Saturday, August 11, 2007

Nobody - 2006 - Revisions Revisions The Remixes 2000-2005

"Revisions Revisions is a collection of remixes that Los Angeles based producer Nobody (Elvin Estela) has completed in the last 5 years. Between albums for a diverse group of labels such as Ubiquity, Mush and Plug Research, Nobody faced many a deadline in completing remixes for various artists from across the world. This collection of remixes reflects a broad range of musical styles that Nobody has dabbled in throughout his career, from the vintage 60’s softpsych of The Free Design to the underground hiphop of LA based MC Busdriver.

Nobody’s debut Soulmates (2000) was the album Elvin had been making all his life - the best bit of beats he had made in his bedroom combined with fresh new tracks he did with the cream of the LA underground. From these roots, Nobody still claims hip-hop as his first love, and is always willing to lend a hand to his peers when called on. Build an Ark’s “Always There” ode to great, lost jazz musicians is turned into a tribute from Sach to his former partner in rhyme Yusef Afloat. Busdriver’s “Unemployed Black Astronaut” becomes the theme to finding a home in outer space. Ellay Khule is called on to offer a different point of view on Adventure Time’s “Whetting Whistles.” Instrumental hip-hop artists Presto and Ill Suono get their tunes redone with a new palette of samples and melodies. More than just supplying a different track for the original, Nobody always seeks to support the message and meaning of the song with it’s prefect sonic partner.

With the release of Pacific Drift (2003), Nobody entered new territory, twisting the sounds of 60’s psych into something that was half dissonant pop and half hip-hop banger. This intriguing sound eventually attracted the ears of various bands and labels, all interested in hearing Nobody’s take on their music. The Free Design’s dark and mysterious “Girl’s Alone” is transformed into an instrumental cover, with Ikey Owens (Mars Volta) faithfully reproducing the song’s soaring melodies. Mia Doi Todd’s “Autumn” sounds like a lost outtake from the Pacific Drift sessions.

Electronic indie acts Her Space Holiday, Clue to Kalo, Pepe California and The Postal Service get their glitchy electronics swept from under their feet and find themselves afloat sparse bangers with their own melodies turning in on it’s self. Nobody even tackled a full on rock song, courtesy of Domino Records’ Clearlake, and turned their Jesus and Mary Chain wash into a stabbing 60’s freakbeat anthem.

Although these remixes span several years and reflect changes in Nobody’s sound and direction, Nobody made sure that they form a cohesive whole when presented as an album. Revisions Revisions takes in 5 years of different artists, styles and sounds and unites them under Nobody’s vision of “psychdelia for hip-hop kids and hip-hop for psychedelic kids”." ~ Plug Reseach

Track Listing:
(All versions below are remixes by Nobody, these are not the original versions.)

1. Ill Suono - A Moment of Sympathy
2. Pepe California Guadalupe
3. Busdriver - Unemployed Black Astronaut
4. Her Space Holiday - From South Carolina
5. Mia Doi Todd - Autumn
6. The Free Design - Girl’s Alone (with Ikey of The Mars Volta)
7. The Postal Service - Be Still My Heart
8. Clearlake - Good Clean Fun
9. Build An Ark - Always There (with Sach)
10. Clue to Kalo - When Tommy Fixes Fights
11. Presto - Relax
12. Adventure Time - Whetting Whistles (with Pigeon John & Ellay Khule)
13. Phil Ranelin - Vibes From The Tribe

Fugazi - 2001 - The Argument

"By Laurence Station

Ah, Fugazi. Politically charged to the point of near self-parody, as passionate about its causes (which are legion) as its music. Champions of the $10 CD (I actually picked up The Argument for $8.99) and $5 live shows. In all things, as serious as a Dick Cheney heart attack.

It would be easy to take shots at this seminal DIY outfit, to find chinks in its overly anti-capitalistic armor. But such potshots would be missing the point, since one listen to Fugazi's latest work, The Argument, transcends the band's overtly left-wing political leanings, even when the lyrics refuse to let you forget where these guys are coming from. In its incredible musicianship and careful craftsmanship, The Argument also makes evident the immense care with which this quartet goes about the business of record making.

The album begins with the stellar backbone of drummer Brendan Canty and bassist Joe Lally providing a peerless rhythm section for guitarists Ian MacKaye and Guy Picciotto to play off of. Tracks like "Full Disclosure" and "Life and Limb" expertly showcase the interplay between the four musicians, the backbeat providing a rock-solid foundation from which the twin guitars take flight.

Yet it's the sixth track, "The Kill," that takes this work to places earlier Fugazi efforts have rarely gone. Rising out of a delicate, almost gauzy beat, the song feels as if it's exploring every corner of its considerable acoustical range. Following on the heels of this is the album's centerpiece, the brilliant "Strangelight," showcasing a patient, more focused Fugazi, willing to take greater chances with its sound, each member trusting their fellow bandmates' talents implicitly. Amy Domingues' work on cello blends seamlessly with that of the four principals. The result is one of the great tracks in a career filled with notable cuts.

