Saturday, September 22, 2007

The Heliocentrics - 2007 - Out There

"Four years in the making, The Heliocentrics' debut album is finally complete. Out There is here.

Good luck trying to categorize their music. Led by the relentless drummer Malcolm Catto, the UK collective's objective lays quite a ways beyond what ordinary listeners know or expect. In an alternative galaxy, where the orbits of Hip-Hop, Funk, Jazz, Psychedelic, Electronic, Avante-Garde and Ethnic music all revolve around “The One” – that's where you might find The Heliocentrics.

A listen to a song or two reveals no small influence from the funk universe of James Brown. But there's also the disorienting asymmetry of Sun Ra's music. The cinematic scope of Ennio Morricone. The sublime fusion of David Axelrod. But the Heliocentrics' music isn't retro. It's brand new. And it's timeless. They have well-placed fans in the likes of Madlib (Catto was featured on his Shades of Blue album and on various Yesterdays New Quintet releases) and DJ Shadow (the band backed him on various tours, and on the song “This Time I’m Gonna Do It My Way” from his The Outsider album), who will tell you that this band is really the next shit but that they have the consistency and musicianship that seems to have been lost somewhere in the analog to digital shuffle over the past thirty years.

The Heliocentrics are the real deal. They are “Out There” in the best possible sense of the word. Dig it." ~ Stones Throw Records


01. Intro
02. Distant Star
03. Flight 583
04. Once Upon a Time
05. Beyond Repair
06. Sirius B
07. Untitled
08. They Are Among Us - Part 1
09. The Zero Hour
10. Joyride
11. The American Empire
12. Before I Die
13. Intermission
14. Age of the Sun
15. They Are Among Us - Part 2
16. Winter Song
17. A World of Masks
18. Sounds of the East
19. Somewhere Out There
20. Second Chance (K2’s Prayer)
21. Return Journey
22. Sirius A
23. Falling to Earth
24. Outro

Malcolm Catto – drums & piano
Jake Ferguson – bass & Thai guitar
Mike Burnham – modular synth & effects
Jack Yglesias – flutes, percussion & santur
Adrian Owusu – guitars, oud & percussion
James Arben – clarinet, tenor & baritone sax
Ray Carless – alto, tenor & baritone sax
Max Weissenfeldt – vibes & percussion

Friday, September 21, 2007

The Jimi Hendrix Experience - 1968 - Electric Ladyland

Credits: Engineer - Eddie Kramer
Producer - Jimi Hendrix
Notes: ⓟ 1968 Polydor International GmbH


A1 And The Gods Made Love (1:20)
A2 Have You Ever Been (To Electric Ladyland) (2:10)
A3 Cross Town Traffic (2:25)
A4 Voodoo Chile (14:55)
B1 Little Miss Strange (2:50)
B2 Long Hot Summer Night (3:24)
B3 Come On (Part 1) (4:07)
B4 Gypsy Eyes (3:41)
B5 The Burning Of The Midnight Lamp (3:36)
C1 Rainy Day, Dream Away (3:45)
C2 1983....(A Merman I Should Turn To Be)
C3 Moon, Turn The Tides....Gently, Gently Away
D1 Still Raining, Still Dreaming (4:23)
D2 House Burning Down (4:31)
D3 All Along The Watchtower (3:58)
D4 Voodoo Chile (Slight Return) (5:12)

Taken directly from the linear notes of the cd reissue:

"CD: Electric Ladyland (1997, Experience Hendrix/MCA MCD 11600)


Posterity has taken care of Jimi Hendrix and it is the real man who lives on, and not just the legend, though God knows that is a flaming beacon and a pounding sound and light show of many colours and unmistakable rhythms.

Shakespeare and his interpreter Lord Buckley were wrong: now and again, the good jazz that a cat blows wails on long after he's cut out and it's the bad that is stashed with his bones. So it has been with Jimi.

As with all great stars, the imagery is immediate, evocative, headily omnipresent and there is always a need to know more. To want to have another look, another listen, is a clarification of stardom. It is defined too by the power to survive one's era.

Jimi Hendrix lives on for today's young on record and in books, film and videotape. Those of us who were there have instant recall of that unmistakable smiling self-invention of the later sixties, somewhat Cherokee, mostly Afro-American, entirely musical, driven by his imagination, a soul-rooted, rock solid, Dylanesque fire-and-feathers, bluesy all-in-all unique guitar pirate who paid his dues in America and got his first rewards in "swinging" London, into which confident colourful city he was flown by the blunt amusing Geordie visionary Chas Chandler, lately of the Animals, by now peripatetic starmaker.

Long distance, Jimi Hendrix told his beloved father, Al of Seattle, who had gardened fit to bust to feed his motherless family: "It's me, Jimmy. I'm in England, Dad. I met some people and they're going to make me a big star. I've changed my name to J-I-M-I." Within a few months, with his own divine drive flair and ambition, finding real nutrients in London's rich "underground" he enabled "them" to "make" him into a star. A star's star indeed, wearing the best threads that supra-national psychedelic counterculture could conjure from British imperialism, native America and countries far beyond.

He was much painted, postered, photographed, decorated and dressed. He became the embodiment of artistic compulsions: his own and those of contemporaries. He set himself free. My own power-ful memory and outline is of the 1967 Monterey Pop Festival when he was hatless and very intense: full of fire and purpose with much at stake. This could be - was to be - his homeland breakthrough. For others, it will be a more relaxed smiling Jimi, daring to cheek and curse an audience delighted to hear it. There is the vision with the hat with the metal rings on it. The many-scarved, through-a-hedge backwards, electrified Dylan-haired Jimi with eyes almost closed either in concentration or on something else or both.

