Saturday, September 1, 2007

Otis Rush - 1956-1958 - Essential Collection: The Classic Cobra Recordings

"The Essential Otis Rush: Classic Cobra Recordings contains 75 minutes of some of the toughest Chicago blues ever committed to wax. Rush has cut a lot of great music in his forty plus year career but these sides rank as his greatest. The sheer emotional weight of Rush's searing guitar and vocals are tough to match on all time classics like "I Can't Quit You Baby", "My Love Will Never Die", "All Your Love" and "It Takes Time." In addition to the sixteen studio cuts are eight alternate takes and it's a tribute to Rush's genius that the alternate takes, of which the extended "Double Trouble" is a good example, may even be more intense that the issued takes. This one belongs in every blues collection." ~ Bad Dog Blues

1. I Can't Quit You Baby
2. Sit Down Baby
3. Violent Love
4. My Love Will Never Die
5. Groaning The Blues
6. If You Were Mine
7. Love That Woman
8. Jump Sister Bessie
9. Three Times A Fool
10. She's A Good 'Un
11. It Takes Time
12. Checking On My Baby
13. Double Trouble
14. Keep On Loving Me Baby
15. All Your Love [I Miss Loving]
16. My Baby Is A Good 'Un
17. I Can't Quit You Baby [Take 3]
18. Sit Down Baby
19. Groaning The Blues [Take 3]
20. My Love Will Never Die [Take Unknown]
21. She's A Good 'Un [Take 4]
22. Three Times A Fool [Take Unknown]
23. Double Trouble [Take 3]
24. Sit Down Baby [Take Unknown]

Dave Liebman - 1974 - Lookout Farm

Label: ECM Records
Credits: Bass - Frank Tusa
Congas, Bongos - Don Alias
Drums - Jeff Williams
Guitar - John Abercrombie
Percussion - Armen Halburian
Piano - Richard Beirach
Producer - Manfred Eicher
Soprano & Tenor Saxes, Alto C Flute - David Liebman
Tablas - Badal Roy
Tamburine, Cowbell - Steve Sattan
Vocals - Eleana Sternberg
Notes: Recorded October 10 & 11, 1973.
Submitted by: vargind


A1 Pablo's Story (14:08)
A2 Sam's Float (8:47)
B1 M. D. / Lookout Farm (24:00)

If you enjoy any of the fusion era Miles stuff, you will love this record.

Daedelus - 2004 - A Gent Agent

This still mysterious artist debuted on the hard to describe Phthalo imprint back in 2001 and since has released music on Eastern Developments, Mush and most notably Plug Research where his two albums 'Invention' and 'Of Snowdonia' have brought him an army of fans including even MF Doom and Madlib who sampled him just recently. For the excellent Laboratory Instinct label comes his second release in as many months following up the mini album 'Meanwhile...' and his contribution to the wicked 'Advanced Public Listening Comp'. This thirteen track full length album (all new exclusive tracks) differs from the out and outergalactic cinematic sampling of his Plug Research material by throwing a spanner into his sampler. Several tracks drop a new pallet of disguised rave stabs, junglist rhythm wreckage which wrestle with his new style of cinematica - you are amongst a bewildering array of influences in perfect harmony. Imagine new school Vibert getting down with his classic Plug output. 'Desperate Measures' and 'Escape Artists' are two examples of tracks that'll keep the downtempo fans happy - one track sampling Charlie Parker with Strings and the other cutting up The Beach Boys. One of the most complete works yet from Daedelus the one-off lunatic sampling genius.

Daedelus - 2005 - Exquisite Corpse

The new release from Daedelus, Exquisite Corpse is an ode to, and a lament for hip-hop culture. Featuring solo contributions and collaborative efforts with guests whose performances range from traditional (MF Doom, Sci from Scienz of Life) to poetic (Mike Ladd, Cyne, Laura Darling) to experimental (Prefuse 73, Hrishikesh Hirway of the One AM Radio, TTC, Jogger), Daedelus forms the seemingly disparate elements of sound found on the album with a single-minded vision. The album's title has a triple meaning: a reference to death, a grand body of work, and the Impressionist group drawing game of the same name. The guest MCs and vocalists contrast their own styles with Daedelus' sugar-laden undercoating proving that there are no limits to what can be included on a hip-hop album.

Clifford Brown and Max Roach - 1954 - Vol. 1
"Many a young musician has been sabotaged by his own considerable abilities. So caught up are they in technical execution that they give elements such as emotion and taste short shrift. Trumpeter Clifford Brown was a musical dynamo, a man who was capable of playing many instruments well and who possessed supreme natural instincts and boundless energy. Brown painstakingly practiced and perfected his technique, but when practice time gave way to playing time--there was no other time for him--Brown's command was so deeply ingrained that he was free to concentrate on those other elements: emotion and taste. This reissue of the 1954 recorded debut of the Brown-Roach quintet stands as one of the most exciting works in all of jazz, and it plays as if the ensemble knew it at the time. Brown's trumpet work is fiery, confident, and nimble, tempered slightly by Miles Davis's lyricism; his tone is bright and bold, but the icing on the cake is the joy and tenderness that surface. Drummer Max Roach was already a bop veteran when he formed this groundbreaking hard-bop band and he prances like a dancer throughout. Harold Land's grounded, relaxed, grainy tenor is the perfect yin to Brown's yang. Brown emerges here as the crucial link between Dizzy Gillespie and basically all hot trumpeters to follow, even though he was not yet 24 when he made these recordings. Among the four extra cuts on this remastered reissue are alternate versions of "Daahoud" and "Joy Spring," two Brown compositions that have become hard-bop cornerstones. --Marc Greilsamer

Friday, August 31, 2007

Rahsaan Roland Kirk - 1967 - The Inflated Tear

"The debut recording by Roland Kirk (this was still pre-Rahsaan) on Atlantic Records, the same label that gave us Blacknuss and Volunteered Slavery, is not the blowing fest one might expect upon hearing it for the first time. In fact, producer Joel Dorn and label boss Neshui Ertegun weren't prepared for it either. Kirk had come to Atlantic from Emarcy after recording his swan song for them, the gorgeous Now Please Don't You Cry, Beautiful Edith, in April. In November Kirk decided to take his quartet of pianist Ron Burton, bassist Steve Novosel, and drummer Jimmy Hopps and lead them through a deeply introspective, slightly melancholy program based in the blues and in the groove traditions of the mid-'60s. Kirk himself used the flutes, the strich, the Manzello, whistle, clarinet, saxophones, and more — the very instruments that had created his individual sound, especially when some of them were played together, and the very things that jazz critics (some of whom later grew to love him) castigated him for. Well, after hearing the restrained and elegantly layered "Black and Crazy Blues," the stunning rendered "Creole Love Call," the knife-deep soul in "The Inflated Tear," and the twisting in the wind lyricism of "Fly by Night," they were convinced — and rightfully so. Roland Kirk won over the masses with this one too, selling over 10,000 copies in the first year. This is Roland Kirk at his most poised and visionary; his reading of jazz harmony and fickle sonances are nearly without peer. And only Mingus understood Ellington in the way Kirk did. That evidence is here also. If you are looking for a place to start with Kirk, this is it." ~ AMG

Label: Atlantic Records
Credits: Bass - Steve Novosel
Drums - Jimmy Hopps
Piano - Ron Burton
Producer - Joel Dorn
Tenor Sax, Manzello, Stritch, Clarinet, Flute, Wistle, English Horn, Flexafone - Roland Kirk
Notes: Stereo Recording
Submitted by: orangecat


A1 The Black And Crazy Blues
A2 A Laugh For Rory
A3 Many Blessings
A4 Fingers In The Wind
B1 The Inflated Tear
B2 The Creole Love Call
B3 A Handful of Fives
B4 Fly By Night
B5 Lovellevelloloqui

Larry Young - 1967 - Contrasts

"For this interesting set, organist Larry Young (the first musician on his instrument to really move beyond Jimmy Smith's soul-jazz into the avant-garde) mostly utilized lesser-known musicians from the Newark, NJ, area: Tyrone Washington and Herbert Morgan on tenors, flugelhornist Hank White, guitarist Eddie Wright, drummer Eddie Gladden, and Stacey Edwards on congas. "Major Affair" is an organ-drums duet and Larry's wife Althea Young does a haunting version of "Wild Is the Wind," while the other four selections use all of the horns. The adventurous music is sometimes quite intense but also grooves in its own eccentric way, offering listeners a very fresh sound on organ." ~ AMG

Thursday, August 30, 2007

Frank Zappa - 1974 - Apostrophe

Thats right, you heard right. It's Frank Zappa's Apostrophe.

1. Don't Eat The Yellow Snow
2. Nanook Rubs It
3. St. Alfonzo's Pancake Breakfast
4. Father O'Blivion
5. Cosmik Debris
6. Excentrifugal Forz
7. Apostrophe
8. Uncle Remus
9. Stink-Foot

Zu - 2005 - The Way Of The Animal Powers

Tim Whalley:
"On The Way of the Animal Powers, Zu have harnessed an animalistic urge - with guitars buzzing, projecting spindles of noise into the ether and brutish drum spasms, the members of Zu wield their instruments like creatures of the forest. It is clearly something that they have attempted to push to the extreme, and it provides for a largely gut-wrenchingly good listen. However, we at fakejazz have also heard this before, and long for something more. The Way of the Animal Powers will appeal to both the virtuoso who appreciates quick time changes and razor sharp guitar chops and the fresh ears who have not been exposed to this kind of music, but for those reared on the Skin Graft Records catalogue and no-wave classics of DNA, Teenage Jesus and the Jerks and Mars, this will sound like old hat.

