, as the 2 members I did track down (one of them from my H.S.) are both now dead.....My point is tho' that as I have said on this board before, we (the fan club) prided ourselves as having the most comprehensive "Jimi Watch" on the planet at that time. We knew basically his every move while he was on the east coast/mid west areas & would make attempts to catch up to him at those times, even if it meant us skipping H.S. classes if it was a school day.

Bottom line..... regarding Jimi & Miles informally jamming, I know what I saw & I vehemently stand by it. What we have to do as Jimi fans is not fall into the typical 'Western arrogance' that says "If I don't hear it, see it nor heard about it, then it doesn't exist".

Research always rewards the seeker~!

Hey JDB......Thanx for the compliment....... I don't post to give the vibe that I am THE authority on Jimi Hendrix. True, I was around that scene, but there is much I don't know & have learned from guys like you & others on these boards, as well as folks with more info than me who approach me on gigs, E-mails me, etc....I'm an avid researcher/documentarian, so I just take it all in.

Personally, the gossip & surmising about him doesn't interest me. I'm more interested in that "thing" he played IN BETWEEN the notes of his music. This 'thing' has a lot to do with the fascination we have about this guy today & is something us players can tap into for our own ascension~!

Regarding the folks I mentioned & some others with more complete knowledge of Hendrix who haven't published a book/been interviewed in detail, don't be resentful towards them. Believe me, they would love to throw in their 2 cents, but the truth is no one who has the clout to publish a book is interested in hearing what they got to say. When I last spoke to Velvert, he spoke a lot about trying to get his manuscripts published with no luck. I have seen him interviewed on a few Jimi docs, but that was the guy to sit down & comprehensibly 'grill', since I have said here in the past, those 2 were like brothers (or as some have surmised, 'luvers'). I once called Quincy on a radio talk show where he was one of the panelist & asked him to speak about his relationship with Jimi. He giggled & said "next question". Not sure what's up with that.
"Voodoo Child"- The ONLY authentic Jimi Hendrix show since 1968.

Watch for the announcement on the
web of the unauthorized film based
on Hendrix, presented by Jimy Bleu.

Hey Brent....Good hearin' from you again.....I'm still trying to figure how you did that kool multi-quote thingie in your response. My attempts didn't turn out good, so I'm just going to respond regularly.

Regarding the teachings Jimi got into before his death. It is NOT related to the Book of Urantia. It is the teachings from the ancient Nile Valley (more erroneously called "ancient Egypt"). This was the major importance of his meetings with Rashaan Kirk (more than the jamming), especially the 2nd meeting. Kirk gave him the contact number for a group in Harlem headed by Sun Ra, that practiced these teachings. I already spoke here about Jimi & Sun Ra meeting. The twins told me personally that Jimi not only turned them on to these same teachings, but that he gave them money to form their own record label, but only if they would call the label "Nia Records", which they did. Both of their first names (Tunde Ra & Taharqa) are indigenous names from these teachings.

Regarding Kramer....Thanx for the info on the Kramer film. I'm looking into that.

Regarding Quincy......Just when he hooked up with Michael in the '80's, I was doing sideman clubdate gigs with a fantastic keyboardist who later got a producer's job on Quincy's label & toured with Michael. He was a Hendrix freak & when Quincy found out, divulged much info on his closeness with Jimi. At first I thought it was all talk, but some of things he said Quincy told him I was able to verify, which I won't get into now. There is also Henderson's accounts of their friendship in his book (but of course Henderson is not so well liked here), as well as Alan Douglas's occasional mentions of Quincy & Jimi.

Regarding Tom Nitelife.....briefly he was a hustler/pimp who not only supplied Jimi with drugs, ladies for his orgies, but the important things he did was first act as a go-between for Hendrix's reps & the Mob who didn't want Jimi putting his studio in that Village location. Later Tom acted as negotiator for Jimi during his 2nd kidnapping which was much more deadlier than the first supposedly staged one. Tom died just before Jimi. Jimi literally owed him his life & knew he could trust him with many valuable writings & tapes. From what Cleo told me about the tapes, they were mostly songs/script/lyrical ideas. The biggest thing to come from these particular writings was the REAL "Black Gold" film script Jimi submitted to Warner's right before his death. Totally different synopsis & music than what is purported in different books on this subject.

Regarding Mile's parties.....Uh uhh.... I ain't gettin' into that again....Apparently myself, Steven Roby, Charles Cross, Henderson & others are wrong about Jimi & Miles meeting/playing together informally, so I'm not gonna chase it. I'll leave it at that~!

Regarding the audiophiles.......Ahh, I forgot I mentioned Matt. There is also Flip Pfizer (supposedly related to the heir of the Pfizer drug corporation) & Donny Kincade. These guys immediately come to mind, but there were many others I have met throughout the years. Actually, I don't think Jimi was aware of most of the folks who were taping. Most of the taping was done covertly (like today's bootleggers in theaters). There were some who sought out permission so they could set up & get a good quality recording, either with mics up front or from the soundboard, but for the most part it was all about getting a mini reel tape set up under a chair & hope for the best. I remember seeing that kind of bootleg taping a lot & not only in Hendrix shows, but in other shows I often attended (Zep, GFR, Cream, Yes, Floyd, Sly, Dead, etc.). I imagine that my fav site 'You Tube' will soon have much of this stuff uploaded.

As far as me still in contact with some of these audiophiles, not really. When I hear something they have, I want it & when I can't get a copy it's real frustrating. Sought of like a gorgeous lady undressing in front of you, playing with herself & she's not going to let you get with her. I'm sure you can relate~!!

Regarding the first quote of mine you posted, this debate has become a sort of silly "he said, she said" & as I previously stated, I ain't gonna chase it no more & leave it at that. I really don't wanna become the "bad guy" of this site & as I said earlier, I wasn't going to bring this up again, but quotes of mine were posted recently in response to someone's query.

Regarding the second quote of mine you posted pertaining to my statement not being "serious"..... Hhhmmm.......Well, since you speak for these all-knowing "some members of the forum" you mentioned, perhaps you or them would know where I can pick up copies of:

(1) Hendrix jamming with Joe chambers
(2) Hendrix jamming with Hugh Masekela,
(3) the COMPLETE 'blowout' series of Hendrix jamming with Winter at the Scene
(4) the SECOND Rashaan Kirk Jam.
(5) the deep discussion of music AFTER the Stevie Wonder jam (which Stevie himself is trying to get a copy of)
(6) Hendrix's frequent jamming with Velvert Turner
(7) Hendrix's jams with Arthur Lee
( Hendrix jamming with a couple of members of Vanilla Fudge (actually, guitarist Vince Martell told me about this when my Hendrix tribute band played on the same bill with them at the Woodstock 25th anniversary in '94)
(9) Hendrix's blues jams with Albert King backstage at the Fillmore
(10) Hendrix jamming backstage with Terry Kath & 2 other members of 'Chicago' while on tour........