People who go a long way back will remember a short haired boy-man out of the Army, on the road as a sideman with Little Richard, Sam Cooke, King Curtis and the Isley Brothers. There are lucky people who were around Chas Chandler when he found Jimi at the Café Wha? in Greenwich Village where he then lived. Growing his hair and blowing his mind as the constraints of being a sideman had not allowed him.

You have to be lucky, but you have to be good coin to be 'found,' picked up, pocketed and polished. You have to be luckier still, no matter how good, not to be misspent or misused. I always felt - am I even more naive than I know? - that until the last terrible time of confusion and death, Jimi had a good fulfilling life. Absorbing far more as a world figure than any poor boy - but not dirt poor - from Seattle had a reason to expect.

There was an absolute rightness in his timing. Maybe above all in his positioning in the "pop scene," just as there is with all the mightiest of modern music, be it Armstrong, Ellington, Crosby, or Frank Sinatra. Or the blues men of the '20s to '50s or Elvis [1] or Chuck Berry, Little Richard, Buddy Holly or the Beatles, the Rolling Stones, Bob Dylan, the Byrds and all the flash San Franciscans. The thing with Jimi - as with all of the foregoing - was that he was absolutely his own man. He had such intelligence and sensitivity that he knew what to do and when and where. During the years as obedient back-up guitarist he knew he had more to offer than most. All stars are aware of this specialness - usually as children they know it - and when the right moment beckons, they jump.

He trusted people to help him realize his potential. He picked up on blues and soul - according to his friend Miles Davis - on hillbilly, yet! And now, as someone in his early twenties when black-based music in England didn't mind getting whiter, thrown around the mind by hallucinogens and psychotropic drugs. He saw real potential in becoming a brand new one-and-only Jimi Hendrix with both first name and last ambiguous in their spelling and wonderfully commercial in their aural and visual impact.

But above all this imagery, this cat could play. And that, as Mitch Mitchell (a drumming soul mate with an intelligent part of the evolution of the Jimi Hendrix Experience) would say, was what it was all about. That is what it came down to: the music. Many remembered quotations from Jimi bear witness to his intense, mature desire to make music, voice and instruments - take him and his audience to new places.

(He could have done it in a brown mohair suit but it wouldn't have been quite as much fun.)

I have written elsewhere - not too often I hope - of having woken one morning in L.A. to find myself a founder of the Monterey Pop Festival, and that Paul McCartney - both fan and a mentor of Jimi - said that he should be booked for the Festival. I remember an American star and friend being very rude to me about Jimi whom he thought had little to offer.

Both attitudes somehow explained how in the zeitgeist Jimi came to leave America at 23 and offer his genius to the British who had always been very appreciative of the best American talent, particularly those from left field.

It was in Britain in 1966-67 that Jimi Hendrix became a "pop star," irresistible to women [2] - the feeling was mutual - and a hero to men. It was after Monterey that he got to the cutting edge and for some in the late '60s he was the cutting edge. Without the musical vision he would now have been a few nice pictures, a bonfire or two and foot-notes playing guitar with his teeth, play-ing it backwards, taking acid and leaving a restrospective CD.

People are so cruel. His early death would have been a quick mind-muddle... "Oh yeah...I remember. Died of drugs." But as a guitarist he had such respect, freely offered then, since and right now, that he is a crowned jewel of a man, which is why we're all here today, cele-brating Electric Ladyland and much else. Maybe this is some consolation to Al Hendrix who lost such a good son so soon, so badly.

After Jimi's British success, guitarists queued to praise him. Over the years the tributes mounted. Albert Collins: "He didn't play nobody else's stuff...Jimi was original." Buddy Guy: "One of those guys that was so explosive...Jimi basically played the blues but added to it." Eric Clapton: "He liked Freddie and B.B. King, Robert Johnson and Buddy Guy. We liked all the same was such a thrill because it was all secondhand for me. It was something I learned from records. This guy had been among them and was one of them."

After Woodstock, Neil Young said that Jimi was "absolutely the best guitar player that ever lived; there was no one even in the same building as that guy." Miles Davis said: "He had a natural ear for hearing was great. He influ-enced me and I influenced him and that's the way great music is always made. Everybody's showing somebody else something and then moving on from there...Jimi Hendrix came from the blues, like me. We understood each other right away...he was a great blues guitarist." In the illuminating new film on the making of the groundbreaking Electric Ladyland, Steve Winwood, an artist much admired by Hendrix, makes the key point about Jimi the motivator - that he could establish a mood of camaraderie, in his quiet nice way, by jamming, by playing - the simplest way to do it.

Jimi Hendrix was a great bringer-together of people. He made a fine happy unit of the Experience with charming adroit and funny Noel Redding - inspired casting - and brave, reliable Mitch Mitchell. Gered Mankowitz, who took splendid pictures of him, says today, "He was charming, unassuming and funny, and often laughing, his face lighting up: a happy person, pleasant and accommodating. Many will testify to his liking/love of people. He really dug hangers-on. ("his hangers on" says a friend in the film).

Rock music (as it was becoming, the best was "pop" no longer) was surpassingly segregated then sometimes by lax custom, sometimes because of outright prejudice) and Jimi's eclecticism did a lot to change that mode. When he went back a hero to the U.S., there were unprecedented white audiences. He would make New York his base until his death in 1970.