It is hard to resist comparisons when describing Zu’s sound. The Way of the Animal Powers is chock full of free-jazz squawks, no-wave dissonance and the kind of stop-start rhythm not unheard of in the math rock tradition. Like other releases on new Italian imprint Xeng, this Rome-based band offers music that straddles these various genres. It is a classic record – not in the sense that it will be remembered, revered and re-played by future generations, but by its recognizable and easily categorized characteristics.

Zu’s virtuosity can’t be denied – their ability at covering considerable musical terrain on a single track is quite impressive. Clearly they are scholars of free-jazz, no and now wave, and for this they deserve respect. Unfortunately, at times it doesn’t leave much to the imagination for those looking for more than a chin rub or art rock head bang. On certain occasions, when Zu steps out of these shoes, all hell does indeed break lose. ‘Things Fall Apart’, for example, leaves blood on the walls with its fractured beats. But compared to the efforts of some of their more adventurous contemporaries, Mouthus, Excepter and Double Leopards to name a few, The Way of the Animal Powers feels more like a nostalgic trip.

The Way of the Animal Powers finds the Rome-based power trio teaming up with veteran cellist Fred Lonberg-Holm, a fixture of the Chicago scene who has also released a number of strong solo records. Fittingly, much of the finger tapping guitar parts and drum bursts bring to mind seminal Chicago act U.S. Maple, with whom Lonberg-Holm has performed live and on record. Maybe on their next effort, Zu could also recruit Maple singer Al Johnson to add a little city grit to their forest romp."

1. Tom Araya Is Our Elvis
2. Anatomy Of A Lost Battle
3. Shape Shifting
4. Aftermath, The
5. Things Fall Apart
6. Witch Herbalist Of The Remote Town, The
7. Farewell To The Species
8. Fortress Against Shadows, A
9. Every Seagull Knows

Wednesday, August 29, 2007

Caetano Veloso - 1967 - Caetano Veloso

"One of the building blocks of the late 60s Tropicalia scene in Brazil -- and a standout solo debut from the young Caetano Veloso! The album's got an approach that's as dynamic and trippy as its cover image might imply -- the same amazing blend of sounds and styles you'd hear on contemporaneous records by Gal Costa or Os Mutantes -- served up with similar wit, wisdom, and charm! Caetano's vocals are amazing throughout -- filled with raspy power that goes beyond the barriers of language -- and the production has loads of surprising elements tripping through the mix -- some rootsy, some slightly orchestrated -- but with a softer approach that resonates strongly with more psychedelic use of organ and guitar. The album's as powerful today as it was decades ago -- an essential recording that holds up beautifully year after year! The kickoff track is "Tropicalia" (surprisingly enough!), and the album is a non-stop ride through gems like "Alegria, Alegria", "Onde Andaras", "Paisagem Util", "Ave Maria", and the groovy "Soy Loco Por Ti America", written by Gilberto Gil." ~ Dusty Grove


01 Tropicália (3:40)
Written-By - Caetano Veloso
02 Clarice (5:30)
Written-By - Caetano Veloso , Capinan
03 No Dia Em Que Eu Vim-me Embora (2:27)
Written-By - Caetano Veloso , Gilberto Gil
04 Alegria, Alegria (2:50)
Written-By - Caetano Veloso
05 Onde Andarás (1:57)
Written-By - Caetano Veloso , Ferreira Gullar
06 Anunciação (2:01)
Written-By - Caetano Veloso , Rogério Duarte
07 Superbacana (1:28)
Written-By - Caetano Veloso
08 Paisagem Útil (2:39)
Written By - Caetano Veloso
09 Clara (1:45)
Vocals - Gal Costa
Written-By - Caetano Veloso , Perinho Albuquerque
10 Soy Loco Por Tí, América (3:45)
Written-By - Capinan , Gilberto Gil
11 Ave Maria (2:21)
Written-By - Caetano Veloso
12 Eles (4:40)
Written-By - Caetano Veloso , Gilberto Gil

Frank Zappa - The Grand Wazoo

This is one of the great albums Frank made while he was incapacitated from an incident where an enraged audience member pushed him into the orchestra pit.

Green Milk from the Planet Orange - 2005 - City Calls Revolution

This is the latest release from Japanese prog trio Green Milk From The Planet Orange. The music still draws loads of inspiration from progressive rock and fusion, but the psychedelic vibe is stronger than ever, as the group moves closer to the experimental tendencies of Acid Mothers Temple. As a result, this album may be more difficult, but also more exciting than their previous one. After two or three minutes of synthesizer doodles, Dead K, A, and T take off for an exhilarating 20-minute ride titled "Concrete City Breakdown." By far the most progressive number here, the piece features strong themes and several surprising variations. The playing is more than inspired, hinting at King Crimson, Miles Davis' electric band, and Ruins. It provides the undisputed highlight and ranks as one of the best tracks the group has recorded yet. "Omgs" adopts a punkier attitude, with a passing nod to the Stick Men (or the New York no wave scene in general). More aggressive, it can become irritating. "Demagog" goes by rather unnoticed after that, but further listens reveal a good average song for this band. The set concludes with the 38-minute epic "A Day in the Planet Orange," a suite that is actually a hodgepodge of ideas. The band bounces around from free-form improv to fast-action prog riffing, telephone conversations, and slow-paced post-rock-ish themes. Form-wise, the piece is not that conclusive (it suffers no comparison to the coherence of "Concrete City Breakdown"), but it sure has a high entertainment value, with a fair balance of exciting and puzzling moments. Green Milk from the Planet Orange is not the Japanese freak-out band you might be expecting (there is a lot of order ruling their chaos), but in the light of this opus, they are edging in that direction.

Charles Mingus Sextet w/ Eric Dolphy- 1964- Live at Cornell

I just got this today myself, so I can't really give my own review, so here's AMG

"In 2005, Blue Note raised the eyebrows (and expectations) of the jazz world by issuing the previously unreleased Thelonious Monk/John Coltrane Carnegie Hall concert from November of 1957 that literally replaces the few other recordings of the group both sonically and musically. In 2007, courtesy of Charles Mingus' widow Sue, with the help of Michael Cuscuna and Blue Note, gives us another heretofore unknown bit of jazz history with the Charles Mingus Sextet with Eric Dolphy's Cornell University Concert from March 18, 1964. The reason this gig is significant is because apparently, not only didn't anybody know it was recorded, according to Gary Giddins, who wrote the (typically) excellent liners here, no one but the people who put on the show and the students who attended even knew it had taken place! The other reason for its historic importance is that it took place 17 days before the famed Town Hall concert and predated other European shows by the band by at least a month. This is significant because trumpeter Johnny Coles took ill shortly after, and Dolphy passed away a few months later. Until now, the Town Hall gig was the standard for this band, but it is safe to say with this current revelation that it will be replaced in the annals of the canon. This band -- Mingus, Dolphy, Coles, Jaki Byard, Dannie Richmond, and Clifford Jordan -- played perhaps definitive renditions of some Mingus tunes worked out previously at the Five Spot where he assembled the group, and were presumed to have first been performed, and recorded, at Town Hall. Much of the material was also performed on the European tour that followed and climaxed with an appearance at the Monterey Jazz Festival.

These two discs contain a number of debuts and some absolutely startling solos beginning with Byard's solo set opener "ATFW You," which is four-and-a-half minutes of genius and jazz history. Mingus' solos with skeletal Byard backing on "Sophisticated Lady" for another few minutes before the band takes off in earnest with a raucous yet amazingly playful half-hour version of "Fables of Faubus," that dazzles, to say the least, in large part because of the utterly inspired bass playing by the bandleader, and the embedded quotes from corny American folk songs to popular tunes to Chopin. Another debut here is the sextet version of Billy Strayhorn's "Take the 'A' Train," which Mingus had only recorded before with a big band. The differences, as one can imagine, are striking, particularly in Jordan's solo. The introduction of "Meditations" on the second disc of this set is simply shattering. Over half-an-hour in length, it offers once more the genius in Byard's playing and underscores Richmond as far more than a rhythmnatist, and Coles as a soloist who could hang with anybody. Of particular note is the interplay between Jordan and Dolphy's bass clarinet: the tune once more embodies the best of Mingus' thought and inspiration as it takes solid note of the lineage of the music and extends it into the future.

"So Long Eric" also appears here, since at the time of this recording, he was leaving the band, and this piece was a thanks for his contribution to Mingus' music and not the elegy it has been consistently thought of (Giddins points this out). Another welcome surprise here is the sextet performing a six-minute rendition of "When Irish Eyes Are Smiling" (St. Patrick's Day was the day before), kicked off by a jaunty, swinging intro by Byard and Mingus. As the melody becomes pronounced the horns all kick in in unison, and Coles takes a wonderful solo, swinging hard and lyrical with wonderful counterpoint by Mingus and timely fills and comping by Byard, as a jazz version of a reel played by Dolphy on clarinet can be heard in the background. The final surprise is the only known recording of Mingus playing Fats Waller's "Jitterbug Waltz," with killer duo played between Dolphy on flute and Byard. Throughout, Mingus' bass urges them on, digging deep into the groove of the tune, and the dialogue between Mingus and Richmond is nearly telepathic. Despite all of these debuts, there is another very profound reason that this recording is so utterly special, which Giddins reveals near the beginning of his liner notes. There is a kind of exuberance and joy on this set that offers another side of the mercurial and stormy bandleader. Seldom has he sounded so at ease and relaxed as he does here. The confidence in the ensemble is complete, and he feels no need to push but only to encourage and tale delight in the proceedings. This short-lived group proves, as evidenced here, that they were a magical unit that may not have been around as long as Miles Davis' second quintet, or John Coltrane's quartet, but as under-celebrated as its various musicians were -- Coles, Richmond, and especially Byard -- the band itself was as innovative and creative even in the brevity of its existence. This double-disc is every bit as important as the Monk-Coltrane disc, and sounds very fine for a tape that has been sitting in a closet for over 40 years: it truly needs to be heard to even be believed, let alone convinced." ~AMG