These are only 10 examples I dug from my notes of what I heard with my own ears, with the exception of #8. I could go on & on but you get my point.....There were (& STILL are) folks who do nothing but follow great musicians around taping them, many a time without the musician's knowledge. Just as in the art world, ancient artifacts, etc., there is a worldwide illegal underground market that deals in not only recordings/videos/films of this sort, but other paraphernalia related to these musicians. I have met quite a few of these people involved in this market & have heard many 'unknown' informal recordings of jazz, classical, country, pop, experimental musicians.

For one to deny the existence of this market because one hasn't heard of it is naive to say the least & is a good example of a phrase I mentioned a few posts back....."Western arrogance".

The Occult and Music

The Occult and music

By Gary Gomes
(January 2004)

If one defines the occult as the unseen (which is technically is) then it would be easier (and less lengthy) to write an article on times that music was not affected by the unseen world than on the times it was.
In the world music tradition, we have rather extensive history (extending all the way back to the Greeks) of the use of music to induce certain states- modes were thought to have certain qualities. There is even some evidence to suggest that the Egyptians used music as a healing tool This anticipated the later utilization of these techniques by figures as diverse as Sun Ra, Jimi Hendrix, the Misunderstood, Rudolph Steiner, various "new age practitioners" such as Stephen Levine and the biased experiments tying plant growth to listening to classical music.1 These types of customs are utilized in Africa, India, South America and within most native cultures (shamanic cultures from Russia to the Americas to the Pacific) have some kind of tradition of sacred song to them. The links run from the Russian shamanic traditions, the Australian aborigines to East Indian Gandharva Veda and Karnatak musics to Hawaiian chanting, to perhaps the most infamous occult music tradition of all, the Yoruban culture in Africa which found its expression as Voudon (Voodoo) in Haiti and Santeria throughout most of the remainder of South America. This tradition has found its way into contemporary culture through jazz, tango, Cuban music, and of course, blues and rock and roll (more on this later). 2

Getting back to tradition, in the more mainstream religions, it is valuable to know that Moslem, Hindu and Hebrew prayer is usually chanted, not spoken, and there are literally hundreds of books in all these cultures regarding the power of chanted prayer. Balinese and Javanese Gamelan and African Joujouka are vessels for worship. And the Western church also has a tradition of its own of this type—plainsong or proportional chant, which later evolved into Gregorian chant, was one of the basic building blocks of the Western music tradition. Also, as the years progressed, every major composer from the Renaissance onward (and even before) devoted most of their output to sacred work, up to and including 20th century composers like Stravinsky (occasionally) and Messiaen (mostly). A great many composers also chose subject matter of a more obscure occult/spiritual tilt. Mozart wrote overtly about Masonic principles in his opera "The Magic Flute"; Scriabin seemed under the influence of the Theosophical movement of his day with his Prometheus Symphony; Richard Strauss "Also Sprach Zarathustra" is a piece dedicated to Nietzche but also to the misunderstood principles of the founder of the Zoroastrian religion (considered to be the first continuous monotheistic religion; in its current state it is a realtively small religion practiced pretty much exclusively in Iran and in a small colony (Parsi) in Bombay, India); Erik Satie was a Rosicrusian who applied some of the principles of this secret society to his piano pieces; Dane Rudhyar and Gustav Holst were astrologers; Olivier Messiaen wrote numerous pieces dedicated to his unique form of Roman Catholic mysticism, but borrowed from Indian ragas and birds (St. Francis of Assisi being the Catholic link) and also wrote huge works drawing on Indian and Japanese works; and Schoenberg's most ambitious work was the unfinished opera Moses and Aron. The most anti-mystical composer of the 20th century (he claimed that the imagery of the Rite of Spring was derived from the music, and the large pagan gathering that was this major piece's program was inspired by the music, not vice versa) Stravinsky, wrote at least two major sacred works—the Canticum Sacrum and the Symphony of Psalms.

Among more contemporary composers, Stockhausen has written works about mantra, the creation and the archangel Michael; Penderecki has written religious works and mystical works, as has Ligeti ("Lux Eterna"), John Cage was directly inspired by Zen and Indian thought about music, while the minimal trio (Riley, Reich, and Glass) are well known for their interest in Indian music, African and Hebrew traditions, and Tibetan Buddhism, respectively. As George Crumb wrote the piece "Black Angels," there was definitely an air of foreboding in the late 1960's and early 1970- like "Tubular Bells," this piece did not start out as an "occult" piece but became one by association by virtue of its inclusion in the soundtrack to the Exorcist (an overtly occult piece like Stairway to Heaven was only marginally associated with occultism, by contrast). The mystical tradition that inspired Wagner is well-known. His finest work (also his last) is a opera called "The Comedy at the End of Time" in which the world comes to an end, prophesied by Sibyls and Anchorite monks and Lucifer is finally forgiven by God for his transgressions and accepted back into God's hands. Even Glenn Branca talks about angels and devils in his Symphonies (and I have left out a ton of composers, I know, from Beethoven's "Missa Solemnis" to Handel, Haydyn, Bruckner, well…it never ends.) We'll talk about blues, jazz and rock further on.

Where do these people come up with this stuff?

First of all, as one of my friends remarked to me long ago, music, being an auditory phenomenon, is not visible, save as a representation on sheet music. It is an occult (unseen) science. It seems to come from everywhere. We interpret it in a congregation (the audience) and it has a wide variety of "secret messages" to it. We can go all the way from the meanings that people derive from lyrics or music to the truly insipid interpretation of lyrics by the "Paul is dead" mania of the late 1960's to Geraldo Rivera hearing the words "Son of Sam" in Jimi Hendrix's "Purple Haze" to the even more stupid "backwards masked" lyrics of Led Zeppelin, among others. Before any of you ever reads too much into a song lyric again, I strongly encourage you to read Julian Jaynes' Origins of Consciousness in the Bicameral Brain. In it, he discusses the cross talk of schizophrenics as the model for messages from the Gods to early cultures. It is a fascinating bit of work and one that should give pause to any one who thinks they hear a message from anywhere—be it from a grizzled singer who can barely pronounce the words he is singing because of a drug-addled state or a "blues" affectation.