Ultimately, The Argument succeeds on two distinct levels: First, it reaffirms Fugazi's standing as one of the top rock outfits working today. And second, whether you agree with the band's politics or not, it spells out the members' litany of concerns in a creative and, thankfully, not overly preachy way.

Solid work, gentlemen." ~ Shaking Through

Label: Dischord Records
Catalog#: DIS130CD
Released: Oct 2001
Genre: Rock
Style: Punk
Submitted by: Matto


01 Untitled (0:52)
02 Cashout (4:24)
03 Full Disclosure (3:53)
04 Epic Problem (3:59)
05 Life And Limb (3:09)
06 The Kill (5:27)
07 Strangelight (5:53)
08 Oh (4:29)
09 Ex-Spectator (4:18)
10 Nightshop (4:02)
11 Argument (4:27)

Sunny Day Real Estate - 2000 - The Rising Tide

"Described by Jerermy Enigk as a "wake-up call," Sunny Day Real Estate's fourth album (and their first for Time Bomb) The Rising Tide presents the most accomplished version of their gripping, anthemic sound yet. Appropriate to its title, The Rising Tide comes in sweeps and swells, ranging from searching, uncompromising rock like "Killed By an Angel" and "One" to gentle, beautiful ballads like "Rain Song" and even pop-tinged songs like "Television," which sounds a bit like a more propulsive version of the Police's early '80s singles. Though the album was recorded with a trio lineup (Jeremy Enigk, Dan Hoerner, and William Goldsmith), it's some of the band's fullest-sounding work, rich with strings and keyboard flourishes that add extra depth to the shimmering, Eastern-inspired drones of "Fool in the Photograph" and "Faces in Disguise." Lou Giordano's production gives The Rising Tide an unabashedly big, clean sound that frames Sunny Day's detailed songwriting and arrangements perfectly, giving the restrained, reflective "Tearing in My Heart" and "The Ocean" as much impact as driven tracks like "Snibe" and "Disappear." Best of all is the title track, which blends a beautiful melody, heartfelt vocals, and an insistent rhythm into a sweeping, affecting finale. Expansive and complex without compromising the band's focused, impassioned style, The Rising Tide is one of Sunny Day Real Estate's — and 2000's — most impressive albums." ~ AMG

Label: Time Bomb Recordings
Catalog#: 70930-43541-2
Released: 2000
Genre: Rock
Style: Emo
Credits: Producer - Lou Giordano
Submitted by: mech1


01 Killed By An Angel
02 One
03 Rain Song
04 Disappear
05 Snibe
06 The Ocean
07 Fool In The Photograph
08 Tearing In My Heart
09 Television
10 Faces In Disguise
11 The Rising Tide

Leatherface - 2000 - Horsebox

"Frankie Stubbs has delivered another manifesto of emotional overload, of vocal heart meltdown on record for a solid 47 minutes. Delivering the first Leatherface album of new material in six years, Horsebox is another stunning achievement of brain, brawn, guts, pathos, and liquid fire. Even without the gut-wrenching cover of Nick Cave's "Ship Song," it's clear these guys don't just pummel you senseless — they flat out know how to play, and Stubbs writes and arranges in an extremely mature manner that feels more complex the more you hear the individual parts. Horsebox is so charged, it's as stubborn to get into as it is to do descriptive justice to, but it also entices from the first play. Stubbs continues to work in mid-tempo material, with passages where the guitars drop out or merely pick at power-lead parts. He and second guitarist Leighton Evans are at their call-and-answer best on the bridge of the most melodic killer "Closing Time," following a passage that's merely bobbing bass and tremendous drumming. "Lorrydrivers Son" and "Box Jellyfish" are two more melodic, meticulously picked gems that give some break from the gale. A criticism? Perhaps they could go out on a limb a little more. It would be good to show more people the deeper ranges of Stubbs' tastes and abilities. That such a bomb like this could be dropped is some kind of miracle — a marvel doubled when one considers that this band was thought dead forever a few years ago. Like all the hottest LPs, it will take you a few plays for its more discriminating qualities to take hold, for its emotional center to reveal itself amidst the volcanic eruptions, aside from the sound of Stubbs' headlong imploring. And once it does, watch out." ~ AMG

Label: Better Youth Organization
Catalog#: 68
Released: 13 Jun 2000
Genre: Rock
Submitted by: cauchyriemann


01 Sour Grapes (4:01)
02 Evo Pop (3:28)
03 Soundbites (2:48)
04 Watching You Sleep (2:36)
05 True Colours (2:46)
06 Grip (3:13)
07 Choice (4:23)
08 Lorrydrivers Son (4:23)
09 Ship Song (3:27)
10 Eddy Bumble (2:20)
11 Closing Time (3:32)
12 Wing Ding (3:21)
13 Kill DJ's (4:12)
14 Box Jellyfish (3:53)

