Saturday, September 8, 2007

Dogs of Ire - 2005 - Sterile Thoughts From a First-World

"10 dynamic tracks erupt from this desert-wasteland-project. “Sterile Thoughts From a First-World” is a 41-minute uncompromising frenetic onslaught and is DOGS OF IRE's most important work to date. This is one temperamental piece of schism that amalgamates rhythmic thrash incursions with scattered reposeful faintness in the tongue of Tagalog and English. “I don't know what to call it,” says Juan Walther, who got suckered - big time - into tuning their pointless drum kit. “Sterile Thoughts From a First-World” communicates issues of political futility, cultural dignity, and spits back at the face of pitiful white-privileged twaddle. Amidst all the serious booty-bumpin, Tim Cosner playfully recreates instruments into witted interludes for delicate ears that wanna hate. If so - stand in line. But bring a lunch babycakes. DOI's drummer is not some cute indie-rocker. He's a cholo on probation." ~ Ethospine Records

01. Listen
02. For the “Savage”
03. Trickledown Diasporas
04. Defunct Pedagogues (The Template Still Stinks)
05. Siempre Para Sa Iyo
06. White Guys Gone Wild
07. Ordinary Neocolonial Confessions
08. Sa Kabila Ng Mapa
09. Maim That Diatonic
10. Hard Right Turns for the Yawning

Sun Ra - My Brother The Wind Vol. II

"The full-band tracks are masterful. There are brilliant compositions contained within them. The ensemble's playing is referred to in liner notes as potentially being "spaced-out barbequeue music" and it does sound something like that; Ra moved his band towards the "soul-jazz" sound that was in vogue, but with more twists and turns in it. These tracks are absolutely worth the price of admission and demand to be heard (by everyone, everywhere).
The solo keyboard pieces by Ra do in fact sound like cheesy video game soundtracks and demonstrate that Ra was alternating brilliant musical accomplishments with childish exercises in abstraction by this point. When he was on top of his game, he was brilliant." ~ Scott McFarland


01. Otherness Blue Listen
02. Somebody Else's World Listen
03. Pleasant Twilight Listen
04. Walking on the Moon Listen
05. Somewhere Else
06. Contrast
07. The Wind Speaks
08. Sun Thoughts
09. Journey to the Stars
10. World of the Myth "I"
11. The Design - Cosmos II

Sun Ra Primary Artist
Marshall Allen Alto Saxophone, Flute, Oboe
Alejandro Blake Bass
William Brister Percussion
Robert Cummings Percussion
Danny Davis Alto Clarinet, Alto Saxophone, Flute
Danny Davis Alto Clarinet, Alto Saxophone, Flute, Soprano Saxophone
Ahk Tal Ebah Trumpet
John Gilmore Percussion, Tenor Saxophone
Kwame Hadi Trumpet
Lex Humphries Drums
Nimrod Hunt Drums, Hand Drums
James Jacson Oboe, Percussion
Clifford Jarvis Drums
Pat Patrick Baritone Saxophone, Flute
Danny Ray Thompson Baritone Saxophone, Flute
Alton Abraham Producer
John Ephland Liner Notes
Jerry Gordon Producer
Thomas Vilot Art Direction
Juli Hittner Vitello Art Direction
Reaz Haque Photography
Roger Seibel Pre-mastering Engineer

Yes - 1977 - Los Angeles Forum, California


Yes: Los Angeles Forum, CA-September 23, 1977 - Mike Millard Master Tape!

Master tape>dat>dat>cd-r>Bias Peak Pro 5.2.1>XACT>flac

Other versions of this show have been posted here before. This is not a re-seed or re-hash of those, but an entirely new upgrade from the master tapes. If you want more of these excellent Yes 1977 CA master recordings by Mike Millard, the Long Beach 9/26/77 master posted previously is still on the tracker, see:

On several occasions before he passed away, Millard let a close friend come to his residence and transfer a number of his masters to dat while they were hanging out. This show is one of those master>dat transfers.

This is Mike's mint, raw master. Please note that it has not been equalized or remastered. Since I do not have any boots of this show, I cannot comment on how it compares to them. To me the sound quality is excellent, but as always, song samples are provided so that you can decide for yourself. As many of you already know, Millard's recordings are known for their quality. Hope you enjoy this gem.

Lineup: Anderson, Howe, Squire, Wakeman, and White

Disc One: (66:23)
1.Firebird Suite/Parallels
2.I've Seen All Good People
3.Close To The Edge
4. Wonderous Stories/Colors Of The Rainbow/Turn Of The Century
5.Tour Song
6.And You And I
7.Going For The One
Disc Two: (44:20)
9.Starship Trooper

Never, Never Sell This!

"Mike Millard, nicknamed "Mike The Mic" was an avid concert taper in the 1970s and 1980s, recording mostly Led Zeppelin, Pink Floyd and The Rolling Stones concerts in California, especially at the Los Angeles Forum. He taped virtually every show at the Forum from 1974 to 1980. Many of his recordings found their way into the hands of bootleggers who sold MIke's work to unsuspecting fans.

Starting with a basic mono recorder in 1974, Millard upgraded to a Nakamichi stereo recorder with AKG Acoustics microphones for the 1975 Led Zeppelin shows in the area. He often used a wheelchair to conceal his equipment, pretending to be disabled. Unlike most 1970s audience bootlegs, Millard's recordings are noted for their great sound quality, and are to this day considered some of the finest audio bootlegs available.

Millard's recording of the Led Zeppelin concert on June 21, 1977 at the Forum (allegedly taped from row number 6) was released under the title Listen To This Eddie, and remains one of the best-known Led Zeppelin bootlegs. His recording of the opening number from the concert, "The Song Remains The Same", was included in the promos menu of the Led Zeppelin DVD." ~ Wikipedia

Dälek - 2005 - Absence

many thanks goes to tohereknowswhen from the comatorium for providing a really nice quality rip of this one, enjoy!

"If every independent hip-hop group were as skilled as Dalek, I guarantee that no-one would listen to the mainstream anymore. On their first long player From Filthy Tongues of Gods and Griots, Dalek weaved lyrical wizardry with avante-garde experimentalism. But while that album shared kinship with free jazz and IDM, Absence follows a path paved in the late eighties/early nineties by Pavement, My Bloody Valentine and the like.

Ordinarily, I detest albums that wallow in musical deconstruction, as if the lack of a definable pattern or rhythm was something artistic or worthy of praise, rather than simply pandering to a sense of elitism among musical nerds. This courting of the obscure serves as both a shunning of tradition and a wink on the sly to the bespectacled crowd sitting at the table off to the left at the concert. Dalek, for all their trawling through the experimental soundscapes, still manages to hook the music together rhythmically in 4/4 time, with steady breaks and solid structures. "A Beast Caged," for example, starts full on, with distorted guitars, breaks, and a wall of sound effect, perfected originally during the Shoegaze movement and finally moved into the hip-hop realm with perfect precision. The track also allows ample pauses to allow the musical segments to develop, accounting for the extensive length of a number of the tracks.

All of this is moot however, if the MC cannot back up the impressive sounds he or she is creating with hard lyrical flow and slick rhymes. Vocally, Dalek delivers with a hard edged, east coast flow that suits the feedback of the songs perfectly. As for the words, in this case, I think the lyrics speak for themselves. A sample verse from "In Midst of Struggle": "Learned men lose gnosis/ Life taken in small doses/ only lasts equivalent/Attempts discordant/Irreverent exploits resonate blatant/ At core, every last statement is ancient."

The argument could easily be made that by virtue of the obscure lyrical content Dalek is, in a sense, pandering. However, I think that since the majority of the album conforms to traditional Hip-hop structure, both lyrically and rhythmically, a better description would be that they are heightening the level of discourse of the hip-hop artist. Either way, this is an excellent release that shows exceptional growth. While many of the songs are over the five minute length, minus the two ambient interludes "Absence" and "Koner" which serve the album quite well in allowing the listener time to digest and contemplate the onslaught that has been pressed into them, none of the tracks ever get boring or feel too extended, something that can be dangerous in a genre with repetitive tendencies. "Ever Somber," the second to last track on the album and easily one of the most sonically powerful, makes for an impressive homage to indie rock heroics.

Overall this is quite an impressive album. This one should be on a number of best of lists of the year; it easily has enough rock sensibility to make it an attractive, genre crossing release." ~ Big Yawn


01. "Distorted Prose" - 6:00
02. "Asylum (Permanent Underclass)" – 5:48
03. "Culture for Dollars" – 6:43
04. "Absence" – 1:31
05. "A Beast Caged" – 6:41
06. "Köner" – 3:56
07. "In Midst of Struggle" – 7:43
08. "Eyes to Form Shadows" – 6:30
09. "Ever Somber" – 4:49
10. "Opiate the Masses" – 7:24

"I was giving Moby Dick the old college try when a copy of Absence met my stereo. They seemed an odd match at first, a 19th-century sprawling ode to the symbolic power of whaling and an underground hip hop album, but I was familiar enough with the group to know exactly where the two works would meet. Dälek’s live shows can take the unlikeliest of venues (including, once, a Williamsburg, Virginia, Pizza Hut) and transform the place into the best kind of shipwreck. The beats that producer Oktopus throws out are so throbbing with seasick rhythm it’s all the audience can do to not careen overboard. Turntablist Still takes a needle and grooved plastic and finds the voices of sirens—wailing, screeching, beseeching. On top of this aural white squall comes the clear, forceful verse of Dälek himself, who—like Ahab—has no patience with the fakers in his field and doesn’t suffer the fools gladly. The sound of this group calls to mind the extreme moods of the sea: ominous calm, ecstatic fury, glimpses of redemption, glimpses of annihilation.

Absence follows smoothly in the wake of its predecessors, 1998’s Negro, Necro, Nekros, and 2003’s From the Filthy Tongues of Gods and Griots. Those familiar with their earlier outings will quickly identify Oktopus’ and Still’s unmistakable soundscapes, as well as Dälek’s lyrical themes. He’s still pissed as hell at the bling-bling booty shaking that hijacked hip hop’s poetic and revolutionary potential. In From the Filthy Tongues, he told us “Remember days of cardboard, fat lace, and krylon?/Microphones and twelves, tools we all relied on/Niggas dropped a verse, the thought was one to die on/I remember hip hop, that’s my Mt. Zion.”