Thankfully, apart from Geraldo and a few Beatles-maniacs in the 1960's (they are back, by the way and on the Internet), most of us don't pay too much attention to words we can't understand on records. Also, this diatribe should not be taken to mean that 1) their isn't real occult or spiritual significance to the music we enjoy or 2) that music can not be a consciousness altering experience for some people, even from sources that I would not necessarily like. Both exist; but like anything else unseen, interpretation must be made with caution.

Blues, rock, and jazz, it must be noted, are many times made in the presence of mind-altering substances. To get to the essence of this, it is always useful to recall that alcohol is called "spirits" for a reason. It has a potency that opens us up to very positive or very negative experiences. Also, the grandfather of these musics is a blend of two musics that have profound occult roots—the Yoruban and the Celtic cultures, for blues came out of Africa, jazz came out of Europe and Africa (adding sex from the whorehouses – in the old days there used to be sacred sex temples in various cultures)– and rock coming out of blues and old country. And country came out of the old Celtic folks who settled in Tennessee. Ever wonder why groups like Fairport Convention and Jethro Tull had such an easy time blending rock rhythms into these weird little English folk pieces?

The blues certainly had its share of occult imagery working for it. There is of course the Robert Johnson legend of him going to the crossroads. This is a place in most cultures where demons gather or the devil appears. According to one sensationalistic television special I saw, the Allman Brothers Band used to spend time at Johnson's grave and apparently picked up some kind of a curse by hanging out there- hence the deaths of Duane Allman and Berry Oakley. Pieces like "Got My Mojo Workin" or even Screamin' Jay Hawkins' "I Put A Spell on You" are obviously huge parts of the history of rock and roll. Even the sex and drugs part of rock represent a sacred tradition, because sex, if used properly, can lead to enlightenment or power, as can alcohol or drugs—but they are considered rather dangerous for unprepared individuals, so a variety of spiritual traditions—in the far east (India with Tantra and Aghora), Shamanic cultures, and even, from what I know of the Santerian—require long periods of preparation before these substances are used for spiritual purposes. Here in the United States, all you need is a fake ID, a drug connection, and (maybe) a condom and you're all set.3

Anyone who has ever been to a rock concert sober knows the sense of power you feel from seeing thousands of fans masses… and most of us have been witness to the power of sex, either in our own lives or through proximity. Jim Jones (and many sect leaders) slept with his female devotees not only for pleasure, but for power and dominance. The Hare Krishnas (ISKCON) also had stories of rogue Western gurus who abused their positions for sexual dominance.4 The organization has made major changes over the past twenty years to ensure that the power struggles and corruption that plagued certain parts of the organization in the 1980's do not recur). And think to the recent Heaven's Gate cult—the leader, plagued by guilt or fear over his homosexuality, convinced many cult members to become Eunuchs—actually, somewhat perversely following a pattern that exists in the early Western church of eunuchs (Origen, one of the truly great early church thinkers and founders, was a Eunuch.

Moving into music, it was a well-known custom in certain circles to castrate male choirboys in order to retain the high pitched purity of their voices, although this was apparently, done more for aesthetic reasons than spritual—if only they had been blessed with the falsetto control of, say, Frankie Valli. It happens in certain pagan traditions also- according to one who claimed to belong to a family of witches, Alex Sanders, ritual castration was once part of becoming a witch (he got away with a nicked scrotum, though). In India, certain dovotees of Shiva engage in surgery to eliminate sexual desire to this day, and a very bizarre group—the Harridan—go from village to village looking for male children with either deformed sexual organs or with hermaphroditic tendencies, and claim these children as part of their group. The group dress in women's clothes and have a reputation for being powerful magicians. It is rare that parents refuse their demand for a child, because of the fear of a curse. These individuals take the child, cut away all vestiges of maleness and travel the country, telling fortunes and offering magic remedies to villagers—while seeking new recruits. Power, intoxication and the creative energy of the universe (sex) are difficult to withstand. Many sects call for abstinence, for similar reasons—abstinence builds up energy in most people, which can be transmuted to satisfy the goals of the group or given proper guidance, can be channeled through the body to create higher states of consciousness.

Watch an evangelical meeting sometime (or better yet a snake handling session—watch this on TV!)---you'll see, in many cases, the kind of fervor connected with a rock concert, If you witness a coven meeting (which is not as tough to do now as in the past) you will notice the same kind of energy. I have seen cabalistic and Santerian rituals (no animal sacrifice) that have similar energy. I have been part of Hindu rituals that have the same energy as a great musical experience, and I have been at concerts that have a truly sanctified feeling to them. But the experiences range from the ecstatic (Mahavishnu, Alice Coltrane, Magma, Cecil Taylor) to the oddly detached (Leo Smith and Marion Brown, or ZAJ, led by Walter Marchetti and Juan Hidalgo, two Cage disciples) to the traditional (Korean Ah Ahk Theatre, Gamelan, Hare Krishna temple celebrations, chanting, church). Some included the desire to communicate and make more money in the process- Chick Corea's move to fusion, starting with the Moreira-Purim Return to Forever through the Mahavishnu-inspired groups, coincided with his involvement in Scientology. Although it is not known how deeply involved Coryell was with spirituality after he left Sri Chinmoy's tutelage, his most successful band, the Eleventh House, was named for an astrological term. Some of the classical pieces that were inspired by spiritual concepts, like Messiaen's work ("Quartet for the End of Time" comes to mind, but there are so many more), Dane Rudhyar's pieces, Bach's religious works, Stravinsky's pieces, Penderecki (The Passion of St. Luke), Michael Tippett's The Vision of St. Augustine and King Priam (in both pieces the lead character has a vision of the totality of creation all at once; this is similar to some Hindu concept of God realization); Stockhausen's Hymnen and Mantra, and even Cage pieces inspired by Zen, are truly amazing—they are great pieces of art no matter what the context and I am not even touching upon one tenth of all the great religious pieces.