Rahsaan Roland Kirk - 1973 - Bright Moments

"Rahsaan Roland Kirk's live club gigs were usually engaging, freewheeling affairs, full of good humor and a fantastically wide range of music. The double album Bright Moments (reissued as a double CD) is a near-definitive document of the Kirk live experience, and his greatest album of the '70s. The extroverted Kirk was in his element in front of an audience, always chatting, explaining his concepts, and recounting bits of jazz history. Even if some of his long, jive-talking intros can sound a little dated today, it's clear in the outcome of the music that Kirk fed voraciously off the energy of the room. Most of the tracks are long (seven minutes or more), demonstrating Kirk's wealth of soloing ideas in a variety of styles (and, naturally, on a variety of instruments). "Pedal Up" is a jaw-dropping demonstration of Kirk's never-duplicated three-horns-at-once technique, including plenty of unaccompanied passages that simply sound impossible. There's more quintessential Kirk weirdness on "Fly Town Nose Blues," which heavily features an instrument called the nose flute, and the title track has a healthy dose of Kirk singing through his (traditional) flute. His repertoire is typically eclectic: Ellington's "Prelude to a Kiss"; a groovy Bacharach pop tune in "You'll Never Get to Heaven"; a lovely version of Fats Waller's "Jitterbug Waltz"; and a stomping, exultant New Orleans-style original, "Dem Red Beans and Rice." Perhaps the best, however, is an impassioned rendition of the ballad standard "If I Loved You," where Kirk's viscerally raw, honking tone hints in a roundabout way at the avant-garde without ever losing its melodic foundation. Bright Moments empties all the major items out of Kirk's bag of tricks, providing a neat microcosm of his talents and displaying a consummate and knowledgeable showman. In short, it's nothing less than a tour de force." ~ AMG

Label: Atlantic Records
Catalog#: SD 2-907
Released: 1973
Genre: Jazz
Credits: Bass - Henry Pearson
Drums - Robert Shy
Engineer - Biff Davies , Ed Barton , Jack Crymes
Flute, Saxophone [Tenor], Flute [Nose] - Rahsaan Roland Kirk*
Percussion - Joe Habao
Piano - Ron Burton
Producer - Joel Dorn
Synthesizer - Todd Barkan
Notes: Recorded live at Keystone Korner, San Francisco, California.


2.Pedal Up
3.You'll Never Get To Heaven
4.Clickety Clack
5.Prelude To A Kiss
6.Talk (Electric Nose)
7.Fly Town Nose Blues


1.Talk (Bright Moments)
2.Bright Moments Song
3.Dem Red Beans And Rice
4.If I Loved You
5.Talk (Fats Waller)
6.Jitterbug Waltz
7.Second Line Jump

Rahsaan Roland Kirk Live

here at AstroNation, we value us some Rahsaan Roland Kirk. Due to this valued respect and the fact that dimeadozen has exploded with torrents, I figured I would share with all of you.

Uploads on a select few shows coming up in the next week or two:


*Original Torrent Uploaded by peterw* Thank You, Peter!
*Golden Ear Provided by PervFessor goody* Thank You, goody!

This is for dsgtrane.

Rahsaan Roland Kirk
The Vibration Society
Jazzclub Blue Bird
Åhus, Sweden
July 17, 1975

FM broadcast > Philips CDR765 > Adobe Audition > dBpowerAMP Music Converter 11.5

Post Producton: FLAC > WAV > Adobe Audition (Speed Correction +23 cents) > FLAC

Rahsaan Roland Kirk (fl, cl, ts, manzello, stritch, misc.instr)
Hilton Ruiz (p)
Henry Pete Pearson (b)
Sonny Brown (d)
Todd Barkan (perc)

1. Swedish radio announcerment 4:40
2. If I loved you /The preacher/Für Elise .. 15:33
3. Unknown title /The Entertainer .. 7:57
4. Bright moments 10:34
5. Three for the festival 6:36
6. Echoes of Primitive Ohio & Chili Dogs 12:17



ROLAND KIRK - Newport Jazz Festival, 1962

JULY 8, 1962

Roland Kirk - reeds
Andrew Hill - piano
Vernon Martin - bass
Clifford Jarvis - drums

1. Three For the Festival
2. Nice and Easy
3. Domino
4. Fat Man Please Get Thin
5. The Confusions of a Madman
6. 3-in-1 Without the Oil
7. untitled blues

A Stritch in Time from this performance was released on the Mercury box set and so is not included.

This is from a later broadcast on WKCR - their Andrew Hill Festival (I do not know from what year the broadcast originates) and the latter-day commentary is included.