I spent an evening with him there, in a club, not many people. I wish I could remember more. Only the vibes remain, man, only the vibes. But what vibes! And what a man.

-- Derek Taylor"

Check out the astonishing rendition of Voodoo Child (Slight Return), the closing track from 'Electric Ladyland'. Hendrix's ability to transform mind, body and spirit into one singular guiding force compelled the music to beautiful heights as is shown in this video clip from the beginning of 1969:

also included is Jimi's cover of Bob Dylan's All Along The Watchtower:

New Tapes In Circulation! - Pink Floyd, Jimi Hendrix and Stevie Ray Vaughan


Pink Floyd L.A. Sports Arena, Los Angeles CA 1975-04-27 Master AUD reel-to-reel (first time in circulation) + NTSC DVD video

Please note: The following liner notes include material that may be extremely offensive to some people. Or, it may just be that they are offensive to me. Either way, if you think you might be the "sensitive kind" , please read no further and just get the music. OK?

Dime's contrast clause:
This torrent has a different lineage than the following torrent:

This torrent has a different quality than the following torrent :

It has taken me several months to get a good transfer of the audio portion of this recording. That was a much easier job than it was for me to recapture the circumstances surrounding this
particular weekend...

First of all, with apologies to Harvested: This is the full master audio tape of this show. A copy was used for the source material of the 8mm torrent referenced in the contrast clause, and the 8mm torrent is a DVD from S-VHS. Thus, the stated lineage for the Harvested copy is:

LA Sports Arena 27 April 1975 (16:26)
Video: 8mm > S-VHS > NTSC DV (avi) > Vegas (CBR 6) MPEG-2
Audio: Master > DAT > CDR > Vegas (PCM Stereo)

The actual lineage for the audio of "8mm" should be: Master > Film Run Copy>DAT>CDR>Vegas (PCM Stereo). The sync and transfer of the "8mm" version of this material was done professionally in the early to mid 1980's by a colleague of the taper, and was widely circulated at one point in time. I have a copy of the “8mm” material on VHS, also.

The audio portion of my torrent is of a much higher quality, IMO. The video portion of my torrent is another matter entirely. Although I believe it can be much improved by someone with the knowledge to do so (anyone want to tackle black levels?), it's presented for quite another reason. It's to prove that my version of events is true, and is the only version of events, and that there is no other version of events.

The audio master used in the Harvested torrent is in fact a poorer quality copy of the original reel. How do I know this to be fact? I actually know the original filmer and taper, and the method by which the films were made, plus he gave me the master of the audio. Hold on, I'll tell you the whole, depraved story as to how we met... but first you have to promise to remove the kiddies from in front of the computer because some of the stuff following is truly awful. If you *are* under 18 and you choose to read further, well, yer uncle Doinker warned you!
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Over Valentines 1988 I went with my pregnant ex-wife out to California to visit a work buddy of mine. He is a big-time lover of the Blues, and supported starving musicians by allowing them to stay in his house. There were some great jams at the time, including a couple with the Delgado Brothers (I think I have a soundboard tape somewhere of one of them... hmmm.) I had sent my friend some live recordings, and I was actively looking for live masters at the time, especially masters on reel tape. He had this friend (Mr. S.A.), whom he had known for a long time. This person had gone into concert halls in the Los Angeles area, mostly from 1970-77, and had made Super 8mm movies and live audio recordings of the shows. Much of the West Coast 8mm video now circulating from this time period has come from him, and many of the reel-to-reel masters I have previously circulated have or did have companion 8mm films as well.

On my friend's suggestion, we went to the place of a mutual friends of theirs, where
S.A. would also be. Walter (RIP) and his wife Suzy owned a gas station and general store near Springville, California (it's close to Porterville, and about 60 miles north of Bakersfield). Behind the store was a large field, which was used as a camping ground. The property then sloped downward for several acres. There was a stable with a barn, a discontented horse and an old pony in a corral, and a pond or a lake behind that. It's all long gone now, and the place is abandoned and covered with weeds. Suzy was definitely the more serious of the two. The business was more hers than it was his. She was constantly chasing all of us out of the store so as to not scare the locals away, as the store was their main means of support. Walter was a biker, and a real hell-raiser. He didn't look the part, though. He looked like a prospector - you know, those guys you see in antique pictures who panned for gold in the 1840's. He was truly one of a kind. He was thin, wiry, muscular, and had a long white beard and moustache. He wore a cowboy hat, and boots, and his hair was still black under the hat. He was fascinating: He could be completely repulsive in a likeable sort of way, and altogether quiet and friendly in another. He was probably somewhere in his 40s at the time.

Suzy had an eight-year-old daughter, whom Walter called Magpie . The morning after
the following events occurred, we went to a local restaurant for breakfast. He showed up late blind drunk, and very loudly at that. He was wearing a real Nazi stormtrooper helmet, complete with swastika and topcoat. He kept shouting to the patrons "Heil Hitler!" He kept giggling and falling over the furniture on his way to the table. He duck-walked and saluted every other group in the restaurant in this manner, some more than once if they caught his attention. This was in front of his daughter and his wife. Magpie was completely amused, but Suzy got really upset. She started yelling back at him in a total rage while the place quickly cleared out, mainly stuff about him putting them out of business. I think my ex and I were too completely overcome with shock to say very much. It was truly offensive, and we were completely embarrassed over their daughter seeing this. I have to tell you, she didn't seem to care. It seemed this sort of thing had happened several times before, and she now found it to be funny. For this short period of time only, I got to know Walter. A short time after these events occured, he took a dirty needle and died from a form of AIDS. The store and gas station were repossessed by the bank, and then abandoned.