Oddly enough, because spirituality and overindulgence in sex and drugs have both produced some great music, it is tempting to look for a link—and there is. Both elements involve a loss of identity and surrender to something else… God, wine, bliss. Certain types of reggae (such as dub) and certain varieties of psychedelic (and later) rock and jazz showed some extraordinary music that would probably not have been made without the influence of intoxicants. Sometimes intoxicants precipitated a crisis that led to other things. We are all familiar of the various stories of how drugs (particularly alcohol, psychedelics, speed, and the harder drugs -- cocaine and heroin in particular have wreaked havoc on people's lived. This has brought on death (Charlie Parker, Jimi Hendrix, Jim Morrison, Kurt Cobain and Keith Moon to name a select few), ruined or interrupted careers (Syd Barrett, Brian Wilson, Peter Green, Skip Spence, Ginger Baker, and David O'List) or led to lame music (Eric Clapton and Lou Reed)—to name the two people I wished hadn't performed when they were on drugs) and animal abuse (accidentally on Ozzie Osbourne's part, intentionally—for which my estimation of him went down enormously—on the part of John Cale). But Santeria and Voodoo regularly engage in animal sacrifice, and many religions around the world, including Biblical Judaism and certain older sects of Hinduism, engaged in animal sacrifice. But these seem to be used for the release of energy, which I think is totally unnecessary and to be honest, repellant.

Linking the pattern back to spirituality, part of the myth of Syd Barrett relates how he was interested in joining a sect of mid-Eastern mystics who practiced astral travel to planets—also practiced in India—but the group felt he was too immature to handle it. He resorted to a diet of LSD in order to produce the effect—explaining the emphasis on the first two Floyd LP's—but burned himself out from chronic use of LSD, from which he has apparently still not recovered. Syd sacrificed himself to his spiritual and material ambitions in a pattern not very different from martyrs and hasn't rock has its share of "martyrs" to its life style, such as Hendrix, Morrison, Moon, Cobain and Laughner, to name just a few?

But there are also stories of marvelous second chances, like John Coltrane's incredible rebirth and spiritual awakening in the 1960's. But these are very rare and Coltrane only had a short span of time in which to spread his new gospel. Disciples like Pharaoh Sanders and his wife Alice Coltrane, despite great initial popularity, vanished into obscurity by the late 1970's (although they re-emerged) and the ones who exceeded Coltrane's spirituality (like Ayler) were found dead in the East River in the late 1960's under bizarre circumstances. Although Coltrane really got into some incredibly mystical places (albums included titles like the churning "Meditations" (this piece sounds like one of the foundation stones for the German Free Jazz scene of Brotzmann and the late Peter Kowald), Om, Interstellar Space (homages to the planets in duets with drummer Rashied Ali) and the comparatively tame classic A Love Supreme. Ayler's entire set of work was spiritually based., from his earliest to his last lame rock-based work. Titles like "Witches and Devils," "Ghosts" and "Universal Indians" barely hint at Ayler's ecstatic virtuosity. Anybody who just thinks he was blowing straight simple themes should listen with care to, for example, "Ghost" on his Love Cry LP in which he dances in and out of the melody, dropping notes and catching them intentionally like he was using the silences as a type of spiritual counterpoint, while Milford Graves does everything he can to avoid keeping a beat and Alan Silva keens to the higher consciousness. It's an amazing, ECSTATIC performance—quite startling. Are the missing notes being played by the Ghosts?

And Sun Ra's interest in Egypt, and spirituality was not just for show. When I met him and spoke with him in 1973 (it was an interview in only the loosest sense of the word—more of a Sun Ra lecture), one of the things he told me to do was to look up a book that I would be interested in at the University of California at Berkeley. The book Urantia has to be one of the strangest books ever written—it was written through a technique that would later be called "channeling" but was composed in the early twentieth century by a spirit possessing a well-placed man in an apparently well-placed group of people. If such a thing were to happen today, there would be a rush to record it or make a television series about it. But, being "well-placed" at that time meant that you would not want anyone else to know of this, so a group met and recorded the book in secret. The book purports to be a history of the universe told from the creation, and Ra was fascinated by it. In one of the chapters of the book, it spoke of Green, blue, orange people—so much so that Ra felt this was why people had distinct color preferences throughout their lives. Somebody who liked green clothing was probably a green person in previous lifetime. He also spoke freely about angels and UFO abductions he had experienced. This was in 1973, long before this kind of thing became popular. Albert Ayler also had a famous vision in which he and his brother were zapped by a flying saucer but were immune to its negative effects because they possessed holy marks. This type of dream is not dissimilar to the belief in certain Indian sects that UFO's represent highly evolved spiritual beings who are intent on deceiving humanity for their own ends the one populated by faerie, vampires, ghosts and all the occult mischief makers.5 Interestingly enough, in some meditation circles, some folks seem to encounter UFO-like characters when they start to make spiritual progress, but these characters are considered distractions, not helpers.

My meeting with Sun Ra marked a time (1973) during which interest in the metaphysical and the occult was just about as strong as it is now, but most of us tend to have relatively short memories, so we tend to forget that the sixties and its expansion into drugs also led to a major concurrent interest in the occult and the spiritual life. For example, astrology was HUGELY popular in the 1960's; interest in Eastern Gurus, thanks in no small measure to the Beatles involvement with Maharishi Mahesh Yogi and the Hare Krishna, was enormous. I can recall kids in college leaving to join spiritual groups—and interest in Wicca or White Magic was also quite high. So we had a major influence of different gurus affecting musicians who had come out of the drug culture, or even who needed a refuge. Among the folks who were disciples of different gurus were of course, the Beatles who aligned themselves with TM and ISKCON—the International Society for Krishna Consciousness appealed to John for a brief while, George died an adherent to ISKCON. "The Fool on the Hill" was originally, the story goes, dedicated to the Maharishi and most of The White Album was written in retreat in India). The Doors were into TM though Morrison was initiated into TM before the Beatles involvement: Morrison was the shaman who sacrificed himself for his vision, too in love with living on the edge to see the danger. The Beach Boys were also TM devotees, but it was too late for poor Brian Wilson, who stopped work on Smile because he was sure that his music caused some of the Topanga Canyon fires. Other followers were The Rascals whose song "It's Wonderful" is their TM tribute. There was also Pete Townshend, who devoted himself to Meher Baba- "Baba O'Riley" on Who's Next name checks him and Townshend's first solo album Who Came First was almost entirely written in dedication to him.