In that vein, he opens Absence with a harsh critique of those who don’t respect—“Bleak circumstance led masses to only want to dance/A bastard child of Reaganomics posed in a b-boy stance/Make our leaders play minstrel/Left with none to lead our people.” Dälek’s rage comes from one who believes strongly in the power of words to create change, and his disappointment that hip hop hasn’t fought harder is palpable. Ultimately, though, his wrath is not directed at misguided MCs, but at the racist, corrupt society that limits options for so many. Throughout Absence, Dälek offers scathing indictments of a culture that claims to have atoned for its genocidal past while really finding more covert ways to go about the same ol’ same ol’. In “A Beast Caged” he says, “They’re telling tall tales to keep our eyes on foreign soil/Hearing truth from poor lips makes their blue blood boil/Play foil to false patriots/Remind youth of ’67’s race riots/When they learned to keep us quiet/Consumers consuming/Products we are now neither making or using.”

To this end, he promises in “Asylum (Permanent Underclass)” to “drop the fists and guns and use this tongue to combat.” Dälek often speaks more than he raps, but unlike most other underground MCs, he’s not interested in impressing you with flight-of-the-bumblebee quick flow, or with the far-flungedness of his references. His words are powerful and his mission profound: Damn straight, he wants you to hear what he’s saying.

For their part, Oktopus and Still create dense layers of noise that add to the poetry and emotiveness of Dälek’s verse. Their sounds, always lush, can crash and scream with calculated fury, or can be as expansive and trippy as Dr. Who incidental music. Oktopus, under his given name of Alap Momin, was once best known for being a very talented emo and hardcore producer, recording groups like the Van Pelt, Chisel, and Rye Coalition. Still is simply so skilled at manipulating sound that it defies genre categorization: It could be noise, it could be shoegazer, it could be just some straight-up old-school scratching. This is a group that made a collaborative record with Krautrock legend Faust and released a split EP with hyperactive noise terrorist Kid 606. Clearly, their sonic palate extends far beyond hip hop’s usual, just as Dälek’s words go far beyond the usual topics. Together, they create a sound that is astoundingly singular. Nobody sounds quite like Dälek; they exist at the intersection of hundreds of disparate influences. That said, Dälek is vital listening for pretty much everyone—seasoned head, indie kid or anyone else. Absence is an excellent introduction for those new to the crew, a little more focused and open than its predecessors, and will be joyously received by those already converted." ~ Lip Magazine

Various Artists - 2005 - Love Peace and Poetry: Turkish Psychedelic Music

The ninth volume in the incredible Love, Peace & Poetry series -- this one devoted to psychedelic tunes from Turkey! The set wonderfully melds Turkish folk styles with western rock, pop and funk influences, along with strains of sounds from other sections of the groovy globe! Like the other sets in the Love, Peace & Poetry series, the music is really strong -- there's a real synthesis between the myriad styles that's really wonderful! 16 tracks in all: "Bundan Sonra" by Selda, "Kara Yazi" by Ersen, "Yakar Inceden Inceden" by Edip Ajbayram, "Hop Dedik" by Erol Buyukburc, "Sen Varsin" by Bulent Ortacgil, "Gitmek Dustu Bana" by Erkut Tackin and more!

Various Artists - 2007 - Bearded Ladies

Effervescent songbird Jane Weaver has joined forces with Finders Keepers to produce a B-Music certified canon of femme-folk, laden with finger picked meandering melodies, ethereal harmonies and wistful psychedelic leanings.

This bespoke globe-trotting decade spanning collection traces a line between the acid soaked protest rumblings of yesteryear and the forward looking/backward facing revivalists of today, as luminaries such as Wendy & Bonnie, Bonnie Dobson, Heather Jones and Susan Christie rub shoulders with the current cream of female songsmithery including Emma Tricca, Magphai, and Cate Le Bon.

Various Artists - 2005 - Folk Is Not a Four Letter Word: Compiled By Andy Votel

Folk-Funk? Electric Folk? Hippy-Rock? Acid Folk? Sunshine-Pop? Folk-Fusion? Folksploitation? Once again music lovers struggle to bridge the deep & wide gully where another hybrid genre wanders lonely amongst the vinyl ghosts of yesteryears ethereal love songs. Let us introduce a flock of unsung songbirds who flutter between rocks and hardened pastures too commercial to be traditional - not successful enough to be credible - from the wrong side of town - on the other side of the globe. Here are some of the would-be folk legends that you didn’t read about, they never played the festivals and you never heard their records... until today.

Various Artists - 2007 - ArtDontSleep Presents: From LA With Love

Once in a great while a genuine musical scene is born. It doesn't start with any industry, huge amounts of money or celebrity status. It starts with creativity, forward thinking and integrity. In Los Angeles, one such scene was born and is drawing attention from around the globe. Cutting-edge electronic producers have been working diligently, true to their craft, creating music unlike any heard before. ArtDontSleep is an organization created by Andrew Lojero to expose this music to people who care. Promoting shows, both legal and illegal, into the early hours of the morning, ArtDontSleep created an underground community of music and art lovers. Combining visual art, live graffiti and unbelievable DJ sets, it has built its reputation throwing parties in lofts, under bridges and in warehouses. A variety of people come to enjoy the art – not because it's a “scene,” but because of their love for the arts and their desire to experience something new. With no sponsors and no corporate involvement, Lojero's undisclosed events attracted up to 2,000 people a night.

ArtDontSleep Presents From LA With Love is a collection of new music from LA's most ingenious, original electronic producers, creating an exceptional record that is not only amazing musically, but is a true reflection of a brand new underground music scene. Also featured in the CD is one piece of visual art per song that represents the visual art interpretation of the song that inspired it.

This CD is not a compilation but a collection of LA's finest artists. Many have achieved their own success and recognition, but ArtDontSleep Presents From LA with Love is the first time this expansive variety of visionaries have been brought together in one package. It is rare that movements come along that are as prolific as what is occurring in Los Angeles today. From Greenwich Village and San Francisco in the 60s, to the blues movement of Chicago, to the country movement of Nashville, each era marked a change in music and a change in the arts overall. The new movement now resides in The City of Angels.


01. From Leaf to Feather - Night Sun
02. Nobody presents: Blank Blue - All the Shallow Deep
03. Sound Directions - Wildflower
04. Tarek "Dj Dusk" Captan - Let me know
05. A Race of Angels - Just Begin
06. Adventure Time - This Dome Is Our Home
07. Nathan Yell - Goodbye
08. Coleman - No Strings Attached
09. Computer Jay feat. The Gray Kid - 1000 Fold
10. Exile - In The Night 22
11. Georgia Anne Muldrow - Killa Peach
12. Flying Lotus - It's A Secret
13. Take feat. Gaby Hernandez - Walk Away
14. Yesterdays New Quintet - I Remember John Coltrane
15. The Gaslamp Killer feat. Gonjasufi - Kobwebs
16. Free Moral Agents - Sound At Sea
17. Carlos Nino & Miguel Atwood-Ferguson - Nag Champa

Omar Rodriguez Lopez Group - 2007 - Fuji Rock Festival, Japan

Pro cam multi shot excerpt from the latest performance by Omar Rodriguez and his fantastic Omar Rodriguez Lopez Group. Money Mark from the beastie boys lays down massive keyboard work, and gets very energetic in the process. This same band recorded and released "Se Dice Bisonte, No Bufalo" with the exception of Mars Volta's new drummer Thomas Pridgen playing drums and percussionist Marcel Rodriguez moving to additional keyboards for this performance. This is a group to definitely check out if you haven't.

Tom Jenkinson aka Squarepusher and Evan Parker - 2007 - Paris, Cité de la Musique, "Jazz à la Villette" Festival


"Solo Bass Show"
Paris, Cité de la Musique, "Jazz à la Villette" Festival

Lineage : M-Audio Microtrack (16 Bits - 44.1 Hz) + Sony ECM-MS907 (120 degrees) > HDD via Creative Soundblaster > Adobe Audition (normalizing) > CD Wave Editor > FLAC 6

Taped by : F.V. (mahood)
Merci Anne pour la machine magique

"Solo Bass Show"
Paris, Cité de la Musique, "Jazz à la Villette" Festival

Lineage : M-Audio Microtrack (16 Bits - 44.1 Hz) + Sony ECM-MS907 (120 degrees) > HDD via Creative Soundblaster > Adobe Audition (normalizing) > CD Wave Editor > FLAC 6

Taped by : F.V. (mahood)
Merci Anne pour la machine magique

Great show. Jenkinson came alone first & played 5 pieces on electric 6-string bass, actually using it as a bass, a guitar, or a percussion --- hence the "hit" sounds // no electronics, no effects. Parker played a piece on soprano sax (litteraly breathtaking) They joined forces for 2 more pieces, electric 6-string bass & (i think) tenor sax. It has been a pain to normalize, since the dynamics were incredibly changing --- all applauses have been lowered, and i used some limitation to bring Jenkinson's quiet parts upfront. The first 2 minutes have mic setting sounds. Some people happy, some others not, during Parker's solo part. The acoustics in La Cité de la Musique are incredible, and while this recording won't do justice to every nuance, the sound is quite good. Enjoy !

Tracklisting :

01 - square1
02 - square2
03 - square3
04 - square4
05 - square5
06 - (audience)
07 - park1
08 - (audience)
09 - squarepark1
10 - squarepark2

Total Time : 75:47

Mono - 2006 - You Are There

"Captured to tape by Steve Albini at his Electrical Audio studios in Chicago, IL, You Are There extends the cinematic drama of 2003's Walking Cloud and Deep Red Sky, Flag Fluttered and the Sun Shined (also recorded by Albini), while surpassing the sinister heaviness of 2002's lauded One Step More and You Die. MONO disproves the myth that an increased focus on intricate song structures and string arrangements comes at the expense of youthful energy and inspired aggression. With You Are There, MONO's representation of tragedy comes with an inherent joy, delivered with the hope that in all dark there is equal parts light. They're not heavy like Black Sabbath - they're heavy like Beethoven." ~ Temporary Residence Limited


1. The Flames Beyond The Cold Mountain
2. A Heart Has Asked For The Pleasure
3. Yearning
4. Are You There?
5. The Remains Of The Day
6. Moonlight

Friday, September 7, 2007

Chronology of San Francisco Rock - 1965-1969

really great blog if you need any info on the vast network of rock concerts held in san francisco during 1965 though 1969.