Peanut Butter Wolf & Charizma - 2003 - Big Shots

Track Listing:
01. Here's a Smirk
02. Methods
03. Jack the Mack
04. Talk About a Girl
05. Red Light Green Light
06. Tell You Something
07. Gatha Round
08. Devotion
09. Apple Juice Break
10. My World Premiere
11. Ice Cream Truck
12. Charizma What
13. Fair-Weathered Friend
14. Soon To Be Large
15. Pacin' the Floor

Big Shots is a tragic album. Not because the material is bad (it's quite the opposite, actually), but because it was recorded between 1991-1993 and only saw release in 2003. Add the fact that Charizma wasn't alive to witness the release and one can see the remorse that comes with the joy of it finally appearing. The story goes that DJ Chris Cut (aka Peanut Butter Wolf) and Charizma, friends and musical partners, recorded a bunch of tracks for Hollywood Basic and that label sat on it and didn't put anything out (save for a promo cassette single), and then Charizma passed in 1993. Peanut Butter Wolf then inaugurated his Stones Throw label with the My World Premiere 12" in 1996 and planned for a release of the full-length. Though there have been little tastes here and there ("Devotion" has surfaced a couple times) due to the success of the label and its roster, it took ten years for this release to materialize. The style is very early-'90s hip-hop. Here listeners get to witness Peanut Butter Wolf's production skills totally taking off — jazz samples and big beats slam in and out of focus in a simple yet perfected way that few producers employ today (DJ Premier comes to mind). Charizma then bops around in there with his own distinct voice that adds a warmth and innocence also missing from contemporary tracks. It's just a shame that this material didn't blow up in 1992 or 1993. Now, it's a historical document not unlike the Smithsonian Folkways releases; OK, maybe that's going too far, but it is a treasure that should be cherished by hip-hop fans the world over.

H.R. - 1991 - I Luv

can't seem to find any kind of info for this album, but its one of my favorite ones from HR. if you don't know HR he is the lead singer of bad brains and this is one of his various solo efforts. all is solo work is great if you like reggae this one will definitely get you going. enjoy!

1. Coup'rage
2. I Luv
3. Who's Got the Herb?
4. Lonely World
5. Contradiction
6. Shame in Dem Game
7. We Gotta Unite
8. Jah Make a Rastaman

United States Of America - 1968 - United States Of America

Originally released on Columbia in 1968, The United States of America is one of the legendary pure psychedelic space records. Some of the harder-rocking tunes have a fun house recklessness that recalls aspects of early Pink Floyd and the Velvet Underground at their freakiest; the sedate, exquisitely orchestrated ballads, especially "Cloud Song" and the wonderfully titled "Love Song for the Dead Che," are among the best relics of dreamy psychedelia. Occasionally things get too excessive and self-conscious, and the attempts at comedy are a bit flat, but otherwise this is a near classic.

Dirt - 2002 - Black And White

There's really no introduction necessary about this classic anarcho punk band from London!!! On the 2xLP are their sold out records (Object, Refuse, Reject, Abuse 7", Never Mind Dirt Here's The Bollocks 12", Just An Error Lp + their never released 2nd 7" & their demo). The Cd contains everything they have recorded during the years!

this has been released various times since the 80's. if you like crass and the such you will really like this band. the cover of "rising sun" is worth the download alone.

Genius/GZA - 1995 - Liquid Swords

01. Liquid Swords
02. Duel of the Iron mic
03. Living In the World Today
04. Gold
05. Cold World
06. Labels
07. 4th Chamber
08. Shadowboxin'
09. Hell's Wind Staff/Killah Hills 10304
10. Investigative Reports
11. Swordsman
12. Gotcha Back
13. B.I.B.L.E.

"Often acclaimed as the best Wu-Tang solo project of all, Liquid Swords cemented the Genius/GZA's reputation as the best pure lyricist in the group -- and one of the best of the '90s. Rich in allusions and images, his cerebral, easy-flowing rhymes are perhaps the subtlest and most nuanced of any Wu MC, as underscored by his smooth, low-key delivery. The Genius' eerie calm is a great match for RZA's atmospheric production, which is tremendously effective in this context; the kung fu dialogue here is among the creepiest he's put on record, and he experiments quite a bit with stranger sounds and more layered tracks. Not only is RZA in top form, but every Clan member makes at least one appearance on the album, making it all the more impressive that Liquid Swords clearly remains the Genius' showcase throughout. All of his collaborators shape themselves to his quietly intimidating style, giving Liquid Swords a strongly consistent tone and making it an album that gradually slithers its way under your skin. Mixing gritty story-songs and battle rhymes built on elaborate metaphors (martial arts and chess are two favorites), the Genius brings his lyrical prowess to the forefront of every track, leaving no doubt about how he earned his nickname. Creepily understated tracks like "Liquid Swords," "Cold World," "Investigative Reports," and "I Gotcha Back" are the album's bread and butter, but there's the occasional lighter moment ("Labels" incorporates the names of as many record companies as possible) and spiritual digression ("Basic Instructions Before Leaving Earth"). Overall, though, Liquid Swords is possibly the most unsettling album in the Wu canon (even ahead of Ol' Dirty Bastard), and it ranks with Enter the Wu-Tang (36 Chambers) and Raekwon's Only Built 4 Cuban Linx as one of the group's undisputed classics." ~ Steve Huey, All Music Guide

Scarub - 1999 - A Fact Of The Matter

The Old Skool classic of Scarub. Ask any of those old Legends heads what his best album is, most say this one. Get it.

i use to bump this one for days!!! sick beats and scarub comes with it, download this, remember you could always delete it, but probably shouldn't!!!

A Tribe Called Quest - 1991 - The Low End Theory

Track Listing:
01. Excursions
02. Buggin' Out
03. Rap Promoter
04. Butter
05. Verses From the Abstract
06. Show Business
07. Vibes and Stuff
08. The Infamous Date Rape
09. Check the Rhime
10. Everything Is Fair
11. Jazz (We've Got)
12. Skypager
13. What?
14. Scenario

From Wikipedia:
"The Low End Theory is the critically acclaimed second album by A Tribe Called Quest, released on September 24, 1991 (see 1991 in music) on Jive Records. With the pairing of Q-Tip and Phife Dawg's lyrics, at turns socially charged, abstract and concretely grounded in reality, with groovy jazz samples, the album includes guests Busta Rhymes, Brand Nubian, Diamond D and Leaders of the New School.

The beats are widely different from the-then about-to-explode G funk sound being pioneered on the West Coast, and shares more of an influence with East Coast artists like Public Enemy. With dominant basslines and sampled jazz horn solos, The Low End Theory has a distinctive sound that met the high expectations after their critically acclaimed debut People's Instinctive Travels and the Paths of Rhythm. The Low End Theory includes instrumental work from several pioneering musicians, including upright bassist Ron Carter ("Verses from the Abstract"). The Low End Theory ranked #154 in Rolling Stone's list of the 500 greatest albums of all time, ranked #32 in Spin Magazine's "90 Greatest Albums of the '90s", and was the album of the year for Spex magazine (also #10 on the 100 Albums of the Century). more awards. It also made it onto the unordered Top 100 Best Rap Albums of All Time (The Source), 100 Essential Albums of the 20th Century (Vibe magazine) and Essential Recordings of the 90s (Rolling Stone).

The Low End Theory became a watershed album in the history of hip hop. The album established alternative rap as a definable genre, distinguished by aware, often abstract or political lyrics, and a light-hearted sense of humor, along with jazz and other unusual sampling sources. The Low End Theory transformed alternative hip hop, leading the way from the jazzy pioneers like De La Soul towards future artists like Common and The Roots. The song "Scenario" helped break future hip hop star Busta Rhymes into the mainstream, partially as a result of its popular music video on MTV. Some sources, such as Angus Crawford of, say that "Scenario" is the best posse cut ever.[1] Phife Dawg, who fans thought of as adequate but nothing special on the first album, greatly improved his style on this album. This amazing turn-around is highly respected in Hip-Hop circles. Songs like "Buggin' out" and "Butter" showcased Phife's new confidence.

Topics include the music industry's exploitation of musicians ("Rap Promoter", "Show Business"), music ("Excursions"), date rape ("The Infamous Date Rape"), violence in hip hop ("Vibes and Stuff") and the beauty of jazz ("Jazz (We've Got)").

In 2006, the album was chosen by TIME Magazine as one of the 100 best albums of all time."

DJ Drez - 2005 - Jahta Beat

Drez, aka Dr.EZ takes us deep on this one. I'm a big fan of Drez and this one is just awesome! Like the title says, it's got a Middle East vibe to it. No doubt! Drez basically played all the percussion and layed the keys down and brought some other cats in to rock stuff like the guitar and the sitar is amazing! Super solid album, good to mellow out and vibe to while it takes you to another world

Entrance - 2006 - Prayer Of Death

Welcome to his nightmare. Entrance, aka Guy Blakeslee, takes an entirely different approach to follow up 2004's predominantly solo and unplugged Wandering Stranger. Although there are acoustic moments, most noticeably on the title track, the singer/songwriter/multi-instrumentalist (he plays everything except drums and violin) creates a heavily reverbed, ominous and very spooky sound to convey his bleak, blues-noir vision. Credit conspirator Paz Lenchantin who co-produces and adds eerie violin, vocals, and bass to the already skin-crawling proceedings. Those familiar with Jeffrey Lee Pierce's work with and without the Gun Club will immediately recognize the similarity in Blakeslee's wailing vocals. Add a touch of Jack White and the overall effect is chilling. The album's title sets the mood as does the opening track "Grim Reaper Blues." Nearly every tune is flooded with lyrics of death, dying and existential loneliness, or at least music that conjures up that feeling, set against a swirling, psychedelic whirlpool of sound. Think Phil Spector meets the Cramps and you're approaching the nearly overwhelming onslaught of haunting despair and gloom. Blakeslee picks up the sitar for the murky instrumental "Requiem for Sandy Bull (R.I.P.)" but it's Lenchantin's gypsy violin from hell that drives the following "Valium Blues" into bad acid trip overdrive. Not surprisingly, "Pretty Baby" isn't as demure as its title suggests. Here Blakeslee wails "our bare feet are on the ground but while my head's in the sky your head's in the grave." That's about as cheerful as it gets on a set of songs painted in black. The closing "Never Be Afraid!" repeats its chanted lyrics "when you think about death every morning, don't you ever be afraid" against a stark, sparse tribal drum that closes with feedback, bells and gospel-ravaged voices howling as if from a sweat inducing dream. The effect is as galvanizing as it sounds. Blakeslee has created a hypnotic if relentlessly depressing concept album that gets under your skin and stays there. Hearing it alone with the lights out is sure to be a mesmerizing experience.

if you have a chance to see this band live, do so. they are amazing.