The store stood at the edge of the road at the top of the hill. Behind the store, there was a large field. In the middle of the field was sort of a small stage with a roof that stood on wheels like a trailer. A table was set up on the stage, and an 8mm projector was put onto it. I had carted a reel-to-reel recorder/player system, complete with speakers with me from New York. It was set up alongside the projector to use as a sound system. The passenger van we arrived in was pulled lengthwise in front of the projector. A bedsheet was hung over the side of the van to use as a screen. The “film run copy” of the audio was played through a guitar amp from the player system.

There were two sets of reel-to-reel tapes. One set were the masters, and the other set were film run copies. During the concert, S.A. had gone in with a recorder, a Super 8 film camera, a helper, and two microphones taped to a broomstick. When he wished to film, he would announce "filming!" and then "cut!" when he stopped. A copy was made of the sections of the master tape that were relevant to the films, and those copies were used when the films were projected. The copies used incidental cues - an unrelated bit of sound that were used to know when to start the projector and the sound at the same period of time. It was much more efficient to reproduce just the filmed sections of the audio, as the entire master tape did not have to be gone through in order to find the sections that were filmed.

Meanwhile, while the setup was happening, many bikers were coming in from all over the state for a campout. By this time they were already setting up tents around the edges of the field. There were perhaps a hundred in all, maybe more. Me, I come from a protected middle-class background, and my ex was brought up on another plane of existence in Germany. At first, we felt that we could have been visiting Mars, and for some of them, the feeling was definitely mutual about us. But, for the most part, we got used to them, and once they found out who we were with (and some of them required proof of that in the form of loud, angry discussion), they started tolerating us and even talking to us on somewhat of a friendly basis - just like *you would* if an unwanted foreigner were in your midst. Factoid: Bikers are a different breed. Since that weekend, I treat them better on the road.

Some of the films were videotaped on VHS as they were projected, and this is one of them. This was done by my friend as sort of a present for me. The sound wasn't always in sync as the projector did not always operate properly.

Hope you like it.

Lineage (audio) master reel-to-reel ->Akai GX-400D SS tape deck ->Sound Forge 6.0 ->FLAC via Flac Frontend, level 6, sectors aligned and verified.
Lineage (video)-> Original Super 8 film projected onto a white bed sheet, laid across the side of a van at night, filmed with VHS camera with built-in microphone. Audio for video: unsynched “film run copy”reel ->Realistic reel to reel player system ->Baby Marshall guitar amp.

704x480 NTSC video
Dolby Digital sound
Runtime 19:42
No menus, chapters every 6 minutes.

Setlist for full concert:

Raving And Drooling (small splice in beginning) 12:20
You’ve Got To Be Crazy 13:19
Shine On You Crazy Diamond Suite (including “Have A Cigar”) 31:11


The Dark Side Of The Moon 56:34
Echoes 22:05


A DoinkerTape




--- New to circulation --- Re-upload ---

(note: The flac files here are the same as in the original upload. The changes are: New info file + new back cover art.)

01 Intro - 1:25
02 Spanish Castle Magic - 5:05
03 Foxy Lady - 4:19
04 Lover Man - 3:13
05 Hear My Train A-Comin’ - 12:12
06 Message To Love - 4:51
07 Ezy Rider - 4:59
08 Machine Gun - 10:36

01 Room Full Of Mirrors - 4:04
02 Hey Baby / Villanova Junction / Drums - 11:43
03 Freedom - 5:14
04 Star Spangled Banner - 3:27
05 Purple Haze - 3:49
06 Voodoo Chile (Slight Return) - 11:12
07 Outro - 1:53

Live at the Los Angeles Forum, Los Angeles, CA 25.april 1970
Audience recording - 3rd Source
Analog Master > CDR(x) > Toast Titanum 8.0.1 to extract wav > wav > xAct 1.5b3 to convert to flac > flac

Bonus track:

08 Blues in Bb - 19:07

Live at Speakeasy, London 2.november 1967
John Mayall’s Bluesbreakers with Jimi Hendrix on guitar
(Full version of track from “Diary of a Band Vol.2”)
Analog Master > Analog copy? > CDR(x) > Toast Titanum 8.0.1 to extract wav > wav > xAct 1.5b3 to convert to flac > flac

“... On the album 'Diary of a Band' Jimi takes over Mick's guitar towards the end of the track 'Blues in Bb' and unfortunately I didn't have room to put the whole slow blues on the album and in any case Jimi's management dissuaded me from using his name. A shame......” (John Mayall 2004)

In regard to the Mayall track it should also be pointed out that there's more than a little controversy regarding whether or not Hendrix really plays on this track. Many people think he doesn't, and although Hendrix sat in with The Bluesbreakers at Speakeasy, London 02.11.67, Mayall himself has over the years given conflicting info as to Hendrix' specific involvement, such as in an interview with Record Collector, where he said Hendrix played on the track "The Lesson". The track is included here simply as a bonus, and you can make up your own mind as to what you want to believe.

Artwork included in torrent.



Stevie Ray Vaughan - Fitzgerald's, Houston, TX 14th Oct. 1981

I have seen this listed on etree but not in this more and almost complete version ( not complete as Empty Arms is only 30 sec.)
I believe the songs with the * are ones that were not included on a bootleg version. There is some tape hiss but not too bad. Etree lists it as a good audience recording.