Stevie Wonder - 1975 - Maple Leaf Gardens, Toronto


Stevie Wonder
Maple Leaf Gardens
Toronto 1975

low gen aud cass > soundforge > cdr > EAC > FLAC

This is probably one of the last live Stevie Wonder shows that we will see for awhile from this era as the 72-75 era is really a hard one to track down. I almost forgot how amazing this show is as I had it tucked away for quite awhile. The sound isn't that great, it's a pretty good aud, certainly not as good sounding as something like Rainbow Theater but this also isn't circulated to death like that particular show. Tons of great stuff here, funk jams, clavinet stomps, new tunes, oldies. I got this in a trade, came with artwork w/ notes (sorry no scanner for art) but I typed the notes below. If anyone has anymore shows from this period besides the common Rainbow Theater, Musikladen, Soul-TV or Colliseum performances will they please try to post them here. Motown stopped recording any Stevie shows after his 21st birthday re-negotiation so finding anything is truly a dream.

Notes from source:

This is a great show to say the least. It starts off with a favorite, Bird of Beauty, which is given a nice extended treatment. The show also includes another track from Songs In The Key of Life which was not released at the time of this performance. He performs a fantastic version of If It's Magic accompanied not by a harp but by his own piano. During the first half of the show Stevie also pulls out two unreleased tracks called Yea Ya Do & I've Been Away Too Long. The show really starts to get hot around Too High when Stevie and the band get into a nice little country type jam which then slips into a smoking version of Boogie On Reggae Woman quite unexpectedly. Stevie really goes off again at the end of Living For The City playing some deep clavinet funk lines that set the place rocking. He is really in great form playing very heavily through You Haven't Done Nothing. The show ends with a spectacular version of Superstition and some crazy sustained synth effects on Stevie's part to leave the stage in style. This is a great example of Stevie's raw performance power. He takes you through the old, the new, the soft, the hard and the funk!

Disc 1

1. Bird of Beauty
2. Contusion
3. Jam
4. Yea Ya Do
5. Higher Ground
6. I've Been Away Too Long
7. Signed, Sealed, Delivered...I'm Yours
8. Lookin' For Another Pure Love
9. Visions
10. Golden Lady
11. Too High
12. Jam
13. Boogie On Reggae Woman
14. I Was Made To Love Her

Disc 2

1. Oldies Intro
2. Earth Angel
3. Baby Love
4. Ain't Too Proud To Beg
5. I Heard It Through The Grape Vine
6. Uptight
7. Respect
8. What I'd Say
9. She Loves You
10. My Cherie Amour
11. Fingertips
12. You & I
13. Too Shy To Say
14. Blame It On The Rain
15. If It's Magic
16. All In Love Is Fair
17. Don't You Worry Bout A Thing
18. Haven't Done Nothin'
19. Livin' For The City
20. You Are The Sunshine of My Life
21. Superstition

Wednesday, September 5, 2007

King Geedorah - 2003 - Take Me to Your Leader

Take Me to Your Leader is the first full-length album released by Daniel Dumile under the alias 'King Geedorah'. Who better to tell you about the album than the Super Villain himself. Regarding the album, Dumile says,

“ You should listen to the album for what it is and not expect it to be like the average "Rap" stuff you’re probably used to. Geedorah is a space monster. He's not from the Earth. I made it different on purpose. A blend of ill lyrics and instrumentals. To me its way iller than any of the wack shit out now... This whole album is Geedorah's alien perspective on humans. This is done intentionally to show the listener a mirror image of his/herself and the way we see each other. On the album we cover different subjects ranging from race issues to the neglect of children. Some might find the word "Nigger" offensive, or the line about the young girl not being able to read maybe considered a "bad taste" joke. All these insecurities are within us." ”
The character is based on the three-headed gold dragon King Ghidorah, a monster who appears in the Godzilla films.

01 Fazers
02 Fastlane (featuring Biolante AKA Kurious Jorge)
03 Krazy World (featuring Gigan)
04 The Final Hour (featuring MF DOOM)
05 Monster Zero
06 Next Levels (featuring Lil' Sci, ID 4 Winds & Stahhr)
07 No Snakes Alive (featuring Jet-Jaguar AKA MF Grimm & Rodan)
08 Anti-Matter (MF DOOM & Mr. Fantastik)
09 Take Me to Your Leader
10 Lockjaw (featuring Trunks)
11 I Wonder (featuring Hassan Chop)
12 One Smart Nigger
13 The Fine Print

Tuesday, September 4, 2007

Sunburned Hand of the Man - 2001- Jaybird

Psychedelic lo-fi from the 21st century, this band doesn't belong in this decade, but I'm happy they are. Fans of any era of psych will surely enjoy this one.


01. Featherweight (7:22)
02. The Jaybird (16:57)
03. Soss, the Quilled Investigator (11:34)
04. Eggshell Blues (18:35)
05. Leaving the Nest (8:52)
06. Too High to Fly No More (14:07)

Also, check out this blog to hear more sounds from this incredible band.

DAMO SUZUKI'S NETWORK - Metaphysical Transfer

Info Taken From Here

LEN DEL RIO, percussion
TOMMY GRENAS, bass, guitar, synthesizer
RYAN KIRK, bass, guitar
KEVIN LEE, synthsizer, theremin



1,2,6,7 recorded live 8th October 2000 in Seattle / Crocodile Cafe
3,5 recorded live 6th October 2000 in Eugene / Sam Bond's Garage
3 recorded live 11th October 2000 in Vancouver / Richards On Richards



1) L.A. TIBET 18.27
3) SUN, SUN, SUN 6.36

1,2 recorded live 3rd October 2000 in Los Angeles / Spaceland
3-6 recorded live 11th October 2000 in Vancouver / Richards On Richards

Santana - 1969 - Ludlow´s Garage, Cincinnati, Ohio

This is a favorite of mine and and it is being reseeded. This is a soundboard, so the sound is pretty good, the performance makes this one a must hear recording.

Download Here

Uploaded by Axel(a.k.a. RoryGallagher), Friesland, Germany.
From the German Music-Junkies, Rock Era division:
BluesOxator(a.k.a. Christian)
Raimax(a.k.a. Rainer)
RoryGallagher(a.k.a. Axel)
special guest for this ul: Prudence(a.k.a. Stevie)

"One Kickin`Ass !" Project
**For the Fans......By the Fans**


Lineage: sbd > ? > silver 2CD set > my 2CD set > EAC(secure mode, enjoy Eac logs in German language) > wav > Flac Frontend(level8) > flac > HD (> thetradersden > YOU)
File Size: 592MB
No artwork available, much appreciated someone creates and shares some
Length: 90:20min
more information:

Ludlow´s Garage, Cincinnati, OH, 21st October 1969

CD1: (42:37min)

01) Waiting
02) Evil Ways
03) Treat ~ Shades Of Time
04) Savor ~ Jingo
05) Persuasion

CD2: (47:43min)

01) Conquistador Rides Again
02) You Just Don´t Care
03) Fried Neckbones And Some Home Fries
04) Persuasion
05) Soul Sacrifice
06) Gumbo (also titled: A Love Supreme Jam)

Length: 90:20min

Carlos Santana: Vocals, Guitar
Gregg Rolie: Piano, Organ, Vocals
David Brown: Bass
Michael Carabello: Conga, Percussion
Jose "Chepito" Areas: Timbales, Conga, Percussion
Michael Shrieve: Drums
Important Note: AVOID MP3 ~ Don’t Let It Bring You Down
Even More Important Note: please use this show for trading ~ never sell it (you may go to hell ~ which is not confirmed)
Hear Santana knockin´,

(Source: Prudence, thanksamillion bro´)

Dose One - 2005 - Ha


1 Ha (2:49)
2 The Tale Of The Private Mind (3:27)
3 The Universe In 6 Jumps (4:48)
4 By Horoscope Light I&II (3:38)
5 Axejaw (3:38)
6 Lullaby #2418a (5:04)
7 Enter Ed's Head (2:40)
8 Wind Machine Lining (4:04)
9 Of Going (7:07)

A Little something from Dose One himself on his myspace blog

"most famed torture of all time was probably painless...

Or so it seems...

i was reading a very nice history of torture the other day....
and apparently, much to my chagrin, it is quite possible that the "iron maiden " never truly existed....

there is a long standing legend about a womans body frame cast in steel to resemble the the virgin mary...large enough to encase a grown man,it opened and closed at the was said to be used as a torture device during the spanish inquisition....inside the womans body casing were appropriatly placed spikes...for the puncture of all your most vulnerable softspots....eyes heart lung liver....the good stuff...

however the use of such a device and physical evidence of it's existence don't exist....

in fact the only "iron maiden" ever found was in nurnberg...and was suspected to be a german "re-creation" of the fabled iron maiden, when germany was in it's height of heavy and hurt....

so there you have it...

other torture methods of note, or lesser known tortuer facts...
water torture...was most commonly, forced drinking...and was perfected and abused by the early americans(whitemen that is)....
and chinese water torture was actualy, simply self imposed sitting beneath freezing cold mountain endless cold shower(most commonly used to purge perpetual liars)...apparently it's affects were maddening...the americans also ran with this one, during wars and states coquering...

note to rap fans: sadly the depiction of chinese water torture in jeru's "come clean" video, was most likely fictional....

and my favorite of all, was the hanging of a man by his feet from a tressel...
hung on either side of him, by their hind legs, were two starved dogs....about a foot from his body...

and when elvis was having a bad day he would say...
"my mouth smells like bob dylan has been sleeping in it..."

other fun facts...

scorpions can withstand 200 times the radiation a human being can...

in sedelec chechoslovakia, there is a chandalier made of human bones...

vultures have a bald head and neck, to prevent them from getting dirty when they thrust their heads into a carcass...

peanuts are used in the manufacture of dynamite...

the dollar sign $, is a modification of the figure eight, once stamped on spanish coin...called"pieces of eight"...

there is a temple in sri lanka deadicated to the tooth of the buddha...

baby whales are born headfirst, to prevent them from drowning...

and at

you can fine the latest edition of ONO magazine...
ONO2 to be exact....
in it is a lengthy and interesting rant between myself and the ONO editors,
the mag in general is a wonderful read...

do enjoy...

and i'll see you all where facts melt...
the other side of the looking bed...

love adam kidd theft"

Ravi Shankar on Tour in Late 2007!