Daedelus - 2006 - Denies the Day's Demise

Daedelus' fifth album in five years Denies the Day's Demise continues the Santa Monica soundscaper's brilliant string of records. His previous album's excellence made it seem like Daedelus was working at his peak but amazingly he not only equals that album but surpasses it, creating his most satisfying album since his debut. All the ingredients of the usual sonic feast are present in copious amounts; beats that bob and weave like punch-drunk boxers, inventive samples drawn from unique and obscure sources, a whimsical sense of humor, and seriously good songcraft. Yes, songcraft. So many electronic artists are deficient in this area that when someone takes the time to craft electronic pieces that flow like a great and meaningful song, you have to stop and give them some love. Just try to call "Our Last Stand," the achingly melancholy "Never None the Wiser," or "Sundown" anything but great songs. Added to the stew this time around are some Latin influences (the funky Brazilian samples on "Bahia," the rhythmic underpinnings on "Nouveau Nova," "Samba Legrand," and "Petite Samba"), some manic bursts of energy like on the get-out-of-your-chair-and-shake-something rocker "Sawtooth EKG," and the return of lush and dreamy orchestra and horn samples that mostly disappeared after Daedelus' first album. Check "Dreamt of Drowning," "Patent Pending," and "At My Heels" to hear how sublimely Daedelus mashes together such disparate sounds as clattering electronics and orchestras. Subtracted are the guest appearances that were all over his last album and they aren't missed at all. He also has put to rest any avant-garde leanings and moments of chaos that have slowed him down in spots before. In their place he has added more passion, more melody and more richness, which results in the most consistent, tuneful, and exuberant Daedelus record yet. Like booklet cover star Little Nemo, Daedelus creates his own dream world where everything and anything is possible and probable.

Godspeed You! Black Emperor - 1998 - f#a#infinity

From this website:

"The car's on fire and there's no driver at the wheel, and the sewers are all muddied with a thousand lonely suicides; and a dark wind blows. The government is corrupt and we're on so many drugs with the radio on and the curtains drawn. We're trapped in the belly of this horrible machine and the machine is bleeding to death. The sun has fallen down and the billboards are all leering, and the flags are all dead at the top of their poles. It went like this: the buildings tumbled in on themselves, mothers clutching babies, picked through the rubble and pulled out their hair. The skyline was beautiful on fire, all twisted metal stretching upward, everything washing in a thin orange haze. I said: 'kiss me, you're beautiful - these are truly the last days'. You grabbed my hand and we fell into it, like a daydream or a fever."

So begins the monologue of "the dead flag blues". What follows this spoken word, is some of the most interesting and breathtaking music of the twentieth century.

!'s first album "f#a#infinity" defies convention and creates post-rock soundscapes that blend otherworldly noises and exquisite musicianship. This nine-piece collective brings drummers, pianists, violinists and guitarists to form layered compositions that are more "real" than any music I have ever heard. By "real", I mean intimacy in the most surreal sense. The sounds created from this album take over your immediate existence and they thrust you into the subdued chaos of their fantasy. Within each smaller movement among the larger pieces (no track is less than 16 minutes), it captures a perfect emotional tone and delivers it into beautiful climaxes like no other band in memory.

The album is set into three tracks, "the dead flag blues" (16:28), "East Hastings" (17:58), and "Providence" (29:02). While the album itself must be taken in full to be totally appreciated, each composition seems to represent a different period of time surrounding an apocalypse. Where "the dead flag blues" seems to represent the shock and despair of the world ending, its fifth movement offers a strange joy that seems like someone realizing their fortunes of surviving an apocalypse. This up and down characteristic is what makes these songs so moving. It's not as if they suddenly jump into different speeds and sounds, but everything is appropriate and gradual.

From here, we move into "East Hastings", which can best be described as s*** hitting the fan. As if the reality of a deluge has set in, and the music that illustrates the fantasy builds into a momentous lash of guitar and emotion. At roughly seven minutes into this piece, we encounter what is arguably the most intense moment of the entire album. At this point, chaos and confusion set in as we are greeted by an outburst of percussion and more otherworldly noises than on any other part of the album. Still, even in chaos, the sounds are perfectly put together, and the emotion is conveyed in devastating fashion.

The final track, "Providence", is by far the longest, and in turn, the least consistent. While the first two have a complete feeling, this composition feels slightly full. However, this "full" feeling is only caused by the fact that it is so long. Each of the individual movements are just as important as the proceedings, but there are simply too many in this one track (it would've made sense to turn it into two). Instead of highlighting the entirety of the track I will state that movements three, four, five and the finale are incredible however, and create a wonderful climax for the album.

In this review, I've refrained from going into too much detail because the album is best listened to in the height of curiosity. If you do give it a listen, I suggest taking in the entirety of the album by yourself so that you can appreciate what it illustrates. This album is a socially conscious masterpiece (something I urge you to look into), that creates sounds and sights for the mind that no other band could hope to conjure. Hell, calling this collective a band seems inappropriate as they are more or less the symphony of the apocalypse. This is one of the few albums that should and hopefully will be remembered centuries from now; it is simply that poignant, simply that unique, and seriously, that beautiful."

1. The Dead Flag Blues
2. East Hastings
3. Providence

Godspeed You! Black Emperor - 1999 - Slow Riot for New Zerø Kanada

chunky andi, cafe bliss, spring 1999:

"well, here we go once again. my constant rambling on about these canadian visionaries continues at pace. you‘ll already know of my love of this band so the prospect of some new material was as worrying as it was exciting. in terms of music i can think of nothing worse than having one of your fave bands knocking out a real stinker after an unexpected classic so i always approach follow ups with a sense of caution or even dread.

thankfully i can report that this thirty-ish minute ep of two more outstanding and lengthy instrumental bliss fests really is a fitting follow up to the breathtaking f#a# infinity album. this ep is partly the reason that this issue has been a little late, i desperately wanted to be one of the first to bring you a review of this record as I know most of you are amongst their biggest fans like myself. so big thanks to the lads at constellation for taking the time and effort to send me a test pressing just for this purpose, it‘s appreciated as you know! right, so what‘s it like?, well i think you‘ll have a pretty good idea already..

'moya' is the delightful track on side a, fourteen minutes long and hauntingly beautiful. an annoying clicking sound appears at the start under a deep humming drone, gradually the violins and cellos glide into range with their cheerless and distant strains, like the sound of the earth burning as it draws its last breath beneath a dripping red sky. slowly a single guitar emerges from the dark, and strums out a deathly end as in the distance a xylophone tinkles and a sudden calm appears, like a ray of sunlight through the thick dirty air, the bass and drums appear and start pounding a rhythm like weary legs after a heavy fall, stretching out for survival and a clue of where to go, they rise and start looking for a new home as the sound once more begins to grow to a crescendo and once more they‘re crushed cruelly without hope. if the millennium commission decide to score a piece of music for the end of the world then i think maybe, just maybe that it‘s already been written and waiting to be asked...

side two is a track called 'BBF3', clocking in at about seventeen minutes it‘s equal parts inspiring, despairing and beautiful. dedicated to the disappeared cats of mile end it flickers into life over a haunting, desolate drone, a spoken field recording from what appears to be a conspiracy theorist/street preacher emerges. recorded on the streets in providence he talks as the background music grows with customary grace and vision, violins court battle with hushed drum beats, rolling cymbals and picked guitar. slowly the sound disperses into a quiet empty void where guitar strings bend slowly with your mind as you try and guess where the songs going next. slowly the guitars begin to strum and fall in place with the distant drums growing into an euphoric swirling mass of noise with marching beats, it builds and builds to sound like you‘re reaching out for the top of the world, then slowly it begins to fall back, deeper and deeper into a bottomless void where just a piano idly plays with the re-emergence of the rambling street preacher and his gun toting tales. as he recites a captivating poem at speed over the piano and strings, the guitars start to re-emerge from the quiet almost unnoticed, at first just quietly strumming but building all the time, slowly, until it‘s all hands on deck as it grows into a giant ball of sound, rolling drums merge with everything else into a final fury of fucked up noise, intense controlled feedback sparing no thought for subtlety or restraint. as you begin to accept the end is near and the wall of sound starts to die you are left catching your breath whilst the ghostly final sounds emerge, soulless strings begin to swirl and glide like vultures picking on a fresh corpse. superb!"

1. Moya
2. BBF3

An absolutely superb work. Check it out or kick yourself later.

Portishead - 1994 - Dummy

I already uploaded the second, eponymous album, so I thought I'd upload the first, as its amazing also.