The version of "You Done Lost Your Good Thing Now" is blues at its best. Enjoy.

info from

Recording source: Audience Gen 3

Transfer source: my cassette to pc from sony D3 through SB X-Fi Audio 2400 sound card

Transfer: Sony D3 > Soundforge (>PCM 44,1000 kHz, 16 Bit, Stereo) > CDWav > Flac Level 8



1. Collin's Shuffle *
2. In The Open *
3. asks for more monitor
4. Come On (Part III) *
5. Look At Little Sister *
6. Thunderbird
7. The Sky Is Crying
8. I'm Cryin'
9. Crosscut Saw
10. Shake For Me
12. Wham!
13. Hideaway
14. So Excited
15. Pride & Joy
16. Tin Pan Alley
17. Love Struck Baby
16. May I Have Talk With You
18. Letter To My Girlfriend *
19. Little Wing
20. Manic Depression
21. Boilermaker
22. Close To You
23. You'll Be Mine
24. You Done Lost Your Good Thing Now
25. Empty Arms
26. Slide Thing
27. I'm Leaving You (Commit A Crime)
28. Texas Flood
29. Rude Mood
30. Band Intros
31. Crowd Clapping For More
32. Back For Encore Guitar Tune Up
33. Don't Lose Your Cool

Thursday, September 20, 2007

Nikko Hurtado

"First I would like to say is I love my Lucy very much. Hello my name is Nikko Hurtado I curnetly live in the High Desert. I work at a great shop with some of the greatset guys I know. I am very lucky to be surrounded with great people in my life that stand by me and push me. If you haven't figured it out yet this is my work on this myspace thing so as you can see I am a tattoo artist and I love it. With the work you see here some of it is up to 4 years old and it is something I have been working very hard; blood, sweat, and tears. Since I satrted in 2002 I can't get enough of it and I plan to keep on going. My goals in my career as an artist are to push my own limits and boundaries and hopefully I can influence 1 or 2 people along the way as I have been influence by many others. I found myself being more critical of myself the longer I am in this profession. It is the greatest feeling to be passionate about what I do. I have met many great people along the way. Thanks Joanne for being so supportive." ~ Nikko Hurtado

Medeski Martin and Wood - 2004 - End of the World Party (Just in Case)

This new Medeski Martin and Wood release is heady stuff, certainly on par with the recordings that made the group something of an underground jazz legend in the early- to mid-nineties— Shack-man and Friday Afternoon in the Universe. But while End of the World Party (Just in Case) reminds you of those albums, and even more so the trio's Blue Note debut of 1998, Combustication , where they explored the possibilities of groove cum ambient sound, the compositions, the performances and the recording on the new disc are more pointed and purposeful in every way.
This production job by MMW and Dust Brother John King provides the most clarity and depth of any project the group has done. Billy Martin's kick drum echoes off your walls from the start in ”Anonymous Skulls” and the mobile throb of Chris Wood's bass(es) underscores the rhythmic aspect of the music in an emphatic way the more atmospheric approach of The Dropper and Uninvisible did not allow. If you have any doubt he's one of the strongest bassists in contemporary jazz, listen to “Curtis,” where Wood is the backbone of this band's sound.

If you've seen Medeski, Martin and Wood over the last few months, some of these tunes, such as ”Shine It,” may sound familiar. Party is the end result of group improvisations on stage and in the group's Brooklyn studios from which melodic motifs and polyrhythmic beats were sculpted into a dozen comparatively short tracks in the four to five minute range. The cumulative effect of listening to this album in its entirety is much the same as seeing the band live: the development of momentum is imperceptible, until you find yourself in the midst of the sharp funk of something like “Ice” and realize how much ground you and the threesome have covered in terms of textures and beats.

It's hard to say how much King contributed to the construction of the album as a whole—he's credited with “a little of this, a little of that”—but it's safe to say he kept the emphasis on rhythm. Some of the production touches, such as those on the title song, border on cute, but they end up being ephemeral blemishes that give way to more substantial themes such as John Medeski's use of electronic keyboards on “Reflector.” As the billowing electric piano and acoustic bass waft through lightly exotic percussion on “Midnight Poppies/Exotic Birds,” it also becomes clear how effectively MMW use space in a music that is otherwise as dense as any jazz on the planet.

Those who found their most recent recordings a bit too esoteric will rejoice in the syncopation that abounds throughout End of the World Party (Just in Case). And, again, anyone who's seen Medeski, Martin and Wood live in the past year will marvel at the mood and flow of this studio creation that certainly contains, apart from the physical presence of the band and an audience, all the best qualities of this trio on stage. - All About Jazz

"End Of The World Party (just in case) features producer John King of the Dust Brothers, best known for producing classics like the Beastie Boys' Paul's Boutique and Beck's Odelay.

1 - Anonymous Skulls [4:24]
w: 56k / w: 96k / r: surestream
2 - End of the World Party [5:11]
w: 56k / w: 96k / r: surestream
3 - Reflector [4:11]
w: 56k / w: 96k / r: surestream
4 - Bloody Oil [4:42]
5 - New Planet [4:07]
6 - Mami Gato [4:10]
7 - Shine It [4:59]
8 - Curtis [4:38]
9 - Ice [4:33]
10 - Sasa [4:16]
11 - Midnight Poppies/Crooked Birds [3:44]
12 - Queen Bee [4:58]

MMW and King have created a brilliant and graceful album packed with melody, soundscapes and beats that defy gravity. These are theme songs for the next generation soundtracks that may accompany the end of the world in a more positive setting." ~ MMW Official Site

Tuesday, September 18, 2007

Zack de la Rocha Finished w/ First Solo Album


"Quick! Time to get a new algebra notebook, because you'll soon have a whole mess of new lyrics to scrawl all over the margins!