Ravi Shankar got injured recently and I was very scared he wouldn't be expressing his music anytime soon, was I wrong! Don't miss this man live and get tickets soon, his last us tour sold out on every date!

Sep 23, 2007 - London, UK Royal Festival Hall

Oct 13, 2007 - Washington, DC Kennedy Center, 4 pm Concert

Oct 17, 2007 - Baltimore, Md. Baltimore Symphony

Oct 20, 2007 - New York, NY Carnegie Hall

Oct 23, 2007 - Toronto, Ont, Canada Roy Thomson Hall

Oct 27, 2007 - Germantown, Tenn. Germantown Performing Arts Ctr.

Oct 29, 2007 - Birmingham, Al Alys Stevens Center, Jemison Concert Hall, University of Alabama Birmingham

Nov 02, 2007 - San Francisco, Ca. San Francisco Jazz Festival, Masonic Center

Nov 04, 2007 - Santa Cruz, Ca Santa Cruz Civic Auditorium

Woodstock Outtakes 1969 Bethel, NY (NTSC)

Download Here

Woodstock Outtakes
90 minutes
Audio Codec: AC3
Audio Bitrate: 224
Video System: NTSC 29.97
Video Bitrate: 6058 kbps

Please keep this text file with the torrent! Thanks.
Sorry, no artwork.

I purposely avoided duplicating material that has already been released on other outtake compilations and legit releases. Some dupes have been left in to enhance your watching experience.

The first half are film outtakes. The second half were shot on black and white videotape.

My VHS->CreativeLabsAudigy2VideoEditor->TMPGEnc DVD pro->You'all


01. Long Time Coming
02. Blackbird
03. Helplessly Hoping
04. Marakesh Express
05. Mr. Soul

06. How Have You Been
07. Darling Be Home Soon
08. Younger Generation

09. More And More

10. Walking Down The Line
11. Amazing Grace


JANIS JOPLIN (most songs are excerpts)
01. Try
02. Summertime
03. I Can't Turn You Loose
04. As Good As You've Been To This World
05. Piece Of My Heart
06. Ball and Chain

07. M'Lady
08. Music Lover

09. Proud Mary
10. I Put A Spell On You
11. The Night Time Is The Right Time
12. Keep On Choogling

plus as filler

with Richie Havens, Joe Cocker, Jefferson Airplane, The Who, Janis Joplin

THE WHO excerpt from videotape without timecode

Monday, September 3, 2007

The Stars - 2005 - Perfect Place to Hideaway

This psychedelic maelstrom is the product of the band which resulted from White Heaven shedding its skin. They have not yet toured outside of Japan, but they are known for energetic performances.

You Ishihara - Vocal, Guitar, Drums on M-5
Michio Kurihara - Guitar
Chiyo Kamekawa - Bass
Yasunobu Arakawa - Drums, Percussion

Organ, Fender Rhodes on M-1 / Soichiro Nakamura

All Lyrics by You Ishihara
Songs Written by You Ishihara on M-1, 2, & 5
by Michio Kurihara on M-4 & 6
by The Stars on M-3

1. Subway (aka Night Walker)
2. Double Sider
3. Lemonade
4. Electron Spin Carnival
5. Ice Blues
6. The World I Left Behind

Note especially Kurihara's guitar solo on "Ice Blues", which is perhaps powerful enough to reverse global warming, bring Genghis Khan back from the grave, or capture several new Earth moons.

James Brown - "The Godfather of Soul" and "The Hardest Working Man in Show Business"

Download Here

James Brown
Boston Garden
Boston, Ma.
April 5th, 1968

This is the famous James Brown concert that was broadcast live on WGBH TV in Boston less than 24 hours after
the assasination of Dr. Martin Luther King Jr.

I have restored the concert to it's original running order, as all the tapes and DVD's I've have of this have been in incorrect
order. I assume this is because whomever transferred them from WGBH's original tapes, probably 2 inch wide open reels,
did so in a random fashion without paying any attention to continuity. After some research, I have put together what I believe to be
the correct order of events on this historic night.

Not all of the footage from this show appears to be in circulation. JB did so an opening set before the mayor came out to
speak, but that portion as well as other segments seem to be unavailable at this time.

I did do one potentially controversial thing; I removed the stand up comic routine before JB's last set. It was stupid, non-musical and drug the flow of the show down. If this bothers you, don't download this.

I used two versions of this and took the best portions from both using the original VOB files. Both versions came from EZT/Dime about a year and a half ago. One version featured an additional 35 seconds of the ending of the concert that the other one didn't have, so I was sure to include it. I added a full
menu and appropriate chapter stops.

This is cool enough that some butthole will be selling it on Ebay soon. Do what you can to get them booted off and I will
do the same. Get your copy for free now and give it to others!

Mayor Kevin White Speaks
That's Life
Kansas City
Soul Man (Bobby Byrd)
It's A Man's Man's Man's World (joined in progress)
Lost Someone
When A Man Love A Woman
Tell Mama (Marva Whitney)
Check Yourself (Marva Whitney)
Chain Of Fools (Marva Whitney)
I Heard It Through The Grapevine (Marva Whitney)
Get It Together
There Was A Time
I Got The Feeling
Try Me
Cold Sweat
Maybe The Last Time
I Got You (I Feel Good)
Please Please Please
I Can't Stand It
Fans Rush The Stage
I Can't Stand It (Finale)

Welcome to those who may be continuing this show from Dime. Just so you know, this was banned there for supposed official material. The disc they claim is "official" is an overseas mass produced bootleg and is no more a legit commercial product than anything else on their page, but since it's available on, therefore it MUST be official, at least in the eyes of one short-sighted Dime moderator. There is absolutely nothing official about the release which brought down this torrent on Dime. Appeals to the mods there were useless, so, I thought I would try here. Just for the record, this incident marks my final attempt to seed on Dime. They have banned four of my last five torrent attempts for really stupid reasons, so I'm done with it. From now on, all my uploads will be done right here on traders den.

Dime folks, in order to make this work with whatever you may have already downloaded, you will have to delete the info file from the original folder, as the one here is new and the old one was wrong anyway. Hopefully it will work, if not, you'll have to start over, I'm afraid.

Now for the vital stats...

MPEG-2 Program Stream << { 1 vid, 1 aud, 1 other }
Sys Bitrate: 10080 kb/s VBR
Codec AC-3
Frame Size 704 x 480


Download Here

James Brown
1971-03-xx Paris, France

MPEG-2 NTSC Video, 4:3 Format, 720x480
2 Ch 48 kHz, 16bits

Here is an upgrade of my previous JB 71 torrent:

this one includes a good menu w/ good chapters on songs. This upgrade was graciously provided to me by DIMEr Randy Bayers and is a couple generations stronger than the previous version I provided.

chaptered set list looks like:
Brother Rapp
Ain't It Funky Now with a bass solo
Geargia on My Mind

Vicki Anderson sings:
I Feel Loving You

JB returns:
It's a New Day
Sex Machine
Try Me
Papas Got a Brand New Bag/ I got You/ I Got That Feeling
Give It Up or Turnit A Loose
It's a Man's Man's Man's World
Please Please Please
Sex Machine reprise
Super Bad
Get Up Get Into It and Get Involved
Soul Power

TRT 01:16:45

James Brown (vocals, organ); Bobby Byrd (M.C., vocals, organ), Phelps "Catfish" Collins, Hearlon "Cheese" Martin (guitar); St. Clair Pinckney (tenor saxophone); Darryl "Hasaan" Jamison, Clayton "Chicken" Gunnells (trumpet); Fred Wesley (trombone); William "Bootsy" Collins (bass); John "Jabo" Starks, Don Juan "Tiger" Martin (drums).

Tony Williams Lifetime - 1976 - Agora Ballroom, Cleveland Ohio



Live at Agora Ballroom in Cleveland/OH, 1976-10-05

SOURCE: SBD>CD TRANSFER>trade>CD>EAC Secure Modus>Flac Frontend Level 6>Flac
SOUND: A- (few hiss of aged tape, listen to mp3 sample)
Lineup: "The New Tony Williams Lifetime." This is AFTER Allan Holdsworth. His replacement is Marlon Graves.

Marlon Graves-gtr
Alan Pasqua-kybds
Tony Newton-bass
Tony Williams-Drums

Sweet Revenge
Mr Spock
Million $$ Legs
Tony says Goodbye


Miles Davis - 1972 - In Concert: Live at The Phillharmonic Hall

"For better or worse, we here at Stylus, in all of our autocratic consumer-crit greed, are slaves to timeliness. A record over six months old is often discarded, deemed too old for publication, a relic in the internet age. That's why each week at Stylus, one writer takes a look at an album with the benefit of time. Whether it has been unjustly ignored, unfairly lauded, or misunderstood in some fundamental way, we aim with On Second Thought to provide a fresh look at albums that need it.

My first encounter with In Concert came about in a rather circuitous manner. Upon its initial release in 1973, my listening regimen consisted of fare like King Crimson’s Starless and Bible Black and The Mahavishnu Orchestra’s Birds of Fire. Captivated by the latter’s cover art and the band’s unusual inclusion of a violin player (Jerry Goodman), I purchased the album, completely unaware of the key role guitarist John McLaughlin had played on Miles’ recordings like Bitches Brew; furthermore, the very name ‘Miles Davis’ was one unknown to me at the time. In hindsight it seems astonishing that I could have been completely oblivious of the fact that Miles had been revolutionizing music for decades. What a humbling shock of recognition it is to realize that the artist one has just ‘discovered’ has in fact been a towering cultural figure throughout the years of one’s life as well as many years before.

Serendipitously, Birds of Fire pointed me in Miles’ direction through its composition ‘Miles Beyond (Miles Davis),’ one I mistook to be composed by him (due to the brackets) when it was probably intended by McLaughlin as a gesture of tribute. Regardless, at a visit to my local record store soon thereafter, I eagerly sought out the Miles Davis section and discovered the recent release In Concert, recorded live at the Philharmonic Hall in New York on September 29, 1972. Intrigued by the cover art (by Corky McCoy, also responsible for On the Corner recorded in June, 1972) and entranced by its mystique, I surrendered my precious $10 and raced home, anxious to hear its two disks. My father, a lifelong jazz fan whose taste leaned more towards Errol Garner, Dave Brubeck, and Duke Ellington, expressed an equally enthusiastic desire to be apprised of the music Miles Davis was now creating and joined me as I dropped the needle onto side one.