From this website:

"Much like Loveless is the ultimate "dreampop" album and Slanted And Enchanted is the quintessential lo-fi indie rock album, Dummy still stands as the definitive “trip-hop” album, a Bristol-based style that was first introduced on Massive Attack's Blue Lines and which gained further popularity and credibility with Tricky’s excellent Maxinquaye. Geoff Barrow is Portishead’s musical mastermind, a studio/sampling wizard who deftly and ingeniously mixes together what sounds like strange spy film effects with spare hip-hop beats, Ennio Morricone-styled Spaghetti western guitar (supplied by Adrian Utley), haunting Hammond organ, and silken string arrangements. The end result is a film noir-ish atmosphere that brings to mind cold, dimly lit lounges filled with smoke and broken dreams. Siren Beth Gibbons lends her tattered voice to these eleven moving songs (including the minor hit “Sour Times (Nobody Loves Me)”), and her edgy, eerie vocals are up front and center in leading the band's delectably depressing soundscapes. Quite simply, Ms. Gibbons sounds like the saddest girl in the whole wide world, and believable lines like “nobody loves me…” and “this loneliness just won’t leave me alone” attest to her shattered worldview. Most of these languidly paced songs share a similarly shadowy vibe and contain surprisingly catchy grooves, as Portishead create dark nights of the soul where romance and lady luck have turned irredeemably sour (“Sour Times,” indeed). In addition to some highly original songs, only a couple of which fail to impress, the intentionally scratchy sound (giving the impression of a record rather than a compact disc) was a brilliant production masterstroke that made this album a one of a kind experience - at least until Portishead, that is. “Mysterons,” “Sour Times (Nobody Loves Me),” “It Could Be Sweet,” “It’s a Fire,” “Roads,” and “Glory Box” are the highlights, but to pluck individual songs from such a self-contained package is to miss the point. Once experienced in its entirety, the dramatic sound world introduced on Dummy is impossible to forget."

Jimmy Smith - 1958 - The Sermon!

This LP contains a quartet version of "Flamingo" (with the all-star group of organist Jimmy Smith, trumpeter Lee Morgan, guitarist Kenny Burrell and drummer Art Blakey) and Smith's minor-toned original "J.O.S." (starring Smith's trio, altoist George Coleman and Morgan). However, it is the sidelong 20 1/2 minute "The Sermon" (a tribute to pianist Horace Silver) with Morgan, altoist Lou Donaldson, Tina Brooks on tenor, Burrell and Blakey that is most historic and memorable. Two of the three selections (including the title cut) have been reissued on CD and this spirited music is well worth acquiring in one form or another.

Jimmy Smith - 1960 - Back at the Chicken Shack

Back at the Chicken Shack is one of organist Jimmy Smith's classic Blue Note sessions, and the first to draw attention to tenor saxophonist Stanley Turrentine. Recorded in 1960 with Kenny Burrell on guitar, Donald Bailey on drums, and Turrentine, the group reaches the peak of funky soul-jazz that all other challengers of the genre would have to live up to. Included on this up-tempo session is a reworking of "When I Grow Too Old to Dream" (a feature for Turrentine), Turrentines' "Minor Chant," two Smith compositions, "Messy Bessie" as well as the set's notable title cut, and the CD-only bonus track, "On the Sunny Side of the Street." Smith's Midnight Special album was recorded at these same sessions, and is also exceptional.

Tuesday, August 28, 2007

Frank Zappa - 1993 - Civilization, Phaze III

This is Frank Zappa's final masterpiece he finished before his death in 1993. It was all composed on the synclavier. Zappa categorized it as an "opera-pantomime", the project began as a vocal recording experiment in 1967, which Zappa describes in the liner notes (written in 1993):
"...I decided to stuff a pair of U-87s in the piano, cover it with a heavy drape, put a sand bag on the sustain pedal, and invite anybody in the vicinity to stick their head inside and ramble incoherently about the various topics I would suggest to them..."

Madvillain - 2004 - Madvillainy

Madvillain is MF DOOM and Madlib.

"In November 2002, Otis Jackson, Jr. (aka Madlib) went south to Brazil on business. For the trip, he compiled two mix CDs of beats and unfinished tracks: one stored his collaborations with Detroit's Jay Dee; the second held work with Brooklyn's Daniel Dumile (aka MF Doom). As a true testament to both fidelity's fragility and the power of file-sharing, both discs leaked a few months later, giving birth to a logical buzz, but more importantly, heightening expectations to impossible heights; these demos were pretty fucking tight. If "Peeyano Keys" and "Powerball #5" were just rough drafts, what could be expected of the completed project?

Undoubtedly, Madlib and Doom felt the pressure. The leak seemed to be a huge kick in the ass, especially for Madlib, who in the past few years has been garnering the reputation of being brilliant and prolific, but distracted: His Blunted in the Bomb Shelter mix (rumored to have been concocted in less than a day), Blue Note-sampling Shades of Blue, and even the Jaylib collaboration are fresh, but sloppy and often unfocused. Madvillainy is anything but: The samples are smart and never played-out, and the production and rhymes reveal a determined sense of cooperation, as Doom spouts off his most brilliant lyrical change-ups and production-conscious playoffs.

One of the noticeable differences between the unauthorized promo and the final burn of the album is a change in vocal tone from Doom, which has shifting from an excited, measured performance to a slower, scratchier and ultimately better-suited delivery, considering Madlib's low-key, bass-oriented production. Some people take the new chilled delivery as somehow inferior to the old incarnation, but taken in context, the album benefits from the re-recording, particularly in cases were Doom re-arranges couplets to optimize his punchlines ("Meat Grinder") or adds new lines altogether ("Figaro").

Doom's acknowledgement of Madlib's accordion sample (the same one Daedelus used on 2002's Invention) is the most obvious instance of Madvillainy's lyrics/production integrity, but the album is chock full of them. For a collaboration which the duo has described as something "like a telepathy thing. There wasn't a lot of talking," Madlib and Doom, proponents of two distinctive hip-hop styles, are of one unusually strong mind.

The axis of Madvillainy is Otis Jackson Jr.'s production. While Doom's entire career has been shadowed by consistently strong production efforts, never has such chemistry developed between him and another beatmaker. From the unbelievable Castlevania-meets-Rocky & Bullwinkle piano chase music of "Supervillain Theme" to the shifting keyboard jazz suite of "Great Day" to the dark chamber bass, timbales and jump-cut ukulele plucks of "Meat Grinder", Madlib proves himself as much more than just a loop digger, topping his best work on Quasimoto's The Unseen with an album of consistently incredible beat work. And it isn't just the beats that make the partnership work so well: The character of his vocal samples and the smoothness of his song-to-song segues make this album individual to the styles of both artists-- a difference that puts this pairing far ahead of similarly talented teams like Rjd2 and Blueprint's Soul Position.

Both Doom's and Madlib's myriad aliases make sparkling cameo appearances on Madvillainy, most notably on "America's Most Blunted", in which Madlib bickers with alter-ego Quasimoto, and on "Fancy Clown", which features Dumile as Viktor Vaughn. Here, Vaughn steams on an ex-girlfriend's unfaithfulness-- but she's cheating with Metalface, another Dumile alias. It's a brilliant conceit, and perhaps makes "Fancy Clown" hip-hop's first schizophrenic self-diss track.

Okay, so maybe that's a little harsh. Although the guest appearances from the Stones Throw massive are Jackson Jr.'s take on label-based self-aggrandizement, they never disrupt the album's flow, and never say anything too stupid (Medaphoar even garners a laugh on "Raid" with, "My niggas take 'no' like Kobe"). Still, it helps that these extraneous verses are few and far between; most listeners would likely have preferred an additional Doom cut instead, or at least an appearance from Doom's Monsta Island Czars.

When much of the underground often aspires to Truth and Something Bigger, Madlib and Doom have always seemed content to be quirky through and through, lightly roasting themselves and subverting the genre itself to brilliant effect. Like in the above quote from "Great Day": The rhyme's pattern and rap's topical stereotype demands the word "bitches," yet Doom hilariously says "booze" instead. Or on "Money Folder", in which Doom starts off, "Don't mind me, I won't just rhyme lightly off of two or three Heinies," but flips beers to babes midway: "And boy was they fine, G: One black, one Spanish, one Chi-nee."

Madvillainy is inexhaustibly brilliant, with layer-upon-layer of carefully considered yet immediate hip-hop, forward-thinking but always close to its roots. Madlib and Doom are individually at their most refined here, and together, they've created one of the most exciting blockbuster alliances in the underground to date. Good luck finding a better hip-hop album this year, mainstream, undie, or otherwise."

Jimi Hendrix Experience - 1970 - "Rainbow Bridge Vibratory Color / Sound Experiment" Haleakala Volcano Crater, Maui, Hawaii

Jimi Hendrix / Mitch Mitchell / Billy Cox

"Rainbow Bridge Vibratory Color / Sound Experiment", Haleakala Volcano Crater, Maui, Hawaii
July 30, 1970
Soundboard Recording / 2nd Gen / 1st & 2nd Shows / 105 min.

Safety Master Reel > VHS > Tape > MD > WAV > FLAC

This is the version with the drums overdubbed by Mitch Mitchell at Electric Lady Studios, N.Y in 1972. It's unconfirmed but I wander if the bass wasn't also redubbed (even partly) by Billy Cox at the same period ? This is 2 analog + 1 digital generations away from the original stereo safety masters but the digital transfer was Mini-Disc (that can't make it 100% 'true lossless'). I never come across an as good version without MD copy in. When Alan Douglas was in charge of the "vault", soundboards went in and out... One of these was the Maui overdubbed stereo safety master that was copied to VHS in the late 70s or early 80s (long before DATs & CDRs !) and then came back to the "vault", so the 1st generation VHS copy remains the best & most complete soundboard source in circulation. Note that all cuts on this tape are like on the safety master but it is unknown if these cuts are on the multi-track masters with original drums. The owner give a few copies to selected people, leaving them with a 2nd generation tape source. He still has the 1st gen VHS source apparently, but is currently out of the trading business. This tape has been speed corrected, but no other alterations have been made.
A "Stoned" Conversation with Jimi Hendrix, Pat Hartley & Chuck Wein is added as bonus on disc 2.