Roland Kirk Quartet (#1,4-6)
Kirk - McGhee - Johnson - Stitt - Jazz Band Ball (#2,3)

Roland Kirk - flute, manzello, stritch, tenor sax, vocals

Berlin (Germany), Philharmonie, Jazztage - September 26, 1964

Tete Montoliu - piano
Jimmy Woode - bass
Kenny Clarke - drums

1. So Long Note, Baby (6:40)

Berlin-Schöneberg (Germany), Prälaten, Jazztage 1964 - September 27, 1964

Sonny Stitt - alto sax
Jay Jay Johnson - trombone (#2 only);
Walter Bishop Jr. or Tete Montoliu - piano
Tommy Potter or Peter Trunk - bass
Kenny Clarke - drums

2. Au Privave (Charlie Parker) 15:02
3. Steeplechase (Charlie Parker) 7:41 [cut]

Milano (Italy), Teatro dell'Arte al Parco - October 10, 1964

Roland Kirk - flute, manzello, stritch, tenor sax, vocals
Walter Bishop - piano
Tommy Potter - bass
Kenny Clarke - drums

4. All By Myself (Irving Berlin) 5:40
5. I Remember Clifford (Benny Golson) 6:24

Paris (France) - October 22, 1964

Roland Kirk - flute, manzello, stritch, tenor sax, vocals
Walter Bishop - piano
Tommy Potter - bass
Kenny Clarke - drums

6. Domino (Ferrari-Plante-Raye) 4:11

TT: 45:24

Sound: B & B+
Lineage: radio (#1,2,3,6) / tv (#4,5) > ? > CDR in trade > EAC (secure) > Cool Edit Pro > FLAC (8,asb,verify)
Prepared & shared by ubu

- fixed marks, added fade-ins and fade-outs
- deleted small gaps around original marks
- deleted partial radio talk segments
- #4: left channel 6 DB boost


Sonny Stitt "Loose Walk" (Philology (It) W 43-2) contains a 1964-09-24 version of "Au Privave" with Stitt, Kirk, Tete, Potter or Woode and Clarke.


Rahsaan Roland Kirk and the Vibration Society
TV Show "Soul" Hosted/Produced by Elliot Hazlip
October 4, 1972

Broadcast on WKCR-FM Kirk Rarities Birthday Special, New York City in 1980

Rahsaan Roland Kirk (reeds, percussion)
Ron Burton (p)
Art Perry (perc)
Robert Shy (dr)
Henry Pete Peterson (b)

1. WKCR Intro (3:01)
2. TV Show "Soul" Intro/Inflated Tear (2:03)
3. Interview (10:40)
4. Pedal Up (10:21)
5. Old Rugged Cross (7:28)
6. Old Rugged Cross (cont) (9:30)
7. Blacknuss [cut] (6:07)
8. Inflated Tear > Red Beans and Rice (7:55)
9. WKCR Outro (3:41)

Very rare recording of Kirk live in front of a TV audience from 1972
The WKCR DJ does a good job explaining what you will here on both his intro and outro.


Roland Rahsaan Kirk
Copenhagen (Denmark), Club Montmartre
October 24, 1963

Roland Rahsaan Kirk - tenor sax, flute, manzello, strich, nose flute, siren, etc
Tete Montoliu - piano
Niels Henning Ørsted Pedersen - bass
J.C. Moses - drums

on #9, Alex Riel - drums, replaces Moses

1. Three for the Festival (Roland Kirk) 3:35
2. Everything Happens To Me (Dennis-Adair) 5:52
3. Moon River (Mancini-Mercer) 5:22
4. Body and Soul (Heyman-Sour-Eyton-Green) 8:26
5. Domino (Ferrari-Raye-Plante) 7:04
6. You Did It, You Did It (Roland Kirk) 5:23
7. 3-In-1 Without The Oil (Roland Kirk) 7:24
8. A Cabin In The Sky (Latouche-Duke) 7:14
9. Basie Eyes (Roland Kirk) 3:31
10. Freddie Freeloader (Miles Davis) 2:58

TT: 56:55

Sound: B/B+
Original Source: TV (#1-7), Radio (#8-9)
Lineage: FM Broadcast > Tapes > Philips CDR765 > dBpowerAMP Music Converter > FLAC > CDR > EAC (secure) > Cool Edit Pro > FLAC (8,asb,verify)
Original seeder: peterw
Edited & re-seeded by ubu

Edits: deleted small gaps (0.15-0.2 sec) before/after all marks (except 7/8); separated #9 and #10.


The original seed by Peter gave October 10 as the date, the Tete discography says it's October 24 (

The radio broacast also contains Solar (8:04), We'll Be Together Again (7:20) and Hundred Ore (5:57), listed in between #8 and #9 on the Tete discography.

All tracks released on Magnetic MRCD 136 (Roland Kirk "Live in Copenhagen")

#9 is listed as "Medley - The Theme" on Magnetic MRCD 136


Roland Kirk Quartet
Bremen (DE), TV Studio
October 15, 1963

Roland Kirk - flute, manzello, stritch, tenor sax
George Gruntz - piano
Paul Rovere - bass
Daniel Humair -drums

1. Domino (1:13)
[* Blues for Alice (Charlie Parker) 6:19]
[* I Remember Clifford (Benny Golson) 3:41]
4. Ann RK (0:20)
5. There Will Never Be Another You (Warren-Gordon) 3:39
6. Ann RK (0:07)
7. Three for the Festival (3:00) [different version than on *]
[* Domino (5:05)]
9. Ann RK (0:31)
[* Sister Sadie (Horace Silver) 5:58]
11. Ann RK (0:30)
12. Tenderly (4:17)
13. Ann RK (0:58)
14. Better Get Hit In Your Soul (Charles Mingus) 4:26
15. Ann RK (0:28)
16. 3-in-1 Without The Oil (2:25)

TT: 22:00 [43:06]

Sound: A-/B+
Source: TV
Lineage: TV > ? > CDR in trade > EAC (secure) > Cool Edit Pro > FLAC (8,asb,verify)

*) released on 32 Jazz 32032 "Dog Years in the Fourth Ring" (3CD set, 1997)


This came untracked, I added track marks and boosted the announcements a bit.