Puzzled, we guessed that we were hearing some exotic pre-concert music and waited expectantly for the intro to subside and be replaced by some familiar jazz-style ensemble playing. As the minutes rolled on, however, it began cryptically to dawn on us that this alien music we were listening to was none other than Miles and his band. I can still recall the distressed look on my father’s face as, expressing disenchantment with the bizarre turn he concluded Miles had taken, he exited, leaving me to listen determinedly to all four sides. I wish I could say that I experienced some sort of epiphany by the middle of side three but that wasn’t the case. Slipping the second album into its sleeve and mightily disheartened over the money I concluded I’d wasted, I valiantly rode back to the record store and futilely pleaded with the shop clerk to let me return it and get my money back. After this depressing episode, the record’s fate strangely vanishes from memory. Perhaps it was traded at a record shop along with a stack of other used records during one of the occasional purges of my collection. Regardless, the recording didn’t grace my stereo again until Columbia re-released it in 1997.

By then, my relationship with Miles had matured considerably. Over time, I gradually purchased Porgy and Bess, The Man With the Horn, Sketches of Spain, Bitches Brew, In a Silent Way, Cookin’ and Relaxin’, Workin’ and Steamin’, Kind of Blue-virtually the entire catalogue of classics, incrementally and achronologically. Progressively acclimatizing my aural understanding with each acquisition, Miles’ music lost all traces of impenetrability and assumed ever-deepening clarity. Each recording broadened my understanding of Miles, intensified my appreciation of the remarkable stylistic range of the work and the fecund imagination and artistry of the man responsible. That Miles had managed to sustain such a level of incredible innovation over so many years struck me as superhuman, and I championed the fearlessness of his pioneering spirit and unerring artistic radar. After returning from his five-year ‘retirement’ in 1980, Miles managed to still push the music forward with Star People and Decoy, in contradistinction to the rising conservative Marsalis wave that threatened to sweep all innovation aside. And yet, in spite of my fulsome immersion into Miles’ universe and my embrace of virtually all phases of his career from The Birth of the Cool through to landmark 1960s Quintet classics like Nefertiti and Miles Smiles and fierce 1970s recordings like Agharta, Pangaea, and Dark Magus, my second encounter with In Concert would only transpire upon its reissue.

I offer this semi-autobiographical account not for sentimental reasons but to illustrate through personal anecdote how listening is always permeated hermeneutically in radical fashion. Of course, the horizon of one’s listening is constantly being extended and reshaped by current listening, and this horizon both reconfigures our understanding of what we’ve heard before, just as our past listening influences profoundly what we hear today. Other listeners might have sought out Miles’ music in its earliest incarnation and proceeded chronologically, in doing so developing a grasp of his transformations that might have seemed more coherent, natural, and organic. Approaching his oeuvre in this manner would ultimately have brought me to an In Concert that would have been heard as the next signpost of his amazing travelogue, one more distillation of Miles’ muse to help add another colour to an astonishing portrait.

In Concert was recorded following studio sessions that materialized on Big Fun, Get Up With It, and On the Corner. In response to his radical new directions, many listeners and critics complained that the distinctive personalities that comprised Miles’ previous groups had been supplanted by a relatively faceless collection of musicians. Admittedly, no one in the concert band offers as distinctive a stylistic personality as, say, Wayne Shorter- but such an expectation is misguided. Miles was now focused upon creating a massive, textural sound, one which would absorb its contributors into a pummeling maelstrom. ‘Rated X’ gets the concert off to a broiling start, Mtume’s congas, Badal Roy’s tablas, Khalil Balakrishna’s exotic electric sitar, and Ray Foster’s drums creating a percussive stew over which Reggie Lucas’s guitars, Cedric Lawson’s keyboards, Miles’ wah-wah trumpet, and Carlos Garnett’s sax repeat an ostinato until Michael Henderson’s bass anchors the piece at the 5 minute mark. Here and elsewhere, Miles’ trumpet bleats, howls, and cries over the churning of the band. The bluesy ‘Honky Tonk’ then cools down the pace, giving Miles a chance to indulge in some characteristically restrained but funky soloing. As was his custom at the time, Miles ends the piece abruptly with an immediate segue into a relentless ‘Theme From Jack Johnson’ where his playing burns, complemented by the incendiary incantations of Garnett’s soprano sax. One can only imagine the incredibly flammable power and energy emanating off of that stage.

Predictably, the response to In Concert was divided. Jack Chambers writes in his 1985 Milestones II that, with the exception of a small number of moments, the recording is “unexceptional.” (1) In the 2001 book Miles Beyond: The Electric Explorations of Miles Davis, 1967-1991, Paul Tingen concludes that the rhythms are stiff and sterile and that In Concert is the “weakest officially released album of his whole pre-1976 electric period.” (2) Many complained that Henderson’s bass lines were unbearably static; apparently a Coda writer called the fifteen-minute repetition of his three-note motif on ‘Ife’ “pure torpor.” However, Henderson is unjustly maligned by such criticism as his bass plays a crucially selfless role in anchoring the band and consequently liberating those around him. Henderson was also deeply attuned to what was developing around him. Near the fourteen-minute mark of ‘Ife,’ his motif drops out suddenly (likely the result of an onstage cue by Miles) to allow the leader to voice a bridge to the next section. During the final part of the piece, Henderson’s languorous four-note bass line and Foster’s unobtrusive support prompt Miles to provide the concert’s most memorable, affecting solo. Its bluesy beginning turns sublimely funky with Miles testifying, egged on by audible cries and yelps of encouragement.

It’s strange that what now sounds so assimilative seemed so foreign in 1973, especially considering that my listening tastes at the time were relatively adventurous. In my defense, such bafflement was not exclusive to my young ears, as hordes of jazz fans in 1973 were bewildered by Miles’ latest direction. Many of those who worshipped at the altars of the Coltrane and Shorter groups were aghast at the prospect of Miles’ new electric funk, a cauldronesque caterwaul more indebted to Sly and the Family Stone than to Charlie Parker. In place of the elastic telepathy of Ron Carter and Tony Williams, one now encountered Henderson’s repetitive bass and Foster’s thrashing rock beats. Obviously other listeners were forced to confront their own hermeneutic issues in dealing with the challenges wrought by Miles’ relentless evolutionary tendencies." ~ Stylus Magazine

Credits: Bass [Electric] - Michael Henderson
Congas - Mtume*
Drums - Al Foster
Guitar [Electric] - Reggie Lucas
Organ - Serik Lawson*
Percussion [Tablas] - Badal Roy
Saxophone - Carlos Garnett
Sitar [Electric] - Khalil Balakrishna
Trumpet - Miles Davis
Notes: Recorded live at Philharmonic Hall, New York on Sep 29, 1972


A Miles Davis In Concert (20:45)
B Miles Davis In Concert (25:23)
C Miles Davis In Concert (18:12)
D Miles Davis In Concert (20:21)

Notes from the Underground-by Fyodor Dostoyevsky

""Notes from the Underground" is a strange, puzzling tale, a confession of an unnamed character. He rails against traits in modern thought which attempt to rationale human existence"

Miles Davis - 1972-1975 - Beyond the Corner Box Set: Studio Sessions 1972-1975

The fallowing info was released recently about the up and coming Miles Davis box set for selected recorded material from 1972 to 1975. This period of Miles' life was chaotic in every way one could imagine, but the deep grooves set forth during this period showed Miles' eagerness to explore color and tones. Miles was trully with his bands during this decade of his life, weither it be organ fills or drops of wah wah trumpet, Miles always knew how to speak to the listener. This music represents the final split from the world he once knew into the one he was starting to embrace. This split began with Bitches Brew, but didn't pick up major amounts of controversy until On the Corner through Get Up With It, which this set documents. This will be a must get for fans of fusion and anyone interested in Miles during a phase when everyone who used to love him before was telling him no.


Beyond the Corner: Studio Sessions 1972-1975 (Columbia n/a)

Title: Beyond the Corner: Studio Sessions 1972-1975
Label: Columbia n/a (CD)
Number of Tracks: 31
Details: March 9, 1972; June 1, 1972; June 6, 1972; June 12, 1972; August 23, 1972; September 6, 1972; December 8, 1972; January 4, 1973; July 26, 1973; September 17, 1973; September 18, 1973; June 19, 1974; October 7, 1974; November 6, 1974; May 5, 1975
Note: Only tracks on which Davis is present (407:12) are displayed below.

Disc 1
1 On The Corner (M. Davis) [unedited master] Jun 1, 1972 19:25
2 On The Corner (M. Davis) [take 4] Jun 1, 1972 5:15
3 One and One (M. Davis) [unedited master] Jun 6, 1972 17:55
4 Helen Butte/Mr. Freedom X (M. Davis) [unedited master] Jun 6, 1972 23:37
5 Jabali (M. Davis) Jun 12, 1972 11:04

Disc 2
1 Ife (M. Davis) Jun 12, 1972 21:33
2 Chieftain Aug 23, 1972 14:37
3 Rated X (M. Davis) Sep 6, 1972 6:50
4 Turnaround [take 14] Nov 29, 1972 17:16
5 U-Turnaround [take 15] Nov 29, 1972 8:27

Disc 3
1 Billy Preston (M. Davis) Dec 8, 1972 12:33
2 The Hen [Untitled Original A (take 1)] Jan 4, 1973 12:55
3 Big Fun/Holly-wuud [take 2] Jul 26, 1973 6:32
4 Big Fun/Holly-wuud [take 3] Jul 26, 1973 7:07
5 Peace [Untitled Original (take 5)] Jul 26, 1973 7:01
6 Mr. Foster Sep 18, 1973 15:14

Disc 4
1 Calypso Frelimo (M. Davis) Sep 17, 1973 32:04
2 He Loved Him Madly (M. Davis) Jun 19, 1974 32:13

Disc 5
1 Maiysha (M. Davis) Oct 7, 1974 14:51
2 Mtume (M. Davis) Oct 7, 1974 15:08
3 Mtume (M. Davis) [take 11] Oct 7, 1974 6:51
4 Hip Skip [Untitled Original (take 2)] Nov 6, 1974 18:39
5 What They Do [Untitled Original (take 14)] Nov 6, 1974 12:00
6 Minnie [Latin (take 7)] May 5, 1975 4:01