My full artwork is also included, enjoy !

Last thing, don't get fooled by so called 'semi-official' Purple Haze Records 2CD release, it's incomplete and in fact a direct copy of the old Swingin Pig bootlegs "Last Amercian Concert VoL.1 & 2", which used unknown Generation altered by EQ or 'No Noise' / Dolby.

Disc 1:
01. Chuck Wein Intro
02. Tune Up
03. Spanish Castle Magic
04. Lover Man
05. Hey Baby (The Land of the New Rising Sun) >
06. In From the Storm
07. Message to Love
08. Foxy Lady
09. Hear My Train a Comin'
10. Voodoo Child (Slight Return) >
11. Drum Solo >
12. Fire
13. Purple Haze

Disc 2:
01. Dolly Dagger >
02. Villanova Junction >
03. Ezy Ryder
04. Red House
05. Freedom
06. Beginning >
07. Straight Ahead
08. Hey Baby (The Land Of The New Rising Sun) >
09. Midnight Lightning >
10. Race With The Devil >
11. Drum Solo >
12. Stone Free >
13. Hey Joe >
14. Stone Free (Reprise)
15-16. Conversation with Jimi, Pat Hartley & Chuck Wein

Enjoy, Share & Preserve Quality !
Brought to You by BP
[August 2007]

here is some video clips from the performance:

The Breaks: Stylin’ and Profilin’ 1982–1990

These Are The Breaks

In the fall of 1982, celebrated music photographer Janette Beckman moved to New York City, where she found hip hop on the edge of explosion. After a decade underground, the DJs, MCs, b-boys, fly girls, and graf writers were finally getting their due from the downtown crowd. While trains were covered in graffiti and boomboxes were blasting on the corners, DJs were up in the clubs while the dancers rocked the floor. Artists were getting signed and local legends were born. And while some called hip hop a fad, Beckman knew better.

Her photographs, collected in The Breaks: Stylin’ and Profilin’ 1982–1990, transport us back to a time before music videos and marketing departments took control. The queen of the ’80s album cover, Beckman shot the icons of the era: Africa Bambaataa, Grandmaster Flash and the Furious Five, Fearless Four, the World Famous Supreme Team, Lovebug Starsky, Salt’n’Pepa, Run-DMC, Stetsasonic, UTFO, Roxanne Shante, Sweet T, Jazzy Joyce, Slick Rick, Boogie Down Productions, Eric B. and Rakim, EPMD, NWA, Ice-T, 2 Live Crew, Tone Loc, Gang Starr, Ultramagnetic MCs, Rob Base and DJ EZ Rock, Special Ed, Leaders of the New School, Jungle Brothers, Beastie Boys, Rick Rubin, and countless others. The era was as original as it was innocent, and Beckman’s images remind us of a culture that brought forth The Message before it got Paid in Full."

you can preview the entire draft copy of the book on this pdf.

Six Degrees of Separation!!

This is a very interesting check it out!!..

"Six degrees of separation is the theory that anyone on the planet can be connected to any other person on the planet through a chain of acquaintances that has no more than five intermediaries. The theory was first proposed in 1929 by the Hungarian writer Frigyes Karinthy in a short story called "Chains."
In the 1950's, Ithiel de Sola Pool (MIT) and Manfred Kochen (IBM) set out to prove the theory mathematically. Although they were able to phrase the question (given a set N of people, what is the probability that each member of N is connected to another member via k_1, k_2, k_3...k_n links?), after twenty years they were still unable to solve the problem to their own satisfaction. In 1967, American sociologist Stanley Milgram devised a new way to test the theory, which he called "the small-world problem." He randomly selected people in the mid-West to send packages to a stranger located in Massachusetts. The senders knew the recipient's name, occupation, and general location. They were instructed to send the package to a person they knew on a first-name basis who they thought was most likely, out of all their friends, to know the target personally. That person would do the same, and so on, until the package was personally delivered to its target recipient.

Although the participants expected the chain to include at least a hundred intermediaries, it only took (on average) between five and seven intermediaries to get each package delivered. Milgram's findings were published in Psychology Today and inspired the phrase "six degrees of separation." Playwright John Guare popularized the phrase when he chose it as the title for his 1990 play of the same name. Although Milgram's findings were discounted after it was discovered that he based his conclusion on a very small number of packages, six degrees of separation became an accepted notion in pop culture after Brett C. Tjaden published a computer game on the University of Virginia's Web site based on the small-world problem. Tjaden used the Internet Movie Database (IMDB) to document connections between different actors. Time Magazine called his site, The Oracle of Bacon at Virginia, one of the "Ten Best Web Sites of 1996."

In 2001, Duncan Watts, a professor at Columbia University, continued his own earlier research into the phenomenon and recreated Milgram's experiment on the Internet. Watts used an e-mail message as the "package" that needed to be delivered, and surprisingly, after reviewing the data collected by 48,000 senders and 19 targets (in 157 countries), Watts found that the average number of intermediaries was indeed, six. Watts' research, and the advent of the computer age, has opened up new areas of inquiry related to six degrees of separation in diverse areas of network theory such as as power grid analysis, disease transmission, graph theory, corporate communication, and computer circuitry"

Damo Suzuki - Live At The Tramway, Glasgow, 25/04/07

Damo Suzuki
25h April 2007


Recorded: Sony ECM 717 to iRiver iHP 140 in PCM Wav mode
PC Transfer: USB
Editing: Cool Edit 2000
FLAC Conversion: FLAC Frontend

Sound Carriers:

Damo Suzuki (Damo Suzuki)
Hamish Black (Guitar)
Sushil K Dade (Bass, Electronics)
Raymond MacDonald (Saxophones)
Bill Wells (Keyboards)
Douglas MacIntyre (Electronic Guitar)
Sace (Drums)

NB: The sound carriers list was taken from Damo's website
I'm sure there was a second person playing sax/clarinet or other woodwind.

1. Improvisation (38:57)

Damo Suzuki's Never Ending Tour briefly touched base in Glasgow in April '07, as part of the Triptych festival where he was joined by various elder statesmen of Scottish indie and improv music and a young whippersnapper in Hamish Black. This time around was the most Can-esque of his appearances, one long roughly 40 minute piece rather than the (slightly) shorter multiple pieces he's done before.

An Albatross - 2002 - Eat Lightning Shit Thunder

Scott Smallin

"Before you read this review, let me give you fair warning: I am going to be a little biased on this one ladies and gentlemen since I think these guys are amazing musicians and people. Though this "re- issue" was just recently released, the L.P. I bought when I first saw an albatross a few years ago remains one of my all-time favorite records in my collection.

Musically, these guys, and the newly added lady, take the whole grind meets keyboards meets a car crash genre to the next level. Imagine combining the sound of a wreck with its quick and joltnig noises, squeals, ker-throps and sudden silence with an awaking car alarm and mixing in a dash of hot sex appeal with some tinges of a hot bubble bath. Take all that stuff, throw it in a bag, shake it up and let it out at the circus with a young Iggy Pop as the ringmaster. Blam! You got yourself an albatross. The band is an eclectic array of fast changes, offbeat grind riffs and a circus act that will leave you absolutely breathless. With unbelievable live performances that even that even haters of their music would have to commend, an albatross has amassed a huge cult following by touring with the likes of Dillenger Escape Plan, Lightning Bolt, Cinema Eye, The Faux and many more bands.

Fans of any kind of hardcore, electronica, emo, or whatever category people dream up should purchase this album. I promise without any hyperbole that it is one of the best records to come out in this decade. After you listen to the album, catch an albatross live and you will be left in a star struck frenzy with your arms in the air and your leg shaking like a dog getting its chest scratched."

1. Intro
2. Pennsylvania Inferno
3. Mother's day came a little early this year
4. You can't take the hot-rod with you
5. Channel 96
6. Uncle Funky Pants
7. Electric Suits and Cowboy Boots
8. I Live the Good Life
9. The Man-Eating Pigs of Madidi
10. The Great Sarcophagus
11. Kluver-Bucy noct in Bb

Crime In Choir - 2002 - Crime In Choir

Andy Vaughn

"I can't help but think that people use the "ex-members of" thing as a crutch sometimes. Crime In Choir "features founding members of At The Drive-In, Hella, and The Hades Kick." Founding members doesn't really mean that much to me, but it still seems kind of amusing that labels use this kind of stuff to get someone's attention. Maybe it works, maybe not. For me, whenever I see something like this I usually kind of laugh unless its someone that was in the band the whole time. A founding member could mean they played in the band in high school before it even had a name. Who knows...Ê

Crime in Choir use synthesizers, Rhodes piano, Moog, bass and a baritone guitar to create their brand of spacey math rock. Although Ôfounding' members of At The Drive-In are in this group, do not expect Crime in Chior to produce anything of the same sort. This music is intricate and jazzy, and it is also put together in a crafty and original way that isn't often done. Another thing you should not expect from Crime In Choir would be vocals, as the band is 100% instrumental. Some would think that this might work against a band, but after listening many would agree that Crime In Choir would not be the same or as intriguing with a vocalist. This is a great instrumental group, and much like with an improvised jazz group a vocalist added into the mixture would probably throw everything out of the perfect balance that it is now in.Ê

Comparisons that one may draw from elements of this experimental group may include Sonic Youth, Rainer Maria, Mates of States, Radiohead, New Order, the Faint or a disparaging list of others. Crime In Choir are not rooted in electronics, as some of their peers are, which in my opinion works especially well for them - considering that it does not seem like they are biting anyone else's style. Crime In Choir come across as a very intriguing and original sounding group, something that most bands today cannot claim.Ê

Crime In Choir debuts with just a six song EP, but the release is thirty minutes long, outlasting a lot of full lengths but still leaving me very interested in what they may have in store for the future. With this multi-dimensional style of music they have huge crossover potential with many different crowds."