There may be a speed issue here... sounds pretty fast to my ears, but I'm no expert...


Roland Kirk Quartet
Newport Jazz Festival 1962
Freebody Park, Newport, RI (USA)
July 8, 1962

Roland Kirk - tenor sax, stritch, manzello, flute, nose flute, whistles
Andrew Hill - piano
Vernon Martin - bass
Clifford Jarvis - drums

1. Intro Willis Connover and RK (1:48)
2. Three For The Festival (Kirk) 3:06
3. Nice And Easy (Spence-Keith-Bergman) 5:25
4. Ann RK > Domino (Kirk) 8:46
5. Fat Man Please Get Thin (Kirk) > Ann RK (8:36)
6. The Confusions Of A Madman (Kirk) 5:09
7. Ann RK > 3-in-1 Without The Oil (Kirk) > Ann RK (5:31)
[* A Stritch In Time (Kirk) 7:25]
8. Time Races With Emit (Kirk) 1:14

TT: 39:39 [47:04]

Sound: A-
Source: radio broadcast (WKCR "Andrew Hill 60th Birthday Festival")
Lineage: FM > ? > CDR in trade > EAC (secure) > Cool Edit Pro > FLAC (8,asb,verify)

*) commercially released on "Rahsaan - The Complete Mercury Recordings of Roland Kirk" (10CD set)

Notes on edits:
- cut out WKCR announcer talk & voiceovers
- added fades where necessary
- moved marks where necessary

Note: in the talk following #9, the announcer says there was an encore that follows, what Rahsaan calls "a free item" - the the recording fades out, thus I assume this encore is missing.


Rahsaan Roland Kirk and the Vibration Society

Rahsaan RK, the reeds section
Hilton Ruiz, pno;
Henry "Pete" Pearson, bs;
John Goldsmith, dr;
Joe Texidor perc;

Village Vanguard, NYC


1 Bye Bye Blackbird 10:16 INC (first bars mss)
2 Unknown 21:03
3 Inflated Tear 6:53
4 The End of a Love Affair(?) 9:41

2003 RRK Tree CD II



Rahsaan Roland Kirk and the Vibration Society

Rahsaan RK, the reeds section
Hilton Ruiz, pno;
Henry "Pete" Pearson, bs;
John Goldsmith, dr;
Kenny Rogers, bari sax;

Village Vanguard, NYC

PART 1 2/24:49
1 Hackensack 13:26
2 A Love Supreme 11:23 INC

Part 2 10/70:04
1 Blow the Man Down 10:39
2 If I Loved You 9:31
3 C Jam Blues 9:26
4 Fly Town Nose Blues 7:36
5 Satin Doll 1:23
6 Miles’ Mode 0:39
7 Sophisticated Lady 3:24
8 C Jam Blues 11:32
9 Fly Town Nose Blues 13:23
10 Satin Doll 2:27

2003 RRK Tree CD II&III:


Rahsaan Roland Kirk & The Vibration Society
Village Vanguard

Audience Recording

Rahsaan Roland Kirk - fl, nose fl, cl, ts, manzello, stritch, miscellaneous instruments
Hilton Ruiz - p
Bob Cunningham - b
prob. Robert Shy - dr
prob. Joe Habao Texidor - perc
unknown - tp

(From George M. Bonifacio's Rahsaan Roland Kirk Discography)

1. Solo 7:09
2. Fly Town Nose Blues 14:15
3. Jitterbug Waltz 17:16
4. Second Line Jump 1:49
5. ???? (end gets cut) 4:06

*Probably a partial set

Originally posted to DIME by tapdancinbat.

Pitch was approximately 57 cents sharp.
Fixed and reFLACed by goody - 10/7/05

*This Is A Perv/twat Production*


Rahsaan Roland Kirk & The Vibration Society
Village Vanguard

AUD? > FLAC > WAV > Audacity (Speed Correction -3.9%) > FLAC

Rahsaan Roland Kirk - reeds
Hilton Ruiz - piano
Henry "Pete" Pearson - bass
John Goldsmith - drums
Kenny Rogers - baritone sax

01. Fine & Dandy> (1:24)
02. Wow, Look At Those Beautiful Black Indians (Cherokee changes) (23:39)
03. Blues In C (Frankie & Johnny?) (8:20)
04. Bright Moments (11:28)
05. Three For The Festival Pt. 1 > Pt. 2 (5:46)
06. Dem Red Beans & Rice (5:11)
07. Epistrophy (14:19)
08. UNK (9:26)