Disc 6
1 Red China Blues (M. Davis) Mar 9, 1972 4:06
2 On the Corner/New York Girl/Thinkin' of One Thing and Doin' Another/Vote for Miles Jun 6, 1972 19:54
3 Black Satin (M. Davis) Jun 1, 1972 5:15
4 One And One (M. Davis) Jun 6, 1972 6:09
5 Helen Butte/Mr. Freedom X (M. Davis) [master] Jun 6, 1972 23:14
6 Big Fun (M. Davis) Jul 26, 1973 2:32
7 Holly-wuud (M. Davis) Jul 26, 1973 2:54

March 9, 1972
Miles Davis (tpt); Wally Chambers (hca); Cornel Dupree (g); Michael Henderson (el-b); Al Foster (d); Bernard Purdie (d); James Mtume Forman (cga, perc); Wade Marcus (brass arr); Billy Jackson (rhythm arr)

June 1, 1972
Miles Davis (tpt); Dave Liebman (ss); Chick Corea (synth); Herbie Hancock (org); Harold I. Williams (el-p); John McLaughlin (g); Collin Walcott (sitar); Paul Buckmaster (cello); Michael Henderson (el-b); Jack DeJohnette (d); Jabali Billy Hart (d, perc, bgo); Charles Don Alias (cga, perc); James Mtume Forman (cga, perc); Badal Roy (tabla)

June 6, 1972
Miles Davis (tpt); Carlos Garnett (as, ts); Bennie Maupin (bcl); Herbie Hancock (el-p, synth); Harold I. Williams (el-p, synth); Lonnie Liston Smith (org); David Creamer (g); Collin Walcott (sitar); Paul Buckmaster (cello); Michael Henderson (el-b); Jack DeJohnette (d, handclaps); Jabali Billy Hart (d, handclaps); Charles Don Alias (perc, handclaps); James Mtume Forman (perc, handclaps); Badal Roy (tabla, handclaps)

June 12, 1972
Miles Davis (tpt); Carlos Garnett (ss); Bennie Maupin (bcl); Lonnie Liston Smith (org); Harold I. Williams (el-p, synth); Michael Henderson (el-b); Al Foster (d); Jabali Billy Hart (d, perc); James Mtume Forman (cga, perc); Badal Roy (tabla)

August 23, 1972
Miles Davis (tpt); Cedric Lawson (org); Reggie Lucas (g); Khalil Balakrishna (sitar); Michael Henderson (el-b); Al Foster (d); Badal Roy (tabla); James Mtume Forman (cga)

September 6, 1972
Miles Davis (org); Reggie Lucas (g); Khalil Balakrishna (sitar); Cedric Lawson (synth); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc); Badal Roy (tabla)

November 29, 1972
Miles Davis (tpt); Carlos Garnett (ss); Cedric Lawson (keyb); Reggie Lucas (g); Khalil Balakrishna (sitar); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc); Badal Roy (tabla)

December 8, 1972
Miles Davis (org); Carlos Garnett (ss); Cedric Lawson (keyb); Reggie Lucas (g); Khalil Balakrishna (sitar); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc); Badal Roy (tabla)

January 4, 1973
Miles Davis (tpt); Dave Liebman (ss); Cedric Lawson (keyb); Reggie Lucas (g); Khalil Balakrishna (sitar); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc); Badal Roy (tabla)

July 26, 1973
Miles Davis (tpt, org); Dave Liebman (ss, fl); Pete Cosey (g); Reggie Lucas (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc)

September 17, 1973
Miles Davis (tpt, org); Dave Liebman (ts, fl); John Stubblefield (ss); Pete Cosey (g); Reggie Lucas (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc)

September 18, 1973
Miles Davis (tpt, org); Dave Liebman (ts); Pete Cosey (g); Reggie Lucas (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga)

June 19, 1974
Miles Davis (tpt, org); Dave Liebman (fl); Pete Cosey (g); Reggie Lucas (g); Dominique Gaumont (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc)

October 7, 1974
Miles Davis (tpt, org); Sonny Fortune (ss, fl); Pete Cosey (g); Reggie Lucas (g); Dominique Gaumont (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc)

November 6, 1974
Miles Davis (tpt, org); Sonny Fortune (ss, ts, fl); Pete Cosey (g, d, perc); Reggie Lucas (g); Dominique Gaumont (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc)

May 5, 1975
Miles Davis (tpt, org); Sam Morrison (ts); Pete Cosey (g, perc); Reggie Lucas (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, perc)

Sorry, cover art not available for this item.

also, taken from

MILES DAVIS - The Complete On The Corner Sessions

Below the track list as given on Sony Legacy's pre-release copies of The Complete On The Corner Sessions. The expected US release date is put back a week to September 25, 2007

This list is the same as the provisional one that was published here a few months ago, but the CD order has been swapped, some of the previously unreleased tracks have undergone edits, coming in at different lengths, and they have been given titles by Vince Wilburn, Miles' nephew, and Erin Davis, Miles' youngest son.

Like with many of the Miles boxed sets, the overall title is rather misleading, in this case particularly so. It was already a stretch, for instance, to compile all sessions Miles did between August 1969 and February 1970 on the 4-CD The Complete Bitches Brew Sessions, when the actual BB sessions took place over just three days in August 1969. But the forthcoming boxed set covers three years of sessions, from March 1972 to May 1975, and contains music with entirely different vibes, concepts, approaches, personnel, and so on. It's a bit like calling everything The Beatles recorded from Sgt Pepper' onwards The Complete Sgt Pepper's Sessions.

In addition, the liner notes for the boxed set are very sketchy and incomplete. For instance, there's hardly any track by track discussion, as was found on previous boxed sets. Instead there's the briefest of introductions by Bob Belden, an essay by Tom Terrell that's high on impressionistic word play but low on factual information on the music, and an entertaining and informatve essay by Paul Buckmaster, that captures the spirit of the early June 1972 sessions well, but obviously says nothing about the sessions that came afterwards, as he wasn't involved. There are also a few errors in the liner notes and discography. If you want in-depth explanations of what went on during these three years, including extensive recollections by the musicians involved, you'll need to read Chapters 9 and 10 of Miles Beyond. If you don't have it, you can order it here... I've put it on special offer for this occasion.

The above aside, the forthcoming boxed set contains a lot of previously unreleased material, much of which is worth hearing. One oddity is the November 6, 1974 date, when Pete Cosey replaced Al Foster on drums on "Hip-Skip." Later that day he switched to guitar for "What They Do," on which he and guitarist Dominique Gaumont let rip. "Minnie" is based on the Minnie Ripperton song "Loving You," and is almost commercial disco, the most traditional track of the whole collection. Some critics will probably argue that it points towards the more melodic and arranged music of the 1980s.

Al di Meola, John McLaughlin and Paco de Lucía - 1980 - Friday Night in San Francisco

"Loose and spontaneous, this (mainly) live album is a meeting of three of the greatest guitarists in the world for an acoustic summit the likes of which the guitar-playing community rarely sees. Broken up into three duo and two trio performances, Friday Night in San Francisco catches all three players at the peaks of their quite formidable powers. The first track features Al di Meola and Paco de Lucía teaming up for a medley of di Meola's "Mediterranean Sundance" (first recorded by the duo on di Meola's classic 1976 album Elegant Gypsy) and de Lucía's own "Rio Ancho." It is a delightful performance, full of the fire and inhuman chops that one expects from two players of this caliber. However, the two guitarists obviously have big ears, and they complement each other's solos with percussive, driving rhythm parts. There is a laid-back, humorous element to Friday Night in San Francisco as well, best witnessed in di Meola and John McLaughlin's performance of Chick Corea's "Short Tales of the Black Forest." Rapid-fire licks from the pair soon give way to atonal striking of the body of the guitar, running picks along the strings, etc. Before the farce is completed, they have played a blues and quoted the Pink Panther theme. It is funny stuff, and it serves to dispel the image of the trio, especially di Meola, as super-serious clinicians more concerned with technique than music. The other great piece of evidence against such a narrow-minded claim can be found in both the quality of the compositions featured on Friday Night in San Francisco as well as the sensitivity and dynamic variation brought to the performances. A perfect example of this is the sole studio track, a McLaughlin composition entitled "Guardian Angel" (the opening theme of which is taken straight from "Guardian Angels," a song that appears on McLaughlin's 1978 Electric Dreams album). It is a fine piece, and one that features a haunting melody as well as some of the best solos on the record. All in all, Friday Night in San Francisco is a fantastic album and one of the best entries in all of these guitarists' fine discographies." ~ AMG

Credits: Acoustic Guitar - Al Di Meola , John McLaughlin , Paco De Lucía
Notes: Recorded Live at The Warfield Theatre, San Francisco, California, Friday, December 5, 1980 except "Guardian Angel", recorded and mixed at Minot Sound, White Plains.
Produced by John McLaughlin, Paco de Lucia, Al di Meola.
Executive Producers: Philip Roberge / Barrie Marshall.
Recorded Live by Tim Pinch Recording Mobile.
Engineers: Tim and Tom Pinch, Rex Olson.
Mixed at Minot Sound, White Plains, New York.
Engineer: Ray Bardani.
Mastered at Masterdisk, New York by Bob Ludwig.
Design: Paula Scher.
Photo: Randy Backman.
Submitted by: Walli


A1 Mediterranean Sundance / Rio Ancho (11:25)
A2 Short Tales Of The Black Forest (8:39)
B1 Frevo Rasgado (7:50)
B2 Fantasia Suite (8:41)
B3 Guardian Angel (4:00)

Sunday, September 2, 2007

McCoy Tyner and Bobbie Hutcherson Live

McCoy Tyner and Bobbie Hutcherson together is almost too much for me to bear! McCoy has a vibrance and interpretational range unparalleled by any other musician in his genre. Bobbie, according to McCoy, "Is one of the finest musicians in the world." I can't give away my age here, but these two gentlemen have been playing at this level since I first discovered them, and that was a few years back.

I have a bad habit that I'll share with the forum! When I'm turned on to a particular cut, I keep playing it over and over. "African Village", the jam that McCoy and Bobbie are cutting loose on, has a meaning for me that transcends the music itself. The theme is of course centered around the life and expression of an African village, but I can virtually see the Saranghetti (Endless Plains) of Tanzania Africa as a backdrop. There, life is untouched and the struggle to survive is in its pristine state. And, as we all know, not unlike the challenges of everyday life.