That's right: today comes news, via, that ex-ex-Rage Against the Machine frontman Zack de la Rocha has finished his very first solo record, a labor of love Zack has been attacking since Rage initially split back in 2000.

De la Rocha collaborated with Golden stickman and one-time Mars Volta/Royal Trux drummer Jon Theodore on the LP and recorded some of it at a studio belonging to acousti-surfer-dude Jack Johnson. Zack doesn't have a title for the record and is still considering his release options, so no word yet when he'll rally 'round your family with this pocket full of new songs.

It's also unclear whether post-millennial de la Rocha collaborations with DJ Shadow, ?uestlove, and Trent Reznor will make the LP., however, quotes a source saying that Zack's first solo foray sounds like a mix of "Led Zeppelin and Dr. Dre. Some of it has the power you'd expect from him in Rage." So there's that.

Witness this so-called power as the reunited Rage rock a pair of festivals in late October."

Monday, September 17, 2007

Electric Flag - 1968 - Carousel Ballroom, San Francisco


MAY 18 OR 19,1968




I received this dated 5/18 or 19/68.Below is some text i came across
on db.etree noting is as 5/18/68.You can make your own conclusions.

Mike Bloomfield: guitars
Nick Gravenites: vocals
Buddy Miles: drums, vocals
Barry Goldberg: keyboards
Harvey Brooks: bass guitar
Kerbie Rich: baritone sax
Marcus Doubleday: trumpet, flugelhorn
Peter Strazza: tenor sax

This three day run at The Carousel Ballroom was a feast for horn section fans, featuring Pacific Gas & Electric, Electric Flag and Don Ellis and His Orchestra. Due to popular demand, a matinee show was added. Although Electric Flag was the headliner for these shows, they opted to go on second to allow Don Ellis and His Orchestra to close the shows.

These sets feature the original lineup, toward the end of founder, Michael Bloomfield's, involvement. He would depart shortly thereafter, leaving the band to struggle onward for several months before disbanding. However, at this point the band was full of fire and highly influential. Their unique blend of soul, rock and blues, punctuated by horns, didn't go unnoticed. Later that year, Al Kooper would create a similar band, Blood Sweat and Tears, and Chicago Transit Authority would also use this formula, both achieving far greater commercial success. However, it was Electric Flag that created the template and who were the most diverse musically. The incendiary guitar playing by Bloomfield during this time period set a level that few (if any) other white guitar players could match.

The afternoon show was a relatively short affair with Electric Flag relegated to a half hour set. Apparently, Mike Bloomfield and Nick Gravenites were late to arrive and surprisingly, the rest of the group begins. The group uses this number to warm up their chops, while waiting for their frontmen to arrive. Due to Bloomfield's absence, this is a unique version that features extended sax solos and extra improvisation. This is a mix in progress until close to the third minute, and there are also some pitch problems evident as the tape speed varies throughout the song. Bloomfield arrives onstage during the last two minutes, but sits out until the next number.

After several minutes of getting Bloomfield tuned up and situated, they tear into the old traditional, "Milk Cow Blues." Nick Gravenites takes lead vocals and with no warm-up necessary, Bloomfield immediately tears it up on this funky blues tune.

Giving Bloomfield another chance to display his extraordinary technique, they next ease into a slow smoldering rendition of B.B. King's "I'd Rather Drink Muddy Water," a song they never released themselves. Following a two minute guitar solo intro section, Buddy Miles takes over on vocals. Following the verses, the group eases the dynamics way down low, letting Bloomfield solo in an unusually delicate and tasteful manner, before building it back up.

They close the set with their first single, "Groovin' Is Easy," Gravenites again taking over on lead vocals. The big horn section sound, swirling organ and Miles' fatback drumming kick this into high gear. In this mix the separation is very audible and one can clearly hear the nuances that Bloomfield is adding as a support player. As a bonus, Bloomfield lets it rip by adding a demented psychedelic guitar solo near the end.

Sixtoo - 2007 - Jackals and Vipers in Envy of Man

The Sixtoo story stretches over a variety of big names, big albums and big shifts in the underground hip-hop consciousness over the past decade. Jackals and Vipers in Envy of Man, his eighth full-length release since 1994, is a proper nod of sorts to the DJ Shadow we knew before The Outsider: Beat-based and totally devoid of the Montreal native's sufficient mic skills, we have on our hands here a shift in direction for the man that lit it up in 2001 with The Psyche Intangible and hasn't looked back since.

For a man who has been on the Canadian scene for well over a decade, his name is surprisingly unknown. Maybe it's because he reps Halifax, Nova Scotia; maybe it's because he flew the Anticon. coop for Ninja Tune a few years ago; maybe it's because he worked with Buck 65. Whatever the reason, Jackals and Vipers in Envy of Man is an album hand-crafted and compiled as a tape-edit of recent live sets, bringing a feel of immediacy to a sound already built on the big drums and eerie production Sixtoo is known for. So: It's good. Really good.