The jazz-rock contingent seemed drawn to Sri Chinmoy as John McLaughlin, Carlos Santana, Larry Coryell and Brian Auger were all devotees at one point in their lives. Chinmoy seemed to attract instrumental virtuosos while he himself is known for the thousands of songs and paintings he completed, as well as his feats of strength). And of course, there was Alice Coltrane (whose best work, Universal Consciousness, was inspired by her spiritual interests and other musicians, like the late Larry Young (Khalid Yasin) went over to Islam (as did Cat Stevens). And many AACM musicians (from Muhal Richard Abrams to Kalapurusha Maurice McIntyre) were drawn to African and Jewish spirituality. Other folks were drawn to Western Magick, like Graham Bond (who committed suicide in 1975), Robert Fripp (in the early 1970's before his involvement with Western guru J. G. Bennett and the Gurdjieff group), and of course, folks like Stevie Nicks. But what of the heavy metal tradition—the one most intimately (and publicly) connected to the "darker forces"?6

But the interest in the weird extra forces of the progressive rock world came to a head between 1971 and 1975, when : 1) Magma came to pre-eminence; 2) King Crimson became interested in Wicca (the Wetton-Cross-Bruford Group); 3) Yes composed titanic works dedicated to Theosophy (followed by Todd Rundgren just a little later.7 These are only the three most obvious. Vander actually developed his own language based upon a time when he was playing free jazz in a club. As the story goes, he was playing to an unappreciative audience; and he thought about the people who were dying to play this music (think Coltrane—Vander viewed Coltrane as his major hero according to the press of the time) and he wished the audience dead—and he was going to tell them. What came out of his mouth, if we are to believe him, was the foundation of Kobaian, the language of all of the Magma music. This concept is quite a bit like "Glossalia," or speaking in tongues when possessed by the Holy Spirit, a phenomenon documented in every religion in the world. Also, I can recall a hell of a lot of apocalyptic thinking at the time—one of the reasons that Fripp gave for disbanding King Crimson in 1975 was because he thought the world was going to undergo massive disasters in 25 years and the idea of running a group seemed frivolous to him; the story changed shortly after, to the "small mobile intelligent units" concept favored by Fripp, Peter Gabriel and Brian Eno, but apocalyptic thinking was the first reason I saw in print. Not tough to see why—escalating energy prices and unemployment were starting to worry folks, and there was a real feeling of doom (perhaps fed by too much drug consumption) in the mid-1970's. The advent of Punk and Disco only seemed to make people more convinced that things would get worse and that it was time to get spiritual—in time for a variety of Gurus (eastern and Western) to fill the gaps that the cessation of drugs and partying brought. Also, pieces that had no occult origins like Mike Oldfield's "Tubular Bells" acquired satanic connotations because of its lifting of Terry Riley's trance ideas, and, of course, its use in the film The Exorcist.

In certain areas, (mainly industrial England and heartland USA) groups with huge Marshall Amplifers, and distorted guitars realized how ominous such sounds could be. They took the basic concept of Cream, the Who and Hendrix, slowed down the beat and voila, Satanic heavy metal is born. The forerunner is probably Black Widow, an obscure English group from the late 1960's who teamed up with our friend Alex Sanders (see above) caused a minor sensation with their live shows (featuring a nude female celebrant at the end) and releasing one album which faded into obscurity because their record company wanted to push Simon and Garfunkel instead of them! So much for their association with Sanders (according to them, the most powerful man in England). Many groups, like the Crazy World of Arthur Brown (who Ritchie Unterburger correctly identified as the daddy and grand daddy of all the latter "Satanic" rockers), Atomic Rooster, Black Sabbath, Kiss, and Alice Cooper, that were essentially Hammer studios and Hollywood visions of the occult world—accidentally evil or occult at best, but entertaining for the spectacle.

The Stones, you will recall, were also involved in their earlier years—of course they had a certain number of songs and album titles in their early years.8 And of course, there was "Dancing With Mr. D" and "Sympathy for the Devil" but their real involvement was with the films of Kenneth Anger, author of Hollywood Babylon. Anger was a Luciferian satanist and also a devotee of Alesiter Crowley (who was not a Satanist) and the movies he mad with the Stones help were a bit bizarre, disturbing, and ultimately incoherent, like Bunuel/Dali on a bad day. This interest lasted a very short while for the Stones (probably 1968-1971) but the stigma stuck. But they were the bad boys- it was expected. The other fellow who exploits in this area are best known is our friend Jimmy Page.

Jimmy Page was fascinated with Aleister Crowley and eastern mysticism (remember "Kashmir"?), but the interest with Crowley lasted for more than a few years. The late Aleister Crowley (aka "the Beast" because, as he remarked, his mother called him that) was born into a fundamentalist Christian family who also owned a brewing company. In his early college years, he essentially started tapping into his family's fortune and quickly spent it all. He was involved in the Golden Dawn, a group of occultists from turn of the century England who also included W. B. Yeats among its members. Crowley was invited in by McGregor Mathers one of the founders of the organization who perceived Crowley as brilliant, and tried to enlist his assistance in a battle for control of the group. After a long series of disputes within the group, Crowley was out, and formed his own lodge (Mathers was disgraced and died soon after), and the Golden Dawn turned more introspective and cautious. But Crowley was convinced of his special role in the world, engaging in sex magick, drugs, esoteric rituals and demonic possession. Although he still exhibited a high level of influence through the late 1930's (and a great deal of press as "the Most Evil Man in the World"), his influence waned through the 1940's and he passed away in 1947. Although it sounds like he was just a profligate junkie, his contributions to the "new age" movement and occultism were considerable—he was quite brilliant (although incredibly egotistical, nasty and arrogant). He wrote and "ghosted" wrote many significant works of occultism, including jobs for Evangeline Adams (who made headlines as an astrologer in the early twentieth century) and Gerald Gardner (this was the man generally regarded as leading the Wiccan revival in England in the late 1940's, when it was still against the law to be a witch). Crowley's general decline can be seen as starting when he started to get addicted to opium and heroin, among other substances. Israel Regardie, who served as his personal secretary, allegedly said that Crowley was a genius with the emotional development of a ten year old boy—which, when you come to think of it, is a good description for a great many famous rock performers.

Page's involvement with the Crowley legacy extended to the purchase of one of Crowley's homes, and the symbols that adorned Led Zeppelin IV. "Stairway to Heaven" was certainly a mystical piece of music (it was praised by Kenneth Anger as being the most "luciferian" pieces of Page's work—a definite compliment if you view Lucifer, as Anger did, as a representation of truth and beauty), but Page never made it to the stage of finishing a soundtrack to Anger's movies. There are allegations that some members of the group blamed the death of John Bonham and other untoward events upon Page's involvement with Crowley; but Bonham's drinking was getting out of hand even before Page's involvement with Crowley. The break up of Led Zeppelin probably didn't end Page's involvement with Crowley, but the public knowledge and interest in this probably declined at that stage.