This review really does not do this band justice, they are amazing. Really the only thing you can do is listen to this, and hope that I find the next two albums which are infinitely better.

1. A Girl Named Jesus
2. Pictures In The Dictionary
3. Come Here, Raider
4. Fleece On Fire
5. Worldwide CB
6. Cincinnati

Can - 1971 - Tago Mago

Found on this website.

Things are really looking up for CAN at this point. Malcolm Mooney, now history thanks to his mental illness that forced him back to the United States, Damo Suzuki (who already appeared on all but two cuts on Soundtracks) of course, filling in. A lot of this still sounds quite psychedelic, as "Paperhouse" demonstrates, with Michael Karoli's guitar work. Plus there's lots of great percussion work from Jaki Liebezeit. The music then segues in to "Mushroom", which is a bit difficult for me to describe, so I'll go on with the next song, "Oh Yeah". This is definately the high point of the album, great psychedelic vibe with Irmin Schmidt's organ, Holger Czukay keeping his own on his bass, and Damo Suzuki at first singing something in reverse (that is, the tape of him singing was playing in reverse, while the band plays in forward).

Then after a bit, he starts singing (forward, with the rest of the band) in his native tongue, Japanese (it's too bad that I don't know what it translates to, or the Hiragana, Katakana and Kanji characters to the lyrics). Then there's the side length "Halleluwah", which is definately Jaki Liebezeit's time to shine, especially with the percussion, with Damo's voice on top. There's a couple of detours on the way, but it sticks to the same throughout, and while this result might seem boring, it actually isn't, it works quite well. The second disc (that is, if you own the LP, as both discs were crammed on to one CD) is by far some of the most radical pieces of "music" I have ever heard, and I've heard some very radical stuff in my lifetime (such as BRAINTICKET's "Cottonwoodhill", ASH RA TEMPEL's "Seven Up", or the early works of TANGERINE DREAM on the Ohr label).

The first side of the second disc is taken up with "Aumgn", by far the most frightening and sinister piece of "music" I have ever heard! Mainly trippy sound effects with Irmin Schmidt, without a doubt having noted 1920s British occultist Aleister Crowley on his mind, repeatedly chanting "Augmn" (which sounds like "Aum", but with a much more sinister tone - "Aumgn" was a chant invented by Crowley himself) over and over with some extremely relentless electronic effects. Somewhere is this almost didgeridoo-like droning played on a double bass (if the band actually used a didgeridoo, it would make that piece even more sinister). Then after that's over, Jaki Liebezeit then gives us a wall of relentless percussion over more relentless electronic effects. And just when you think you've had enough, side four opens up with "Peking O". Luckily it's not so sinister, but it's just completely demented, complete with Damo's mindless babbling and a cheesy sounding drum machine. This piece actually got me laughing. Then the album closes with "Bring Me Coffee or Tea" which is a much more mellow, psychedelic number dominated organ, it's like a very welcome ending after being hammered for a half an hour with relentless noise and electronic effects. Without a doubt "Aumgn" and "Peking O" are the definate love it or hate it pieces.

Everyone will question your sanity for listening to those pieces, and they're certain clear parties so fast, you'd be wondering if you remembered to hold a party. But those two pieces are absolute genius, and you have to be pretty accustomed to the more radical albums of Krautrock (like TANGERINE DREAM's "Zeit") to appeciate this. Incredible stuff, and without a doubt, CAN at their finest!

Track listing

All songs written by Can.

1. "Paperhouse" – 7:29
2. "Mushroom" – 4:08
3. "Oh Yeah" – 7:22
4. "Halleluhwah" – 18:32
5. "Aumgn" – 17:22
6. "Peking O" – 11:35
7. "Bring Me Coffee Or Tea" – 6:47

Hella - 2007 - There's No 666 In Outer Space

Jordan Dowling:

"...And on the seventh day, God rested. On the eighth day, he invented a slow-burning formula for the eventual annihilation of the universe he created from the point at which he gave his only sun. A breakdown of society, the crumbling of the Earth's atmosphere, the expansion of the solar system leaving us feeling more alone and more paranoid as each second ticks away. The apocalypse. For Hella, things need to be sped up.

Let’s keep with the image a little while longer. Imagine The Mars Volta's swollen red super-giant bursting beyond the constraints of mass and time and finally" contracting to an all encompassing black-hole, sucking in Lightning Bolt’s heaviest riffs and The Boredoms’ most intense drum work after hurtling them to ‘n’ fro against all manner of cosmic debris. Titles such as 'Song For Insecuirity' and '2012' may seem wilfully obtuse. They are. They fit the mood perfectly.

Yet There Is No 666 In Outer Space’s most impressive attribute is that at the core of all this lays a solid earth foundation, far stronger than what is to be found on previous albums. Each track is a fully-fledged song, built for the most part around the vocals of new member Aaron, with fellow newbies Josh and Carson adding subtle layers over the band’s core sound. Zach Hill still tortures his drum kit at a different speed, beat and dimension to the rest of the band. It’s all for the best.

Do you need this album? Well, on a summer’s day are your eyes drawn to the deep pitch of the shadows? Do you flick your head side to side in paranoia more than a model in a shampoo advert? Does the fact that Yellowstone Park is more than 50,000 years overdue for a near-extinction level explosion keep you awake at night? If it does, then you do. Hella are the five horsemen of your own personal Armageddon. It may not be the happiest ending, but hey: the soundtrack is fucking great!"


1. World Series
2. Let Your Heavies Out
3. Ungrateful Dead
4. Friends Don't Let Friends Win
5. Things That People Do When They Think No Ones Looking
6. Hand That Rocks the Cradle
7. 2012 and Countless
8. Anarchists Just Wanna Have Fun
9. Dull Fangs
10. Sound Track to Insecurity
11. There's No 666 in Outer Space

Monday, August 27, 2007

Bill Laswell's Material feat. Pharoah Sanders - 2002 - Frankfurt, Germany

Session 18, 25.10.2002, Frankfurt, Germany, 33th Jazzfest

Material feat. Pharoah Sanders

Pharoah Sanders ts
Lili Haydn vln, voice
Amina Claudine Myers org
Bill Laswell b
Hamid Drake dr
Aiyb Dieng perc
Karsh Kale tablas, perc

1.Announcement 2:21
2.Black Lotus (B.Laswell) 12:40
3.unidentified 7:16
4.The Longing (L.Haydn) (based on Adagio by T.Albinoni) 6:40
5.Introduction of Pharoah 0:25
6.unknown title 14:38
7.unknown title 3:14
8.Mantra (Caroline-Shankar-Laswell) 17:23
9.Improvisation with the motives of Creator (Sanders) + closing announcement 15:24

*Note: This is the same set but with the tracks split differently.

Nightmares On Wax - 1995 - Smokers Delight

George Evelyn's solo step as Nightmares on Wax, Smokers Delight, is a whole delightfully irreducible to its parts, which, as with earlier releases, is largely electro, hip-hop, and soul, with bits of Latin percussion and down-tempo funk thrown in.

a quality album to just sit back and smoke a blunt to.

Sunday, August 26, 2007

Lee “Scratch” Perry - 1970's - Arkology Box Set

"Dub is one of the most influential genres of the twentieth century, and Lee “Scratch” Perry is one of its most famous practitioners. Dub is a style of Jamaican dancehall known for its heavy basslines and echoey studio-effects. Lee Perry’s Arkology, a three-CD boxed set from Island Records, is a good introduction. A huge booklet included with the collection paints a portrait of a man whose life is the stuff of legend. There are plenty of photos of Perry and his famous Black Ark studio. The music, however, speaks for itself. The CDs provide the proper context by including the original versions of songs which Perry made into dubs. Sometimes this can be a bit repetitive, so I suggest random play or some creative CD deck programming. It’s easy for listeners not familiar with Jamaican music (like me) to overlook the full extent of Perry’s innovation, which includes the early use of sampling and echoey studio effects. Most of these tracks were recorded between 1976 and 1979, but Perry was ahead of his time. Despite his limited studio equipment, Perry was a “dub adventurer." ~ Grid Face


Disc 1

1-01 Lee Perry & The Upsetters Dub Revolution (Pt. 1)
1-02 Max Romeo One Step Forward
1-03 Upsetters, The One Step Dub
1-04 Devon Irons Vampire
1-05 Upsetters, The Vamp A Dub
1-06 Heptones, The Sufferers Time
1-07 Upsetters, The Sufferers Dub
1-08 Junior Dread Sufferers Heights
1-09 Congos, The Don't Blame On I
1-10 Meditations, The Much Smarter
1-11 Upsetters, The Much Smarter Dub
1-12 Meditations, The Life Is Not Easy
Producer - Meditations, The
1-13 Upsetters, The Life Is Not Easy Dub
Producer - Meditations, The
1-14 Junior Murvin Tedious
1-15 Max Romeo War In A Babylon
1-16 Upsetters, The Revelation Dub
1-17 Heptones, The Mr. President
Featuring - Jah Lion
1-18 Max Romeo Chase The Devil

Disc 2

2-01 Lee Perry Dreadlocks In Moonlight
2-02 Mikey Dread Dread At The Mantrols
2-03 Errol Walker In These Times
2-04 Upsetters, The In These Times Dub
2-05 Max Romeo Norman
Featuring - Upsetters, The
2-06 Junior Murvin Police & Thieves
2-07 Glen DaCosta Magic Touch
2-08 Jah Lion Soldier & Police War
2-09 Upsetters, The Grumblin' Dub
2-10 Junior Murvin Bad Weed
2-11 Errol Walker John Public
2-12 Errol Walker John Public (Version)
Featuring - Enos Barnes
2-13 Junior Murvin Roots Train
Featuring - Dillinger
2-14 Meditations, The No Peace
2-15 Upsetters, The No Peace Dub
2-16 Raphael Green Rasta Train
Featuring - Dr. Alimantado
2-17 Upsetters, The Party Time (Part 2)