The song titling is a little lazy, to be frank. I don't question the art behind it, but it's going to be hard for the Average Joe Backpacker remembering "Jackals and Vipers in Envy of Man, Pt. 2" from "Jackals and Vipers in Envy of Man, Pt. 7" just by name alone. So already Sixtoo's engaging us on an almost incidental level, daring us to actually listen to this album on repeat to remember our favorites. For that reason, solely focusing on the music is easy, and the album wastes no time grabbing hold of your attention: The Far East-based "Pt. 2" could almost act as a modern update on Madlib's latest Beat Konducta installment, but its alien synth paranoia is a production tweak that's all Sixtoo. In fact, all songs are all Sixtoo; there are no guests for this one.

It's just as well, they'd probably get in the way of some of these beats. We're talking a lot of cut chemistry here, and "Pt. 5" is a fine example of echoed beats and analog fuzz meeting in space for a cut you'd never confuse for Megasoid. The tricks of "Pt. 7" are pretty neat too, skittering drums and glitchy synths stuttering to an abrupt halt in the best traditions of the turntablist. At this point you're also noticing something about the tone of this album: It's slightly more upbeat than past efforts. Whether or not it was a conscious decision we can't be sure, but the pianos employed on "Pt. 8" suggest that Sixtoo's brief time with Belgian pianist Jef Neve wasn't for nothing.

Both Squire and Ninja Tune have recognized that there's a definite sonic "toughness" to the Sixtoo sound. This comes out well in "Pt. 12" and even the concluding "Pt. 13," ostensibly a downtempo, more traditional Sixtoo track featuring primitive keyboard ambiance, feels muscular. The switch at just past two minutes drops everything out but the drums, and suddenly you're in a room covered in padded walls. It's cold for a minute, but what warmth was provided early on returns just a few seconds later, piano now added to the mix. It's like Squire is reminding us what the backbone of his tracks are and why we're here, just in case we might've been ignoring them for melodies.

Ultimately Jackals and Vipers in Envy of Man is not quite a classic, but it is well worth giving a listen to. In some ways it feels like, even though a good portion of these tracks don't need emcees at all, a vocal appearance here or there would welcome some of the more sedate instrumentals. That is a minor quibble. Sixtoo hasn't gotten nearly the amount of attention he deserves; now that we're a few years removed from people blowing the lid off the Montreal scene, it's time to wake up to the man's supreme talents. No, it won't top any year-end breakdowns in December... But does it have to? Sixtoo has simply delivered once again, and anyone lucky enough to hear this record will agree he's as on-form as he's ever been. In a lot of ways, that's more important than any no-talent hack putting him #8 on their best-of lists. - Audiversity

Sunday, September 16, 2007

Blockhead - 2004 - Music by Cavelight

There’s been a tendency in instrumental hip hop towards the epic, the bombastic and the plain tacky, which is why Blockhead is so refreshing. On “Music By Cavelight” the downtown New Yorker with production credits for the likes of Aesop Rock and Slug of Atmosphere, comes through with some of the most sublime, understated, melancholic hip hop you’re likely to hear.

From the anti-fanfare of opener “Insomniac Olympics”, through the elegaic strings and slomo disco-bass of “Carnivores Unite” on into the two-minutes-to-midnight atmospherics of “You’ve Got Maelstrom”, the spread out reggaephonics of “A Better Place”, and right on up to the flute and eastern violin anomie of “Music By Cavelight,” this is a record that establishes its own emotional space and holds it from start to finish.

Which is not to say that Blockhead doesn’t have a formidable technique or a vivid imagination to complement the emotion of his music. Check how he structures pieces like “Breathe And Start” or the way he speeds up a vocal a la Wu Tang and then slows it down too to create a series of choral effects throughout his “Triptych”. And listen to his beats – crisp, hard and rock steady. The way hip hop’s supposed to be.

And that’s it, really – Blockhead is an unassuming guy so there’s no point shouting. His music will speak for itself… -Ninjatune

Dorothy Ashby - 1957 - The Jazz Harpist


01. Thou Swell
02. Stella by Starlight
03. Dancing on the Ceiling
04. Aeolian Groove
05. Quietude
06. Spicy
07. Lamentation

Dorothy Ashby Main Performer, Harp
Eddie Jones Bass
Ed Thigpen Drums
Rudy Van Gelder Engineer
Wendell Marshall Bass
Frank Wess Flute

Dorothy Ashby - 1968 - Afro-Harping

"The best and most complete album done by jazz harpist (a rare style) Dorothy Ashby. She didn't approach her instrument as if it were a gimmick, and she wasn't content to be a background/mood specialist. She turned the harp into a lead instrument, and offered solos that were as tough and memorable as those done by any reed, brass, or percussion player." ~ AMG

"Before she worked with the likes of Stevie Wonder and Earth, Wind, and Fire, harpist Dorothy Ashby collaborated with arranger Richard Evans to create this album's lush blend of funk, soul, and jazz. Coveted by archeologists of rare grooves and beats, this impossible-to-find LP makes its first appearance on CD." ~ Verve Music

Recorded February 1968 at Ter-Mar Studios, Chicago
Original recordings produced by Richard Evans


01. Soul Vibrations
02. Games
03. Action Line
04. Lonely Girl
05. Life Has Its Trials
06. Afro-Harping
07. Little Sunflower
08. Valley Of The Dolls (Theme)
09. Come Live With Me
10. The Look Of Love

Robert Fripp and Brian Eno - 1975 - Evening Star

Evening Star (1975) is an album by the British ambient musicians Robert Fripp and Brian Eno. The cover is a painting by the artist Peter Schmidt.