I hope all of you enjoy the energy.

Loudness Wars

This is an article I found very interesting, and I thought you guys would like it as well. I think this is a good discussion to have about the sound quality and production style of most current pop music.


Everything Louder Than Everything Else
Have the loudness wars reached their final battle?
By Joe Gross
Monday, October 02, 2006

"You listen to these modern records, they're atrocious, they have sound all over them. There's no definition of nothing, no vocal, no nothing, just like — static."

— Bob Dylan in Rolling Stone magazine

The ranting of a cranky old man? Perhaps.

One man's opinion? Hardly.

In August, an open letter from a music industry executive on the state of commercial compact disc mastering and manufacturing was sent to an industry tip sheet/e-mail list run by a music pundit named Bob Lefsetz.

The letter was written by Angelo Montrone, a vice president for A&R (the folks who scout and sign music acts) for One Haven Music, a Sony Music company.

"There's something . . . sinister in audio that is causing our listeners fatigue and even pain while trying to enjoy their favorite music. It has been propagated by A&R departments for the last eight years: The complete abuse of compression in mastering (forced on the mastering engineers against their will and better judgment)."

This compression thing has been a topic of discussion among audiophiles and music fans for nearly a decade. But hearing a music industry executive cop to it was pretty unusual.

The letter was almost immediately reprinted online in audio discussion forums.

"The mistaken belief that a 'super loud' record will sound better and magically turn a song into a hit has caused most major label releases in the past eight years to be an aural assault on the listener," Montrone's letter continued. "Have you ever heard one of those test tones on TV when the station is off the air? Notice how it becomes painfully annoying in a very short time? That's essentially what you do to a song when you super compress it. You eliminate all dynamics."

For those already confused, Montrone was essentially saying that there are millions of copies of CDs being released that are physically exhausting listeners, most of whom probably don't know why their ears and brains are feeling worn out.

He continued, citing an album that proved very popular with Austinites.

"Just to prove that the 'super loud' record has no correlation to actual sales, when we mastered the first Los Lonely Boys record I went to the session and specifically told our mastering engineer NOT to make this a loud record. Could it be that a record that actually had dynamic range could compete? Two and a half million records and a year of constant airplay of 'Heaven' confirmed my suspicion. Loud records are for the birds."

Loud records? Can't you just turn it down? Well, yes and no.

Let's say you go to the store to buy a CD, a brand-new CD of a popular rock band. The group is your favorite, you've been looking forward to this CD for some time. You have the band's other recordings, you've seen them live, perhaps you've even heard the new songs once or twice at a show.

You buy the CD. You take it home and throw it in the CD player. You couldn't be more excited as it starts to play.

But something weird happens as you listen to it. You like the songs, but you don't really want to listen to it for very long and you're not entirely sure why. You take it off. A few minutes, later you put it back on. Same thing happens: You like the music, but you still want to take the CD off. It's more than a little weird.

Condolences. You are officially a casualty of the loudness wars, the ongoing competition among bands, labels and A&R folks to make ever-louder albums.

• •

Artists, recording engineers and record companies have been trying to make the loudest possible record since the dawn of 78 rpm technology back in the early 20th century.

When 33 1/3 rpm and 45 rpm became the industry standard, engineers strove to make those records as loud as possible as well, often using something called compression during the mastering stage.

Compression means squeezing the dynamic range of an audio signal, usually to boost the perceived volume of a song or performance. Compression works on recorded music the way MSG works on food: It makes everything sound more more. Used with discretion in the recording stage (and even in the mastering stage) it's an invaluable tool for recording engineers.

The idea was the greater the perceived volume of the record, the more attractive the sound would be to the listener. Which meant more attractive to potential DJs, which meant more airplay, more exposure and more sales of the record.

But there were literal physical limitations to this process when vinyl was the primary recording medium — the music's dynamic range was naturally restricted by the medium itself. During mastering, you could only compress so far; if the sounds were too extreme, the needle would pop out of the groove.

With the advent of compact disc technology in the early 1980s, almost all of this went out the window, as CDs lacked the physical limitations of vinyl.

In theory, this was a good thing. The dynamic range of CDs was far larger than vinyl, and could closer replicate the highs and lows of actual performance. But something else happened.

For the past 10 or so years, artists and record companies have been increasing the overall loudness of pop and rock albums, using ever increasing degrees of compression during mastering, altering the properties of the music being recorded. Quiet sounds and loud sounds are now squashed together, decreasing the recording's dynamic range, raising the average loudness as much as possible.

As Jerry Tubb at Austin's Terra Nova Mastering puts it, "Listening to something that's mastered too hot is like sitting in the front row at the movies. All the images are in your face."

This is why the reissued X album 'Los Angeles' (see story at right) sounds louder at the same volume as the old version, why you turn the 2005 X album down and still hear music, parts that are supposed to be quieter and louder, up front and buried in the mix, at the same time.

For some of you, this difference might be hard to notice at first. Consider yourselves lucky. For some of us, hearing this sort of mastering is like seeing the goblet between two faces in that classic optical illusion — once you perceive it, you can't unperceive it. Soon, it's all you can see — or hear.

• •

Erik Wofford is a producer and mastering engineer in Austin at Cacophony Recorders. He's worked on albums by such local bands as Explosions in the Sky, Zykos and Voxtrot, and finds the loudness wars exhausting to deal with.

"Over-compressing stuff gives everything a flatness," he says. "If loud sounds are the same as quiet sounds, you've destroyed any excitement or natural dynamics that the band creates."

We're sitting with Wofford in Bruce Robison's Premium Recording Service studio, listening to various CDs old and new, running them though the ProTools computer software and looking at their relative loudness. The studio has a woody, '70s vibe. You can totally see Fleetwood Mac recording here (which seems fitting for a man related to the Dixie Chicks). It seems a weirdly inappropriate place to talk about the limitations of modern pop music.

We're looking at the wave forms generated by a number of modern albums. Sound waves should look like what they're called: waves, with sharp peaks and valleys. But the music we're looking at is all peak. It's like looking at a butte or a brick.

"These square waves are a very unnatural occurrence," Wofford says. "It sounds wrong to the ear. You can't hear detail."

There are all sorts of metrics usable to measure loudness, but the Root Mean Squared (RMS) number is a reasonably useful one. It's a measure of average sound level. A smaller RMS number means higher average level; i.e., minus 10 dB RMS is 2 dB louder than minus 12 dB. The maximum RMS value is zero.

Here's the weird part. In the early to late '80s, most pop records averaged around minus 15. (The peak level we see for the old version of "Los Angeles" is minus 14.4 dB RMS.)

Now, modern CDs average at around minus 12 to minus 9 dB. Average.

When a soundwave squares off, something called "clipping" can occur. Clipping in the digital realm means digital distortion, which different CD players handle different ways. Some just won't play that frequency, resulting in loss of dynamic range (you're literally not hearing the whole song). Some digitally distort, which is quite an unpleasant, static-like sound indeed. Some really old CD players skip the song entirely.

There's plenty of clipping on the contemporary songs Wofford and I look at; a red light goes on and stays on the screen when a song clips. Christina Aguilera. Red Hot Chili Peppers. Mastodon. Brick, brick, brick. Clip, clip, clip.

Wofford sighs. "Clipping should just be forbidden," he says. "You used not to be able to turn a redbook CD (the CD from which all others are made) into a manufacturer with clipping on it. That's not true any more."

Thanks to folks on the Internet, there are lists of famously loud CDs. The Red Hot Chili Pepper's 1999 album "Californication" is a notorious example. It clips constantly, and the title track peaks at a whopping minus 5.6 dB, which was really uncomfortable for almost everybody.

That Los Lonely Boys CD Montrone was so proud of? The song "Heaven" averages at around minus 12.5 dB, and peaks at minus 8.9, completely reasonable for modern records.

But the song "Diamonds," on the band's new album "Sacred," clips throughout, averaging at about minus 8.9 dB, peaking at minus 7.7 db RMS.

"I wasn't able to go to that mastering session for the second one," Montrone says from his New York office. "The first record came out when I was with Or Music (the label that released the first Los Lonely Boys album before being acquired by Sony). I wasn't as involved with this new one. I wish I had been."

Who knows if consumers are sick of the band, or the songwriting isn't up to snuff or it has something to do with that louder sound, but "Sacred" thus far has sold about 185,000 copies, and continues to drop on the Billboard albums chart.

• •

So why aren't more people noticing this sort of thing? One word:


We listen to music in completely different ways than we did 20 or 30 years ago. For most people, music is listened to on the go, in cars, on headphones while running, on computers at work. Music has to compete with the sound of your car's engine, has to punch through the background noise of street traffic or a loud office.

"Ours is a culture of competition," Wofford says. "Maybe labels think the music has to be super aggressive, super bright, like a kid screaming in a supermarket, to get your attention."

The idea is that louder recordings automatically sound better on low-quality reproduction systems, but this isn't really true in practice. MP3 players such as iPods have their own compressors and limiters, further reducing the dynamic range of recordings, as do computers. A CD doesn't have to be mastered loud; the iPod can make it as loud as everything else it plays.

This is especially true of radio, which, in order to make sure that every song played has a uniform loudness, uses its own compressors and limiters. The idea that a sound has to be mastered loud to be noticed on the radio is just false.

"It's a myth," Tubb says. "Actually, a really loud CD might sound worse on the radio after being fed through a station's processors. (This is what Montrone was talking about with "Heaven.")

This is why the Christina Aguilera song "Ain't No Other Man" (average RMS: about minus 8.4, peak: minus 6.3), which sounds OK-to-irritating on the radio or an iPod, sounds like you are being punched in the face on a real stereo system.

• •

Yet, bands keep asking for it. That rustling you hear is the mastering community shrugging its shoulders.

"Ours is a service business," Tubb says. "If that's what the client wants, I try to explain the trade-offs in clarity. In reality, we're just trying to accommodate requests from labels or A&R guys or the artists themselves. They'll walk in with a handful of CDs and say, 'I want it to be as loud as this one.' The last five years it's gone absolutely mad."

"Ask any mastering engineer which they prefer," Wofford says, "Something that's super-compressed or not compressed. But they keep their mouths shut about it if they want to keep working."