Disc 3

3-01 Augustus Pablo Vibrate On
Featuring - Upsetter, The
3-02 Upsetters, The Vibrator
3-03 Upsetters, The Bird In Hand
3-04 Congos, The Congoman
3-05 Upsetters, The Byon Anasawa
Featuring - Full Experience
3-06 Upsetters, The Rastaman Shuffle
3-07 Heptones, The Why Must I (Version)
3-08 Heptones, The Make Up Your Mind
3-09 Upsetter Review, The Closer Together
Featuring - Junior Murvin
3-10 Keith Rowe (2) Groovy Situation
3-11 Upsetters, The Groovy Dub
3-12 George Faith To Be A Lover (Have Some Mercy)
3-13 Lee Perry Soul Fire
3-14 Lee Perry Curly Locks
3-15 Congos, The Feast Of The Passover
3-16 Lee Perry Roast Fish & Cornbred
3-17 Upsetters, The Corn Fish Dub

Jimi Hendrix, Lightnin' Rod (of the Last Poets) and Buddy Miles - 1969 - Doriella Du Fontaine

The first hip hop song EVER made! The story goes Jimi Hendrix was in the studio one day in 1969 and ran across one of the members of first hip hop group The Last Poets laying down tracks for their first album. He quickly caught attention and asked if he could record and the rest is history. Buddy Miles on drums, Jimi Hendrix on bass and guitar and Lightnin' Rod of the Last Poets on vocals. Some of the lyrics find a place in the world that we know as now.

I was standing on the corner in the middle of the square,
Tryin' to make me some arrangements
to get some of that dynamite reefer there.

Now, I was already high,
and dressed very fly,
just standin' on the corner
watchin' all the fine hoes
When up drove my main man big money Vann
in his super ninety-eight Olds Now as Van stepped out
and he looked about to me He began to speak,
Came his real fine freak
She wore a black chemise dress
considered to be one of the very best.
Hair was glassy black
Eyes a deep see green-blue,
Her skin boss dark hue.
Man! She was some kind of fine!

Now, as I spoke to Vann, and I shook his hand,
and I asked him "Is that your honey?"
Without no jive
This was the dude's reply, "Like she's anybody's. who wants to make some
"She's really down
And known all around
As Doriella Du Fontaine.
She plays her stick,
mind you, she's slick,
She's one of the best in the game.
This girl's no jerk
I've seen her work,
She's nice and she can use her head
And she's good with her crack
>From a long way's back,
And she's done made me a whole lot of bread."

Now, Vann was sporting a Panama Straw,
had a Corona-producto stuck out the side of his jaw,
He wore a beige silk suit
That looked real silky,
And my man was dressed like to make Rockefeller feel guilty.

Now I was pressed, I must confess,
Although I couldn't compare with Vann,
It's not that his taste is better than mine.
Just that he is the big money man.

"Hey, fellows," Doriella said,
"I'm starving as can be.
How about a bite to eat?"

So we all agreed
on a fabulous feed,
down at the Waldorf
Now the Waldorf was blowing
in bright neon light,
Although this was my first flight,
We were all clean as the board of health.
Three players, that's true,
in rainbows of blue,
And we painted a picture of wealth
Now as we were dining,
Vann started unwinding,
He began to run his mouth off to me.

But as we left,
I dug his woman, Doriella Du Fontaine,
Was standing pinning on me
"Hey fellow," Doriella said,
"Since we met I'm glad,
So here's the address to my pad."

So next Saturday
I got real fly.
And I went to see Miss Du Fontaine.
I stopped off at my main man Jaws,
he dealt in snow,
And I copped me some cocaine.

Now I got to her pad,
Jim it was some kind of bad.
It was really a bar set.
She had a 5-inch carpet,
which was limited in a market
Somewhere from the far-East Orient.
The high file was sailin'
And I wasn't failing,
But I just couldn't rap to this queen.

She dug my feet was cold
and took a tigh hold
And gave me some pot, Chicago Green.
She said "You be my man.
And together we'll trick the land,
And I'll be your true-blue bitch,
Although you'll have to show me to those other squares,
I'll take their dough and make you rich."

Now you know where I'm at!
I really went for that.
And I put this fine ho in her bed.
Me and this queen made love supreme,
and I flipped when she gave me some head

Now, next Saturday round one,
We were out having fun,
at the club known as the Island of Joy,
When in walked Dixie Fair,
Drugstore millionaire,
International playboy.
"Hey, fellow," Dixie said, "
How's that fine model in red?
Why I'll give you a fee, if you introduce her to me."

So I did, and my woman, D, she did the rest.

"Next morning in bed horse honey she said,
I can beat Dixie for all his bread.
Butyou have to wait patiently,
like a hustler on the sunny lands of New Mexico,
Because I don't want you around
When I take off this clown,
and I get him hung up in my den,
But when I pull through
I'll come straight to you,
And you'll never have to hustle again."

So the next morning,
I jumped in my $500 dollar grey silk vine
Downed me an ice cold pint of vine
I snatched my bank book
And I made reservations on TWA airline.
Now, my stay wasn't bad.
I had a fabulous pad.
I pulled plenty of fabulous hoes
.I pulled Miss Carmen Vista
Who was huge in the Keister,
And first cousin to Mexicaly Rose.

The climat was hot,
And there was plenty of pot,
And the tequila's were dynamite.
As I laid in my shack, on top of Carmen's back,
I had her on her knees all night.
Now one morning,
As I patiently waited,
I got a telegram that stated,
It said, "Papa daddy,
I made a real grand slam.
I'm on my way. TWA.
Comin' number 3.
Be in New Mexico by four.
Can't say no more. Love, your fine woman, D."

Comin' then gave me a bath in ice cold milk,
and I jumped in my $500 dollar grey silk,
and downed me a pint of ice-cold wine,
when I dug the New York news,
That shook me in my shoes,
with its bold daring headline..
It read Bulletin. Last night, Dixie Fair..
Drug store millionaire..
Committed suicide..
Left all his fame
To Miss Du Fontaine,
And stated to be his bride."

So Jim I made a B line on down to the airport,
Just in time to hear the announcer say,
"Attention in the lobby,
Attention in the Lobby:
Relatives and friends
All passengers on comin' number 3,
Wait no longer,
For fate's cruel hands
The good comet has crashed
Off the coast of Chili Sands
But wait! The rescuers said there was a woman alive!
Age 25...
Hair glassy black..
Eyes deep see green-blues
Skin a boss dark hue,
She said she was on her way
To her fine man in grey,
Stated to be his bride.
She would have been his true-blue bitch,
And made him rich,
but then she caughed up her blood and died."

Man! I pulled through,
Like all damned stud's due,
But I know I'll never be the same.
Cause there'll never be another Miss Doriella Du Fontaine.
That's her name Miss Du Fontaine
I'll never be the same
Cause there'll never be another Miss Doriella du Fontaine

Parliament - 1970 - Osmium

"The first Parliament album as such was a mixed-up mess of an affair — but would anyone expect anything less? The overall sound is much more Funkadelic than later Parliament, if with a somewhat more accessible feel. Things get going with an appropriately leering start, thanks to "I Call My Baby Pussycat," which makes something like "What's New, Pussycat?" seem like innocent, chaste conversation. After a stripped-down start, things explode into a full-on funk strut with heavy-duty guitar and slamming drums setting the way, while the singers sound like they're tripping without losing the soul — sudden music dropouts, vocal cut-ins, volume level tweaks, and more add to the off-kilter feeling. Osmium's sound progresses from there — it's funk's fire combined with a studio freedom that feels like a blueprint for the future. Bernie Worrell's keyboard abilities are already clear, whether he's trying for hotel lounge jams or full freakiness; similarly, Eddie Hazel is clearly finding his own epic stoned zone to peel out some amazing solos at the drop of a hat. As for the subject matter and end results — who else but this crew could have come up with the trash-talking, yodeling twang of "Little Ol' Country Boy" in 1970 and still made it funky with all the steel guitar? Other fun times include the piano and vocal-into-full-band goofy romantic romp of "My Automobile" and "Funky Woman," where over a heavy groove (and goofy Worrell break) the titular character lives with the consequence of her stank: "She hung them in the air/The air said this ain't fair!" Amidst all the nuttiness, there are some perhaps surprising depths — consider "Oh Lord, Why Lord/Prayer," which might almost be too pretty for its own good (Worrell's harpsichord almost verges on the sickly sweet) but still has some lovely gospel choir singing and heartfelt lyrics." ~ AMG


01 I Call My Baby Pussycat (4:24)
02 Put Love in Your Life (5:07)
03 Little Old Country Boy (3:58)
04 Moonshine Heather (4:05)
05 Oh Lord, Why Lord/Prayer (5:00)
06 My Automobile (4:45)
07 There Is Nothing Before Me But Thang (3:56)
08 Funky Woman (2:56)
09 Livin' the Life (5:57)
10 The Silent Boatman (5:45)

General Patton vs. The X-Ecutioners - 2005

From Wikipedia
"General Patton vs. The X-Ecutioners is the collaboration album released by experimental rock artist Mike Patton and New York City hip-hop trio The X-Ecutioners. The album is themed around a war between the two vastly different musical styles. The album contains various samples from films (all samples are uncredited though)."

"...At the front of the pack is this collaboration with Oakland, California turntable crew the X-ecutioners. Using the group's punctuated scratches and samples as raw material, Patton builds a symphony of cut-and-paste chaos over which he applies his trademark shrieks and growls. It's clearly not for everyone, but those who found Jay-Z and Linkin Park's Collision Course a little too sterile will definitely find something to gape over. -- Aidin Vaziri"