The first three tracks are serene, gentle tape-looped guitar textures performed by Robert Fripp and accented with treatments, synthesizer and piano by Brian Eno.

Track four, "Wind on Wind", is an excerpt from Eno’s solo project Discreet Music, which was released after this album. Eno had originally intended Fripp to use the material which became Discreet Music as a backing tape to play over in improvised live performances.

The second half of the album is a dissonant twenty-eight minute piece of drone music titled "An Index of Metals", in which guitar notes are accumulated in a loop, with distortion increasing as the track progresses.

Tracks from this album were used for the music on the The Hitchhiker's Guide to the Galaxy Primary Phase.


Track listing

1. "Wind on Water" – 5:30
2. "Evening Star" – 7:48
3. "Evensong" – 2:53
4. "Wind on Wind" – 2:56
5. "An Index of Metals" – 28:36


* Robert Fripp - guitar
* Brian Eno - tape loops, synthesizer, piano
* Peter Schmidt - cover painting


Marcia Griffiths - 1978 - Naturally

"The longest, hardest, and most consistently working artist in the history of the Jamaican Music Industry is the Empress of Reggae music, the most Honorable Marcia Griffiths, OD, first Lady of Songs, Female Vocalist Supreme.

In a career spanning 40 years to date and still going strong, she hits high points internationally as a soloist and as a duo with Bob Andy, as Bob and Marcia. She has toured the world as a member of the I-threes with Bob Marley and the Wailers. Subsequently as a soloist she hit the Billboard chart with “Electric Boogie Song” and created a world class dance, the Electric Slide. This super star has been recording and performing ceaselessly [...]" ~ Official Biography


01. Dreamland
02. Tell Me Now
03. Truly
04. Mark My Word
05. Stay
06. Feel Like Jumping
07. Lonesome Feeling
08. Survival
09. Melody Life
10. I've Got To Go Back Home

Engineer : Errol Brown
Mixing Engineer : Errol Brown

Producer : Sonia Pottinger

Vocals : Marcia Griffiths
Drums : Sly Dunbar
Bass : Ranchie
Guitar : Rad Bryan
Keyboards : Ansel Collins & Wire Lindo
Trombone : Vin Gordon
Alto Saxophone : Herman Marquis
Trumpet : Bobby Ellis
Tenor Saxophone : Glen Da Costa
Percussions : Ansel Collins

Studios :
Recording : Treasure Isle (Kingston, JA)
Mixing : Treasure Isle (Kingston, JA)

Bahram Mansurov - 1975 - Azerbaijani Mugam - Modal Music and Improvisation Vol. 9


"Bahram Mansurov was born in Baku in 1911. His grandfather and his father were musicians of repute. It was first with them that the young Mansurov learnt the technique of the tar . Later he had as a teacher the celebrated musician Muslim Magomayev. Employed by Radio-Baku as a tar soloist since 1930, he has been the chosen accompanist of the greatest Azerbaijan singers. He also took interest in modern musical experiments within the framework of the Naku Philharmonic. In 1956 he received the coveted title of "Artist Emeritus of the Republic."
With his delicate sensitivity and his profound knowledge of the mugam, Bahram Mansurov is unrivalled in the pure style of the traditional music of Azerbaijan." ~ Liner Notes

Bahram Mansurov
Azerbaijani Mugam - Modal Music and Improvisation Vol. 9
Unesco Collection - Phillips (Holland) LP 1975

01. Mugam Bayati-Isfahan (5:24)
02. Mugam Humayun (8:29)
03. Mugam Nivanishapur (4:52)
04. Mugam Shur (9:03)
05. Mugam Mahur-Hindi (11:52)
06. Mugam Bayati-Kurd (6:43)
07. Mugam Chahargah (9:05)

John Zorn Masada - 1995 - Jazzmarathon, Oosterpoort, Groningen, Netherlands



Live at Jazzmarathon, Oosterpoort, Groningen, Netherlands, 1995-10-15

SOURCE: FM Broadcast>TDK Audio Tape>Phillips Standalone CDR 560 CD TRANSFER>trade>AUDIO CD>EAC Secure Modus>Flac Frontend Level 6>Flac

SOUND: A/A+ (very few FM hiss, listen to mp3 sample)

John Zorn (as),
Dave Douglas (tp),
Greg Cohen (b),
Joey Baron (d)

1. Tannaim
2. Katzatz
3. Beer Sheba
4. Nevalah
5. Yoreh
6. Nashon
7. Kanah
8. unknown

Total Time: 55.00 min


Praxis - 1994 - Metatron

"Bill Laswell has almost always been a radical and restless artist, with a mind that wanders like a medieval apothecary picking up and soaking in every element of civilizations long declared dead by the terrible mechanizations of the occidental world. He is an artist who has made it his mission in music to search for more spatial interpretations of harmony and rhythm." ~ All About Jazz

"Beneath the darkly subsonic bass of producer Bill Laswell, the funk-laden beats of Primus drummer Brain and the extreme guitar terror of mutant virtuoso Buckethead, Praxis represents an inspiring, mesmerizing and harrowing foray into the collective mind of a lethally futuristic live unit. Group improvisation, musical breadth and sheer sonic assault are all pushed to their outer limits - true to the ethos of "free jazz" outfits like Last Exit and Painkiller, of which Laswell is also a member, but with a brash element of youthful exuberance that gives the music a fresh sound, even newer than "new school." Whether ambient, dub, funk, hip-hop, metal or avant-garde, each is wired and detonated across a canvas of controlled chaos." ~ Amazon