2003 RRK Tree CD IV

Wednesday, August 8, 2007

La Monte Young - The Well-Tuned Piano

The Well-Tuned Piano is La Monte Young's magnum opus, the work in which many of his theories are crystallized and laid out for the listener. It's a massive solo piano performance, lasting a little over five hours, during which Young displays virtually every combination of chords that he deems special, seguing one into another. The first thing that strikes the listener is the sound of the piano itself, a Bosendorfer that has been tuned in just intonation. The sounds of the notes themselves are fascinating and, to Western ears, exotic enough to compel attention; one hears harmonies that sound strangely alien yet apropos. Young keeps the sustain pedal pressed almost throughout, the harmonics surrounding each chord like a cloud.


Part 1
Part 2
Part 3
Part 4
Part 5

Monday, August 6, 2007

Bad Brains - 1980 - The Omega Sessions

H.R. - vocals
Dr. Know - guitar
Darryl Jennifer - bass
Earl Hudson - drums

01. "I Against I"
02. "Stay Close To Me"
03. "I Luv I Jah"
04. "At The Movies"
05. "Attitude"

"When Bad Brains hit the music world in the late 70's/early 80's, nobody knew what hit them. Searing punk riffs, grooved out dub and reggae along with technical vertiousity and soul that seperated them from most punk based bands of the 80's and onward. Songs like "Stay Close To Me" showed how well the band could change the dyanmics of a song, leaving moments of clarity and beauty to moments of aggrresion and raw heavy riffs and sinister snake like rhythms. Bad Brains is a unit of musicians who are trully uncompromising to their creative natural forces. There is always a very personal and honest vibe that Bad Brains carries to their music and this album shows how well that foundation was built from the beginning. There will never be another band like Bad Brains. A very short E.P. but that's the beauty of this album, I always go back for seconds and thirds when listening. Dr. Know never dissapoints, especially his guitar work on the songs "I Against I" and "At The Movies". The band settles down a bit on "I Luv I Jah". Reggae is always a treat in the punk world, and Bad Brains knew how to bring it. The song has an incredible break down with a bass solo, anybody who has seen them live or live footage knows the capabilities of this bass player, so it's really nice to hear a spot where the bass gets to go off. These are amongst Bad Brains earliest demos as a band. It is apparent that these demos represent a band who had soaked up the energy of everything before them and was paving the way for what we know as punk rock and hardcore music. This is a beatiful start into the world of Bad Brains if you have never ventured that way." ~ Erik Otis

Sunday, August 5, 2007

Tricky - Pre-Millennium Tension

Pre-Millennium Tension picks up where the first album Maxinquaye left off, but this CD fulfills the promise of Tricky's unbounded spontaneity and fondness for sonic digression. Abandoning the accessible pop of Maxinquaye, Pre-Millennium Tension serves up a beguiling array of sound effects, electro distortion and fragmented lyrics that amount to a rich--if bizarre-musical montage. As suggested by its title, this disc zeros in on a kind of end-of-the-millennium disruption of classifiable sound. With its cross-pollination of hip-hop, cabaret balladry, background textures, and disjointed arrangements, Pre-Millennium Tension takes a peek at the future of pop music and declares it will be nothing like we expect.

Gaslamp Killer Mix

Aaah, the LA store phenom - the Gaslamp Killer! His previous mix for Sound In Color and his group, MHE, have always killed - get ready for The Gaslamp Killers mixtape. First off, this thing has beats for daaaays!!! Call it downtempo, call it hip hop, I call it dirty-as-hell drum funk. If you love early Mowax drums a la Malcolm Catto or the Stones Throw's "Curse of The Evil Badger" record, you'll absolutely love this. Gaslamp packs sick instrumentals and drum tracks, all beautifully sequenced and mixed, with your occasional hip hop instrumental thrown in for familiarity. Expect heavy beats from Krush, Radiohead, Mowax's "Now Thing" compilation, Dr. Octagon, Peanut Butter Wolf, plus more than 40 ill tracks and breaks too obscure for me to name (trust me - this thing is a whomper!). Plus, it makes a great appetizer to his first Money Studies release on the Secret Hideout EP. Check Lab Radio #12 for an exclusive snippet - the funk is real strong with this one. Over an hour.


Nobody - Porpoise Song EP Vinyl

Nobody - Porpoise Song EP Vinyl

1. Porpoise Song (Prefuse 73 Remix With Savath And Savalas)
2. Porpoise Song (Prefuse 73 Inst. Remix With Savath And Savalas)
3. Porpoise Song (Nobody Original Version)
4. Porpoise Song (Nobody Original Version Isnt.)
5. The Louisa And Ashby Appreciation Association
6. Fennegan's Forest
7. Porpoise Song (Prefuse 73 With Savath And Savalas Re-Play)

Great little EP of a Great song with some sick covers courtesy of Savath And Savals and great instrumentals. If you love pacific drift, then get this.