The interesting thing is, in the late 1970's, especially with the advent of punk, a lot of groups seemed to back away from occult (particularly positive occult) involvement, but the advent of "Death Rock" or occult rock, which developed in s slow pattern through the following bands: Black Widow - Atomic Rooster - Black Sabbath Angel Witch - Venom - Pagan Altar - Widow - Witchfynde - Hell Satan - Cloven Hoof – Warhammer- Onslaught - Sabbat – Antichrist-Ragnarok - Cradle Of Filth - Megiddo Bal Sagoth - December Moon – Ewigkeit - Adorior - Hecate - Enthroned - Phantasia - Forefather - Meads Of Asphodel - Reign Of Erebus Thus Defiled - Old Forest - Annal Nathrakh. They all showed a steady but consistent interest in the underworld as a source of inspiration, although, as I indicated earlier, the evolution is part occult interest, part show biz.

Throbbing Gristle even had a bit of a run in occult circles and Genesis P. Orridge has an interest in the works of Austin Osman Spare, a contemporary of Crowley's who established the foundation of a system called Chaos magic, which draws heavily on tapping into the patterns of nature (such as repeating sets) and partially on Shamanic-inspired altered states of consciousness—which sort of fits in well with techno and other dance systems as a metaphysical delivery agent. In the progressive world, Fripp continued his involvement with discipline, Art Ensemble founder Joseph Jarman got more deeply involved with his dojo, and the Belgian groups Present and Univers Zero put out gloomy CD after gloomy CD with strong senses of foreboding.

The 1980's also saw a great deal of interest in H.P. Lovecraft's work. Lovecraft was a writer from Providence, RI who was active in the 1920's and who developed intense and foreboding mythologies about the elder gods who ruled the earth before the advent of humans and who waited to seize it again. Their worshippers were snake-like races who seemed more inspired by the influx of Southern European immigrants into the Northeast during Lovecraft's time than by any recorded legends. (Lovecraft was an introverted xenophobe. But Lovecraft inspired more than a few groups, including Caravan (!), Magma, and Univers Zero.

Other groups, that emerged in the 1980's, such as Megadeath, Ministry and Slayer, had a stronger connection with the instrumental posture of groups like Black Sabbath, but the instrumental prowess greatly exceeded that of the earlier groups. Slayer, in particular, in their earlier albums, played with a frenzy close to that of free jazz, and a truly threatening vocal style that inspired folks like Rob Zombie (from the old industrial city of Lowell, Massachusetts), but that lost a lot of its bite when you see folks like Trey Parker (creator of South Park) imitating it pretty flawlessly. The difficult part of the late 1980's was that, with the advent of the PMRC and various Christian fundamental groups, and police looking for scapegoats, ANYTHING connected with mysticism or the occult was automatically tagged as SATANIC—even folks like Rush and Alan Parsons show up under the Satanic heading, much to my (and their) astonishment. The 1980's was also the period in which New Age music, a combination of ECM, Terry Riley, ethnic music, and a sprinkling of light electronics. This started to gain an enormous audience of over-stressed former hippies and baby boomers trying to find music that would transport them, but not force their heads to work harder than they already were. It was, in some ways, a search for a nice refuge from the hyper-materialistic eighties.

In the 1990's, interest in the occult and spirituality seemed to skyrocket to heights not seen since the mid-1970's. The introduction of drugs into a culture among youth seems to generate interest in alternative spirituality, but interest in Wicca seemed to run high in the 1990's—there are more Wiccans than Unitarians at this point—and the increasing diverse environment of the United States and Western Europe are bringing in many more religious traditions, including areas as diverse and dissimilar as Santero, Voodoo, Hinduism and Buddhism, these often having houses of worship or outlets in the same community.9

Millennium fever probably fueled a lot of interest in the occult, and disenchantment with mainstream religions also seemed at a peak in the mid to late 1990's. Prosperity in the United States always has seen us experimenting—we find that money doesn't buy happiness, or we start looking for new things to entertain us. Also, the Goth scene started to develop with a new intensity, becoming the hippie movement of the 1990's. This started to develop interest in alternative religions.10

In the later 1990's, as groups like Rob Zombie and Marilyn Manson (who is allegedly, a minister in the Church of Satan) started to gain in popularity, the middle class and fundamentalist Christianity started to get very concerned again, but the ability to confine this stuff is less easy than in the days before the internet (there must have been a great deal of gnashing of teeth when Tool thanked Satan for its Grammy award!). The ultimate ramifications of the September 11, 2001 attacks have had the interesting effect of both increasing animosity towards foreign cultures and increasing interest, while the Church's recent spate of sexual molestation cases all around the United States have increased interest in alternative religion. Madonna, for instance, is interested in the Cabala and has had a Hindu (Indian) astrology reading done for her (this is the system of astrology that I myself practice). There has been an enormous upsurge in interest in the more metaphysically oriented music of the late 1960's and early 1970's (Gong, Magma, Hawkwind, Terry Riley, etc.).

But people are also a bit insecure and afraid now—it would only take one more successful terrorist attack to turn the U.S. into raging xenophobes. What does that have to do with music? Nothing and everything. Basically, even though I am not a big fan of some of the music I've discussed here, it does make the entire musical scene a whole lot more interesting. And I really don't want to listen to either basic rock'n'roll or Christian rock (although some of it sounds OK to me) or even new age stuff. I grew up in a time when virtually everything was possible in music. One of the biggest disappointments in the world as it exists today is the fact that the music scene has remained as fragmented as it was in the mid-1970's onward with segregated markets. The thing that we all have to fight is the belief that we have nothing in common with the rest of the world. The universal undercurrent in every spiritual teaching stresses our similarities—the differences are for spice and flavor, not evil.

Tawee Kiva

Myspace Page

I really enjoy viewing this artists work, there is much more to check out on the myspace page as well.

Myspace Page

Otomo Yoshihide / Bill Laswell / Yoshida Tatsuya - 2006 - Episome


01 Fudge 13:23
02 Layout 14:31
03 Substantiality 7:09
04 Spin 9:44
05 Hedge 14:17

Liner Notes

Bill Laswell: Bass
Yoshida Tatsuya: Drums
Otomo Yoshihide: Guitar, Vocals
Mastered By: Scott Hull (2)
Producer: Bill Laswell
Recorded By: Robert Musso
Written By: Bill Laswell, Otomo Yoshihide, Tatsuya Yoshida

Otomo Yoshihide / Bill Laswell / Yoshigaki Yasuhiro - 2004 - Soup


01 Duck 11:07
02 Mushroom 9:56
03 Crab 14:13
04 Seaweeds 12:29

Liner Notes

Recorded at Gok Sound, Tokyo
Engineer: Kondo Yoshiaki
Edited by Otomo Yoshihide
Mix Translation by Bill Laswell at Orange Music, NJ
Mix Engineer: Robert Musso
Assistant Mix Engineer: James Dellatacoma
Produced by Shin Terai for Texture Inc.
Mastered by Michael Fossenkemper at Turtle Tone, NYC

Otomo Yoshihide: guitar, turntables (Tracks 2,4)
Bill Laswell: bass, effects, samples
Yoshigaki Yasuhiro: drums, percussion, electric drum (Track 1), trumpet (Track 4)

Thursday, August 2, 2007

Hella - Church Gone Wild/Chirpin Hard

"The third full-length from these Sacramento noise-rock heroes is a double album with drummer Zach Hill and guitarist Spencer Seim each claiming their own disc, performing an entire record on their own. Hill's "Church Gone Wild" delivers a dark and menacing onslaught of aggression and guts, while Seim's "Chirpin Hard" brings out a lighthearted but wholly technical and equally impressive spattering of pop and punk melded in the hot pot of the computer and video game age. This album re-establishes Hella as the kings of spastic noise and experimentalism."

Wednesday, August 1, 2007

Frank Zappa - Just Another Band From L.A.

This is the first Zappa I ever heard and ever since I have been amused by his way of organizing things. This is a live record from the Flo and Eddie era, so the year is 1970 or '71. It starts off with the opera of Billy the Mountain, a 30 minute tale about a majestic mountain named Billy and his small wooden wife, Ethel. Then he plays some hits like call any vegetable and eddie are you kidding? magdelena and dog breath.

Tuesday, July 31, 2007

Jimi Hendrix - 1968 - Winterland

"In 1968, Jimi Hendrix had just released what would be his strongest album as a producer and band leader. 'Electric Ladyland'. The evolution of his music was starting to move towards expressive sounds and colors that his current band didn't have the vision or experiences to extend and become one with. The flaming inferno that was Hendrix's soul was consuming the very thing that put him where he was. Due to this and relentless touring, relationships in the band were deteriorating. The band was progressing towards more complex and soulful material, the pyscadelia of the past year and a half was starting to transform back into the raw etheral state of when he was playing rhythm and blues rock and roll and soul. This, along with the sound experimenation he had culminated created some of the most honest pieces of art concieved. Songs like South Saturn Delta expressed his desire for jazz, while songs like midnight and hear my train a comin took him back to his strong roots in blues. So many of songs of this period reveal a bursting nucleus of energy, where every note transcends to very deep levels. This all resulted in multiple takes of music having to be commited to tape before progress would be made. No longer did Jimi have to rely on 4 track tape, his new capabilities in the recording was a big factor in this transition. More layers could be achieved, no longer did he have to settle on the first few takes. This had it's affect in the year of 1968, and these concerts are a testament to the transition of technically higher demanding music and a unit that was moving further and further apart as the tours and pressure to be stars and not musicians kept bulding up. These concerts represent Jimi Hendrix in a state of a musical crossroad. You can hear how outside Jimi really wanted to go from his radio sound, to truly be free of the gimmicks of smashing guitars and to just have the chance to wail away. Jimi's band The Experience, had been touring around much of the recorded material for 2 straight years, going on 3. This results in moments of ecstasy, and also confusion and lack luster energy. All of this culminates into 6 extremely interesting sets. You can hear Jimi pouring every fiber of his body into songs like red house and voodoo child, but some older songs feel like they had lost something. Highlights from the 3 nights include searing renditions of are you experienced, voodoo child, tax free, red house, one of the only sounboard versions of manic depression and so much more. Every set is Hendrix and the Experience at their best and their worst, music doesn't get more honest and raw than these 3 nights." ~ Erik Otis

DISC 1: 1ST SHOW (October 10)
1. Intro
2. Are You Experienced
3. Voodoo Child (slight return)
4. Red House
5. Foxy Lady
6. Like A Rolling Stone
7. Star Spangled Banner
8. Purple Haze / Outside Woman Blues

DISC 2: 2ND SHOW (October 10)
1. Intro
2. Tax Free
3. Lover Man
4. Sunshine Of Your Love
5. Hear My Train A Comin'
6. Killing Floor - with Jack Casady on bass
7. Hey Joe - with Jack Casady on bass
8. Star Spangled Banner
9. Purple Haze

DISC 3: 1ST SHOW (October 11)
1. Intro
2. Are You Experienced - with Virgil Gonsales on flute
3. Voodoo Child (slight return)
4. Red House
5. Foxy Lady
6. Star Spangled Banner
7. Purple Haze

DISC 4: 2ND SHOW (October 11)
1. Intro
2. Tax Free
3. Spanish Castle Magic
4. Like A Rolling Stone
5. Lover Man
6. Hey Joe
7. Fire
8. Foxy Lady
9. Purple Haze
Tracks 4-8: with Herbie Rich on organ

DISC 5: 1ST SHOW (October 12)
1. Intro
2. Fire
3. Lover Man
4. Like A Rolling Stone
5. Foxy Lady
6. Noel Redding / Mitch Mitchell jam
7. Tax Free
8. Hey Joe
9. Purple Haze
10. Wild Thing

DISC 6: 2ND SHOW (October 12)
1. Intro
2. Foxy Lady
3. Manic Depression
4. Sunshine Of Your Love
5. Little Wing
6. Spanish Castle Magic
7. Red House
8. Voodoo Child (slight return)
9. Star Spangled Banner
10. Purple Haze

The Mars Volta - 2005 - Abortion, The Other White Meat

The Doors - 1968 - Hollywood Bowl

The Miles Davis Quintet - 1967 - Berlin

John Cage and Roland Kirk - 1966

Monday, July 30, 2007

Bob Marley and The Wailers - 1980 - Dortmund, Germany

Led Zeppelin at their Finest


"By request, here is Zep's 2nd-to-last US show ever. This show is more famous for what happened backstage than onstage. By this tour, Page & Bonham, along with manager Peter Grant, road manager Richard Cole, security coordinator John Bindon and most of the crew, were regularly using heroin. Excesses by the band and their crew were taken to extremes on the 77 tour, in particular the violence. Supposedly some fans (including attempted bootleggers!) got the crap beaten out of them for various reasons; Cole later bragged about Bindon and he sneaking under the stage and using a hammer to smash the kneecaps of fans, supposedly for getting too close to the band. By 77, it was not all fun and games and happy times, my fellow Zep fans; Peter Grant and his crew were a band of brutal thugs, usually stoned out of their minds.

Like most concerts in Oakland since the mid-60's, Bill Graham was putting on this show. He had his layer of security people working the venue on this Saturday, July 23.

From Rolling Stone magazine, September 8, 1977:
...Graham, however, did give his version of what happened, based partly on what his employees told him:

"There were really two incidents, both of which happened after the Saturday concert was over. The first involved Peter Grant and a security man for him, John Bindon. As they left the stage, Jim Downey [a member of Graham's stage crew] said to Grant who looked very tired, something like, 'Do you need any help?' From what I can tell, there was offense taken to that statement. The stage crew man was struck by Bindon and his head was bashed against the concrete.

"The second incident involved a stage security man named Jim Matzorkis. Matzorkis was taking a wooden plaque with Led Zeppelin's name on it off their dressing-room door to put away for the next show. A young boy asked him for the sign, and Jim said, 'No, we need it for the next day.' Turned out the young boy was Peter Grant's son."

According to Matzorkis' report to the Oakland police, he was putting the sign in a storage trailer when he was approached by Grant, Bonham, Bindon and Zep tour manager Richard Cole. "You don't talk to a kid like that," Grant reportedly told Matzorkis. "Apologize or I'll have your job." Matzorkis said that Bonham also told him to apologize and then kicked him in the groin. Matzorkis fled and hid in a trailer.

According to Graham, Grant's employees then began to look for Matzorkis. During the search, Cole allegedly hit Bob Barsotti, Graham's production manager, on the back with a four-inch lead pipe. Graham said he went to speak to Grant in his trailer to try to clear up what was turning into a dangerous situation. "I went in and said, 'I don't know what went on, but if there are any apologies due, I extend them on behalf of my company.' And Peter said, 'I want to speak to this man.' I said, 'Peter, you're a very big person' -- he weighs about 300 pounds -- 'give me your word, nothing physical.' He said, 'Bill, I give you my word.'

"I went over to the trailer where Jim was hiding. I said, 'Jim, it's okay, it's me.' Then I stepped in. I said, 'Jim, this is Mr. Peter Grant, the boy's father.' Before I could finish the sentence, Peter blasted Jim in the face. I tried to stand between them, but Grant forced me to the door of the trailer, this other man came in and then Grant forced me out and locked the door. I tried to open the door, but their people came over and guarded the door. Matzorkis worked his way to the door while they were hitting him, and he was able to get out. His face was a bloody mess."

Matzorkis was taken to an East Bay hospital. According to a court file, he had cuts and bruises on his face and lips and a broken tooth.

Graham said a Zeppelin representative told him the band would not take the stage Sunday until he signed an agreement indemnifying the group against damages resulting from the Matzorkis incident. He said he signed the paper only after his lawyer assured him that under the circumstances it was not binding. Graham said he also asked his production people to cool it for the day. The Sunday concert was notably low-key; guitarist Jimmy Page, who is known for roaming around the stage, sat through much of the show.

"I could never in good conscience book them again," Graham said. "For these people to assume that might makes right takes me back to Germany -- and I've blocked out pretty much of my childhood [some members of Graham's family died in concentration camps] -- but that's where they come from. I cannot help but wonder how much of this did, in fact, go on in the past with these people."

Swan Song would only say that the case is a personal legal matter: "Robert's child died; this is bulls--- in comparison." (RS 247-MERRILL SHINDLER)

So Bonham, as I've read he had done other times before, was a bully when he had others around who would protect him. After Grant gave his word that he wouldn't, he and Bindon assaulted Matzorkis while Cole guarded the door with a lead pipe. They threatened to not play their 2nd contracted show on Sunday, July 24, unless Graham agreed not to charge or sue them. Graham agreed in order to avoid starting a riot by the fans already gathered for the show. Graham also said afterwards that he hoped Zep never played in the US again. After leaving Oakland, Zep flew to New Orleans, where Plant learned his son had died. The remainder of the tour was cancelled and Zep never played another show in the US.

To me, there's no way to dress this up: Zep and their crew were cowards and bullies, brutally assaulting anyone who pissed them off, and later using the death of Plant's son to avoid being forthright about their actions. Here is the concert from that date.

The sound quality varies, but overall rates a Good-, the instruments clear enough, Plant buried in the mix (which is fine with me, post-71 Zep), some crowd noise but not too intrusive, a bit of tape hiss. The performance itself is OK for 77, but I can't listen to it without thinking of the ugliness that happened afterwards." ~ Big Bad Bill

heres some video from the show talked about above

Bread and Circuits - 2000 - Bread and Circuits

"When Torches To Rome broke up Mike Kirsch (from Fuel, John Henry West, Navio Forge, Sawhorse, Torches To Rome, Sixteen Bullets, etc...) joined forces with Jose Palafox (from Struggle and the Swing Kids), Mag (from Yaphet Kotto), and Chuck Shackelford (from Q Factor) to put together Bread And Circuits. These 8 songs take off where Torches To Rome ended with a sound that is similar, but even more developed. Explosive and high energy hardcore as well done as you would expect considering the people involved. Melodic, powerful and extremely sincere. Both formats come with a full color cover and a three color, 20 page booklet." ~ Ebullition Records

Label: Ebullition Records (2)
Catalog#: Ebullition 42
Format: Vinyl, LP

Released: 2000
Genre: Rock
Style: Hardcore
Credits: Bass, Vocals - Chuck Shackelford
Drums - Jose Palafox
Guitar - Mag (4)
Guitar, Vocals - Mike Kirsch
Producer - Bread And Circuits
Recorded By, Engineer - John Lyons
Notes: Recorded at the Living Room on July 13, 1998. Mixed September 1998


A1 Trophy Room
A2 Hampton's Floor Plan
A3 The End of History
A4 Bread And Circuits
B1 White Man
B2 Statute Of Limitations
B3 Bretton Woods
B4 Letter From Chase