"It becomes part of (a mastering engineer's) reputation," Montrone says. "Suddenly, you become known for your really loud records. Unless you specify that you don't want it to be loud, they just make it loud. It's become the standard now.

"And it's infected other steps in the chain," Montrone continues.

Mixing engineers often make spec mixes of songs to try and win the bid to mix a particular song or album. "Mixing engineers will turn in spec mixes of tracks that they just slam the heck out of because they think that will get them the gig," Montrone says. "And they're not wrong."

So we're at the chicken-or-egg stage. Is it changing the way we listen to music, or because the way we are listening to music has changed?

• •

Here's the punch line: The brain can't process sounds that lack a dynamic range for very long. It's an almost subconscious response. This is what Montrone was talking about when he mentioned the TV test tone.

"It's ear fatigue," Tubbs says, "After three songs you take it off. There's no play to give your ears even a few milliseconds of depth and rest."

Alan Bean is a recording/mastering engineer in Harrison, Maine. He's a former professional musician and a doctor of occupational medicine.

"It stinks that this has happened," he says. "Our brains just can't handle hearing high average levels of anything very long, whereas we can stand very loud passages, as long as it is not constant. It's the lack of soft that fatigues the human ear."

This is part of the reason that some people are really fanatical about vinyl. "It's not necessarily that vinyl sounds 'better,' " Bean says. "It's that it's impossible for vinyl to be fatiguing."

And yet, record companies wonder why consumers are buying less of them.

"I definitely think it's a contributing factor," Montrone says. "People have a lot of entertainment options. If listening to music is not a highly enjoyable experience, we're just giving people another reason not to purchase the stuff."

Of course, that's the weird part: Consumers may not know why they are buying fewer CDs or listening to them less or are perfectly happy with low-def MP3s from the Internet.

"That's the big 'too bad' about all this," Bean says: The music is not necessarily at fault.

• •

The story of popular music is a materialist one — as playback technology has changed, so has the music.

The LP could hold about 50 minutes of sound (25 minutes a side) if you really squashed the grooves together. As a result, most albums came in at about 40 to 45 minutes. CDs can hold about 80 minutes of sound, and artists have filled them up; the majority of major label pop CDs are an hour or more. The rule seems to be, if you can do it, you should do it.

So it is with mastering: We can make it incredibly loud, so we should make it incredibly loud. Though there is talk in the mastering community of universal mastering standards, it's still just talk.

Again, there is, of course, an element of subjectivity to all this. It is entirely possible that anyone younger than 18 reading this has no idea what we're talking about. They may not bother to buy CDs anymore, such is the availability of MP3s single downloads. To them, popular music has always been hyper-compressed, square-wave stuff, able to punch through background noise with a single snare drum hit, clipping all over the place.

To them, one can say only: You don't know what you're missing.

X: A study in volume vs. loudness

Without getting technical, it's probably important here to define the difference, for our purposes, between "loudness" and "volume." (It's also important to recall that this all gets very relative very fast and that many would argue that there are few true absolutes involved.)

When we talk here about volume, we're talking about the thing which you can control with the knob on your stereo or iPod or boombox.

When we talk here about loudness, we're talking about your perception of a sound at any particular volume.

For example, if you listen to the 1988 CD version of the album "Los Angeles" by the noted roots-punk band X, you have to turn it up to a certain volume to enjoy it. Turn it down low and much of the music vanishes, which is what you might expect when you turn something down.

Now listen to the 2005 CD remaster of the same album. At the same volume as the first version, the songs seem to jump out of the speakers more. The quiet sounds sound almost as loud as the guitar sounds. Turn it down, and you can still hear the quiet sounds almost as well as the louder sounds. This is because the CD has been remastered to bring it more in line with contemporary CDs, which are often mastered louder than ever.

As one employee at a local record store put it, "When we put in older CDs into the CD changer to play in the store, you can't even hear them."

Can't you turn it up?

"Not really," he said. "Because then the newer CDs would be incredibly loud at the new volume. So we don't even play older CDs in the store that often."
— Joe Gross

'If the loudness wars struck the art world'


Here is the original link:

Bruce Haack - Electric Lucifer

from allmusic:

After hearing late-'60s rock & roll from his friend Chris Kachulis, Bruce Haack added acid rock to his already diverse sonic palette. The result was 1970s Electric Lucifer, a psychedelic, anti-war song cycle about the battle between heaven and hell. The underlying concept of this concept album is "Powerlove," a divine force that not only unites humanity but forgives Lucifer his transgressions as well. But though this album extols the healing powers of peace and love, Electric Lucifer uses often menacing music and lyrics to get its point across. "War" depicts the battle royale between good and evil with a martial beat and salvos from dueling synthesizers; a child's voice murmurs "I don't want to play anymore, " and a funereal synth melody replaces the electronic battle march. Haack's marriage of rock rhythms and his unique electronics creates a sound unlike either his previous work or the era's psychedelic rock, but songs like "Incantation" and "Word Game," with their percolating beats, buzzing synths and vocoders, are much trippier than most acid rock. The strangely forlorn "Song of the Death Machine" sounds a bit like a short-circuiting HAL singing "My Darling Clementine," while "Word Game" features cool, dark electro-rock and brain-teasing lyrics like "Ray of sun/Reason/Knowledge/No legends." Kachulis sings on both of these tracks, and his deadpan vocals complement the weirdness going on around him nicely. His involvement with Electric Lucifer also includes aiding the album's release on Columbia Records; though it was Haack's only major-label release, Electric Lucifer remains musically innovative and subversive.

Paul Hanson/Zenith Patrol - 2005 - VU

2005 release from acclaimed musician/bassoonist Paul Hanson who never ceases to amaze. Paul Hanson - Bassoon, Victor Little - Bass, Haroun Serang - Guitar, and Thomas Pridgen - Drums.

VU is our latest release, which has been triple distilled and lovingly crafted. VU combines our many musical loves in one happy package, to tickle your mind while your booty shakes. Jazz, Funk, Drum & Bass, and many more moods are reflected in each musical offering. It is a sound oft descibed as "Funktronica", though the moniker seems appropriate for a 70's dancing robot superhero.Thank you for coming to the store, and don't forget, "VU" makes a great gift for the children-fun for the whole family! Perhaps we'll get action figures soon! Paul's bassoon can lauch rockets! I'll just breathe fire or cheetos or something. VU comes conveniently wrapped in a full color digipak-you know, the extra nice recyclable paper kind that doesn't break if you drop it!

Rahsaan Roland Kirk - 1971 - Blacknuss

"From its opening bars, with Bill Salter's bass and Rahsaan's flute passionately playing Bill Withers' "Ain't No Sunshine," you know this isn't an ordinary Kirk album (were any of them?). As the string section, electric piano, percussion, and Cornel Dupree's guitar slip in the back door, one can feel the deep soul groove Kirk is bringing to the jazz fore here. As the tune fades just two and a half minutes later, the scream of Kirk's tenor comes wailing through the intro of Marvin Gaye's "What's Goin' On," with a funk backdrop and no wink in the corner — he's serious. With Richard Tee's drums kicking it, the strings developing into a wall of tension in the backing mix, and Charles McGhee's trumpet hurling the long line back at Kirk, all bets are off — especially when they medley the mother into "Mercy Mercy Me." By the time they reach the end of the Isleys' "I Love You, Yes I Do," with the whistles, gongs, shouting, soul crooning, deep groove hustling, and greasy funk dripping from every sweet-assed note, the record could be over because the world has already turned over and surrendered — and the album is only ten minutes old! Blacknuss, like The Inflated Tear, Volunteered Slavery, Rip, Rig and Panic, and I Talk to the Spirits, is Kirk at his most visionary. He took the pop out of pop and made it Great Black Music. He took the jazz world down a peg to make it feel its roots in the people's music, and consequently made great jazz from pop tunes in the same way his forbears did with Broadway show tunes. While the entire album shines like a big black sun, the other standouts include a deeply moving read of "My Girl" and a version of "The Old Rugged Cross" that takes it back forever from those white fundamentalists who took all the blood and sweat from its grain and replaced them with cheap tin and collection plates. On Kirk's version, grace doesn't come cheap, though you can certainly be a poor person to receive it. Ladies and gents, Blacknuss is as deep as a soul record can be and as hot as a jazz record has any right to call itself. A work of sheer blacknuss!" ~ AMG

Label: Atlantic Records
Credits: Artwork By - Haig Adishan
Bass - Henry Pearson (tracks: A1, B1, B4) , Bill Salter* (tracks: A2 to A7, B2, B3)
Congas - Richard Landrum (tracks: A1, B1, B4)
Congas, Percussion [Cabassa] - Arthur Jenkins (tracks: A2 to A7, B2, B3)
Drums - Bernard Purdie (tracks: A2 to A7, B2, B3) , Khalil Mhdri (tracks: A1, B1, B4)
Engineer - Bob Liftin (tracks: A2 to A7, B2, B3) , Lew Hahn (tracks: A1, B1, B4)
Flute, Saxophone [Tenor], Percussion [Police Whistle, Gong], Saxophone [manzello, Stritch], Arranged By - Rahsaan Roland Kirk*
Guitar - Billy Butler (tracks: A1, B1, B4) , Cornell Dupree (tracks: A2 to A7, B2, B3) , Keith Loving (tracks: A2 to A7, B2, B3)
Organ - Mickey Turner (tracks: A2 to A7, B2, B3)
Percussion - Joe Habad Texidor
Photography [Backliner Photo] - Vaughn Hazell
Photography [Cover] - Ray Ross
Piano - Richard Tee (tracks: A2 to A7, B2, B3) , Sonelius Smith (tracks: A1, B1, B4)
Producer - Joel Dorn
Trombone - Dick Griffin (tracks: A2 to A7, B2, B3)
Trumpet - Charles McGhee (tracks: A2 to A7, B2, B3)
Vocals - Rahsaan Roland Kirk* (tracks: A1, A5, B1, B4)
Submitted by: lennylightweight


A1 Ain't No Sunshine
A2 What's Goin' On
A3 Mercy Mercy Me (The Ecology)
A4 I Love You Yes I Do
A5 My Girl
A6 Which Way Is It Going
A7 One Nation
Vocals - Princess Patience Burton
B1 Never Can Say Goodbye
Vocals - Cissy Houston
B2 Old Rugged Cross
B3 Make It With You
B4 Blacknuss
Vocals - Cissy Houston