There's a reason they made the Beat Junkies quit competing in DJ competitions. Google his name if you don't believe me.

J Rocc. - Taster's Choice 2: Hip & Soul

01. Intro
02. J.Rawls - Welcome To North Africa
03. Fela - Water Get No Enemy
04. I.N.I. - Grown Man Sport
05. A Tribe Called Quest - Keep It Rollin
06. Slum Village - Fantastic
07. Waajeed - Right Here (Remix)
08. Geology - Beat
09. Eddie Jefferson - Freedom Jazz Dance
10. Funky Horn Funk
11. One
12. Middle Eastern Funk
13. Madvillian Original
14. Horace Silver - I Had A Little Talk
15. Hey Waiter
16. Roy Ayers - Our Time Is Coming

Survival of the Harmonious

taken from

Survival of the Harmonious

Some scientists believe musical ability is an evolutionary advance that aided the species But others argue it's an anomaly and merely `auditory cheesecake,' writes Drake Bennett

If you have spent any time near a radio during the past couple months, you've probably heard a song called "Crazy," an oddball R&B ballad about insanity. The track, a collaboration between singer Cee-Lo and producer Danger Mouse, is absurdly catchy. It seems safe to call it the song of the summer.

Of course, crooning along or tapping our feet to its loping bass line, it may not occur to most of us to ask why "Crazy" or any song for that matter can so easily insinuate itself into our consciousness. It just sounds good, the way our favourite foods taste good.

But a growing number of neuroscientists and psychologists are starting to ask exactly that. Researchers at the Montreal Neurological Institute, for example, have scanned musicians' brains and found the "chills" they feel listening to stirring passages of music result from activity in the same parts of the brain stimulated by food and sex.

As evidence mounts that we're somehow hard-wired to be musical, some thinkers are turning their attention to the next logical question: How did that come to be? And as the McGill University neuroscientist Daniel Levitin writes in his just-published book, This is Your Brain on Music, "To ask a question about a basic, omnipresent human ability is to implicitly ask questions about evolution."

The fact that music is universal across cultures and has been part of human life for a very long time archaeologists have found musical instruments dating from 34,000 BC, and some believe that a 50,000-year-old hollowed-out bear bone from a Neanderthal campsite is an early flute does suggest that it may indeed be an innate human tendency. And yet it's unclear what purpose it serves.

The evolutionary benefits of our affinity for food (nutrition) and sex (procreation) are easy enough to explain, but music is trickier. It has become one of the great puzzles in the field of evolutionary psychology, a controversial discipline dedicated to determining the adaptive roots of aspects of modern behaviour, from child-rearing to religion.

Some evolutionary psychologists suggest that music originated as a way for males to impress and attract females. Others see its roots in the relationship between mother and child. In a third hypothesis, music was a social adhesive, helping to forge common identity.

And a few leading evolutionary psychologists argue that music has no adaptive purpose at all, but simply manages, as the Harvard psychologist Steven Pinker has written, to "tickle the sensitive spots" in areas of the brain that evolved for other purposes. In his 1997 book How the Mind Works, Pinker dubbed music "auditory cheesecake," a phrase that has served as a challenge to the musicologists, psychologists, and neuroscientists who believe otherwise.

The first thinker to try to find a place for music in the Darwinian order was Charles Darwin. In his 1871 book The Descent of Man, he argued, "musical notes and rhythm were first acquired by the male or female progenitors of mankind for the sake of charming the opposite sex." Darwin's model was bird song. In many bird species, males sing to impress females. Depending on the species, females will tend toward the males with the broadest repertoire or the most complex or unique songs.

The foremost defender of that model is Geoffrey Miller, an evolutionary psychologist at the University of New Mexico. Miller argues that in prehistoric communities, singing and dancing might have worked — as they do today in some Native American cultures — as proxies for hunting and warfare. The ability to come up with melodies and rhythms would connote intelligence and creativity, and the long, arduous dances would be proof of one's endurance — the sort of traits a choosy female would like to see in her offspring.

Even today, Miller argues, music retains some of its old procreative roots. Looking at 6,000 recent jazz, rock, and classical albums, Miller found that 90 per cent were produced by men, and that those male musicians tended to reach their peak musical production around age 30, which he notes, is also the peak of male sexual activity.

Miller points in particular to the example of Jimi Hendrix. Miller has written that, despite dying at 27, Hendrix had "sexual liaisons with hundreds of groupies, maintained parallel long-term relationships with at least two women, and fathered at least three children in the United States, Germany, and Sweden. Under ancestral conditions before birth control, he would have fathered many more." To Miller, it was Hendrix's status as a music-maker rather than his fame or charisma that gave him this sexual allure.

Levitin sees some merit in the sexual selection model, but he cautions against seeking support for it in contemporary music. It's important to keep in mind, he argues, that "we're not talking about someone on the subway listening to an iPod or even someone in a concert hall listening to Mahler." The environment in which music would have evolved would have been much more participatory. Even today, he argues, the Western idea of the concert, which separates performer from audience and music from movement, is an anomaly. In many of the world's languages, Levitin points out, "there's one word for music and dance."

Others who study the issue are more skeptical. David Huron, a musicologist at Ohio State University, argues the Darwin model would lead one to expect a differential in musical abilities between the sexes. Typically, he points out, sexual selection leads to "dimorphism," a divergence in traits between male and female. "It's only the peacock, not the peahen, that has the plumage," he notes.

"There's no evidence whatsoever that men are more sophisticated than women in terms of the ability to serenade someone from beneath a balcony," he says. Steven Mithen, an archeologist at England's Reading University, agrees. In his book The Singing Neanderthals, he writes that the male dominance Miller sees in the modern recording industry is hardly proof of a difference in innate ability or proclivity. Sexism would explain it just as well.

Indeed, if an alternate explanation is correct, it is women who were the original music-makers. One of the most universal musical forms is the lullaby. "Mothers everywhere soothe infants by using their voice," says Sandra Trehub, a psychologist at the University of Toronto, "There isn't a culture in which that doesn't happen."

Trehub speculates that music may have evolved as a baby-calming tool in hunter-gatherer societies. Unlike other primate species, human babies can't simply cling to their mothers' backs, and singing may have been a way for mothers to maintain contact with their children when they had to put them down to do other tasks.

Perhaps the most widely touted explanation, though, is that music arose as a way for groups of early humans to create a sense of community. Among other things, this might explain why music whether it's singing hymns, school fight songs, or simply "Happy Birthday" is so often a social experience. The model is neither love song nor lullaby but anthem.

In The Singing Neanderthal, Mithen argues that communal music-making works as a sort of rehearsal for the teamwork required for more high-stakes endeavours like hunting and communal defence. And the mere act of singing and moving in time together helps forge a sense of group identity.

There is suggestive research linking music and sociability. Daniel Levitin, for instance, points to two mental disorders, Williams syndrome and autism. People with Williams are mentally retarded but, as Levitin puts it, "highly social, highly verbal, and highly musical." Autism, on the other hand, often causes mental impairment but tends to make people less social and less musical.

To Pinker, though, none of this adds up to a convincing case for music's evolutionary purpose. He is not shy about seeing the traces of evolution in modern man in How the Mind Works he devoted a chapter to arguing that emotions were adaptations but stands by his "auditory cheesecake" description.

"They're completely bogus explanations, because they assume what they set out to prove: that hearing plinking sounds brings the group together, or that music relieves tension," he says. "But they don't explain why. They assume as big a mystery as they solve." Music may well be innate, but that could just as easily mean it evolved as a useless byproduct of language, which he sees as an actual adaptation.

And Pinker isn't the only skeptic. Back in April, as part of an experiment led by Levitin to compare the physiological response of performers and listeners, Boston Pops maestro Keith Lockhart conducted the Boston Symphony Orchestra while he, a few musicians, and a portion of the audience were wired with monitors that tracked their heart rate, muscle tension, respiration, and other bodily signals of emotion.

Yet though Lockhart was happy to make himself Levitin's guinea pig, he confesses to be ultimately uninterested in the origins of music. "It's enough for me to know that music does have a distinct emotional reaction in almost everybody that no other art form can boast of," he says. "I've never particularly wanted to know why."

the boston globe


The Mars Volta Live - 2001-2006

2001 shows:

2001.10.31 - Dallas, TX

2003 shows:

2003.07.01- Henry Fonda Theatre, Los Angeles, CA
Thanks to gene26
Part 1:
Part 2:

2003.11.14 - Betong, Oslo, Norway
Part 1:
Part 2:

2005 shows:

2005.05.31 - Denver, CO
Thanks to alaska
Part 1:
Part 2:

2005.06.03 - Greek Theatre, Berkeley, CA
Part 1:
Part 2:

2005.06.04 - Los Angeles, CA
Part 1:
Part 2:

2005.10.14 - Santa Barbara, CA
Part 1:
Part 2:

2005.11.11 - Omar Rodriguez Quintet, Szene Wien, Vienna, Austria
Thanks to gene26
Part 1:
Part 2:

2006 shows:

2006.08.07 - Catalyst, Santa Cruz, CA
Thanks to gene26

2006.08.09 - Phoenix Theatre, Pentaluma, CA
Thanks to gene26
Part 1:
Part 2:

2006.08.24 - Oakland, CA
Thanks to gene26

2006.09.25 - Toronto, Ont
Original version:
Maximum Volume version:
VIDEO: Interstellar Overdrive Jam w/ John Frusciante:

2006.10.02 - TD Banknorth Garden, Boston, MA
Thanks to gene26
Part 1:
Part 2:

2006.10.20 - TD Banknorth Garden, Boston, MA
Thanks to gene26

2006.10.21 - Albany, NY
Thanks to gene26

2006.10.28 - Vegoose Festival, Las Vegas, NV
Thanks to firstrays123
Rapid Fire and Jam:
Viscera Eyes: