Saturday, October 6, 2007
Rant in E-Minor is the comedy equivalent of an Ingmar Bergman film. This posthumously released CD is so brutal, bitter, pessimistic, and honest that it is a very difficult task indeed to listen to it. Recorded most likely while he was going through chemotherapy for pancreatic cancer in 1993, Bill Hicks must have sensed the end was near for him. Like John Coltrane's wailing saxophone on "Interstellar Space," Rant in E-Minor seems to exorcise the burden of life from Hicks' body, while simultaneously reaching a level of passionate intensity rarely matched. That being said, Hicks spits out words like shards of glass, bound to lacerate anybody in his audience. While some may laugh, his bits about Jay Leno ("Artistic Roll Call"), Jesse Helms ("Deficit"), and Rush Limbaugh are sadistically cruel. His bleak notions include totalitarian world rule ("The Elite") and the loss of artistic integrity in American pop culture ("Fevered Egos"). Anybody who is anti-abortion, Catholic, or Republican is bound to be offended by this spitefully honest and slanted material. In listening to this disc, you will laugh as Hicks takes comedy to its most extreme boundaries, but you will also be saddened at the lack of optimism in his life at the time it was cut short. While listening to this man, who was so filled with bitterness, loneliness, and pessimism, one must realize that he was quite unlike any other comedian, because night after night he unleashed his convincing, but idealistic vision of the world on his audience. Unfortunately, it doesn't seem that he ever got to live in it.
1. "Fevered Egos" – 4:50
2. "Easter" – 1:19
3. "Gideons" – 1:05
4. "People Suck" – 0:21
5. "Pro Life" – 4:13
6. "People Who Hate People" – 0:32
7. "Non-Smokers" – 2:39
8. "Gifts of Forgiveness" – 5:09
9. "Purple Vein Dick Joke" – 0:29
10. "Confession Time (COPS)" – 4:25
11. "Wax Dart" – 0:30
12. "I'm Talking to the Women Here" – 1:10
13. "You're Wrong Night" – 5:37
14. "A New Flag (Patriotism)" – 1:13
15. "Gays in the Military" – 2:24
16. "I.R.S. Bust" – 1:09
17. "Politics in America" – 0:39
18. "Quiet Loner" – 0:57
19. "Artistic Roll Call" – 4:33
20. "Orange Drink" – 1:08
21. "Save Willie" – 1:30
22. "Deficit (Jesse Helms)" – 2:47
23. "Rush Limbaugh" – 2:21
24. "Time to Evolve" – 3:16
25. "Waco (Koresh)" – 5:35
26. "The Pope" – 1:02
27. "Christianity" – 0:27
28. "Seven Seals" – 0:28
29. "One of the Boys (Clinton)" – 1:03
30. "Car Bomb Derby" – 0:26
31. "The Elite" – 1:06
32. "Love List (No Future)" – 2:56
33. "Back to the Garden" – 1:20
34. "Your Children Aren't Special" – 3:13
35. "Wizards Have Landed" – 1:43
36. "Lift Me Lord" – 0:53
"La Barbara's voice (in triplicate) has the freshness and clarity of a frosty morning, and the three lines congeal into chords of an icy coolness, pure-toned and precisely tuned, a joy to witness.... I could easily understand if this record were to achieve the status of a cult object." ~ Gramophone
"Here is one of the great contemporary masterpieces for voice. Three Voices was composed for Joan La Barbara, a singer and performer of avant-garde music in the tradition of Cathy Berberian or Jan DeGaetani. In live performance, the singer stands next to two loudspeakers that play two prerecorded tapes of her voice, to which she synchronizes herself. At the center of the work is a setting of the poem Wind by Frank O'Hara. The various vocal patterns on either side of the poem were inspired, as in all Feldman's late music, by the patterns on Oriental carpets, and you actually can hear the slow modification of shape and form as the music proceeds. It's a remarkable work, and La Barbara's performance is definitive." ~ David Hurwitz
"After creating a classic with their second album, Blues for the Red Sun, desert metal gods Kyuss faced the unenviable task of delivering the goods once again for a new label, Elektra Records. And they almost pulled it off with 1994's stellar Welcome to Sky Valley. The album's 13 songs are divided into three "suites" which fully display the band's impressive creative range, from furious metal to psychedelic grooves, and anything in between. The first and most consistent of these suites starts with the huge guitar riff of "Gardenia" (which resembles molten lava flowing down the side of a volcano), continues into the moody space jam instrumental "Asteroid," and culminates in the strangely titled yet superbly diverse "Supa Scoopa and Mighty Scoop." Other highlights include the solid thrashing of "100 Degrees," the prog rock instrumental "Whitewater," and the rather mellow (by Kyuss standards) "Demon Cleaner." But no song exemplifies the Kyuss sound as well as the aptly titled "Odyssey," which opens suite number three and provides a veritable blueprint of the band's unique combination of ingredients. The track begins with a cryptic melody, explodes into a ferocious riff, glides into a psychedelic bridge, then returns to full-throttle for its conclusion." ~ AMG
"Rock Bottom, recorded with a star-studded cast of Canterbury musicians, has been deservedly acclaimed as one of the finest art rock albums. Several forces surrounding Wyatt's life helped shape its outcome. First, it was recorded after the former Soft Machine drummer and singer fell out of a five-story window and broke his spine. Legend had it that the album was a chronicle of his stay in the hospital. Wyatt dispels this notion in the liner notes of the 1997 Thirsty Ear reissue of the album, as well as the book Wrong Movements: A Robert Wyatt History. Much of the material was composed prior to his accident in anticipation of rehearsals of a new lineup of Matching Mole. The writing was completed in the hospital, where Wyatt realized that he would now need to sing more, since he could no longer be solely the drummer. Many of Rock Bottom's songs are very personal and introspective love songs, since he would soon marry Alfreda Benge. Benge suggested to Wyatt that his music was too cluttered and needed more open spaces. Therefore, Robert Wyatt not only ploughed new ground in songwriting territory, but he presented the songs differently, taking time to allow songs like "Sea Song" and "Alifib" to develop slowly. Previous attempts at love songs, like "O Caroline," while earnest and wistful, were very literal and lyrically clumsy. Rock Bottom was Robert Wyatt's most focused and relaxed album up to its time of release. In 1974, it won the French Grand Prix Charles Cros Record of the Year Award. It is also considered an essential record in any comprehensive collection of psychedelic or progressive rock. Concurrently released was the first of his two singles to reach the British Top 40, "I'm a Believer."" ~ AMG
"This 1988 recording helped to launch Peter Gabriel's Real World label. It also introduced Nusrat Fateh Ali Khan to the non-Pakistani world, presenting him as a kind of world music rock star. Nusrat and his nine-man "party" perform their trademark qawwali here without alterations for the Western market. They sing in Urdu, using religious and romantic texts drawn from the poetry of Sufiism, the mystical sect of Islam. And yet, all the elements that would make Nusrat a world pop sensation are here, above all his enormous voice, husky and trenchant, powerful as a hurricane, severe and foreboding on the darkest tracks, but always bursting with the ecstatic joy of revelation, as on the classic, "Shamas-Ud-Doha, Badar-Ud-Doha." The relentless hand clapping and tabla drum accompaniment convey an aggressive tranciness that combines the contemplative serenity of Indian classical music with the headbanging frenzy of punk rock. Droning harmonium melodies introduce each of these six, ten-minute-plus tracks, and then wind through the escalating vocal fireworks. Singers repeat lines with building intensity, each repetition squeezing more emotional juice from the words. Nusrat's scat-like improvisations are always a high point, often leading to swelling unison chant melodies sung by the entire party. This release effectively rallied a host of samplers, re-mixers, and film scorers who would keep Nusrat busy for the remaining decade of his life. But in retrospect, nothing they created surpasses this, Nusrat's first session at Real World. "Shahen Shah" means the "brightest star," and though qawwali music now has other international stars, Nusrat still merits his title." ~ AMG
"Recorded at the Village Vanguard in 1961, shortly before Scott LaFaro's death, Waltz for Debby is the second album issued from that historic session, and the final one from that legendary trio that also contained drummer Paul Motian. While the Sunday at the Village Vanguard album focused on material where LaFaro soloed prominently, this is far more a portrait of the trio on those dates. Evans chose the material here, and, possibly, in some unconscious way, revealed on these sessions — and the two following LaFaro's death (Moonbeams and How My Heart Sings) — a different side of his musical personality that had never been displayed on his earlier solo recordings or during his tenures with Miles Davis and George Russell: Evans was an intensely romantic player, flagrantly emotional, and that is revealed here in spades on tunes such as "My Foolish Heart" and "Detour Ahead." There is a kind of impressionistic construction to his harmonic architecture that plays off the middle registers and goes deeper into its sonances in order to set into motion numerous melodic fragments simultaneously. The rhythmic intensity that he displayed as a sideman is evident here in "Milestones," with its muscular shifting time signature and those large, flatted ninths with the right hand. The trio's most impressive interplay is in "My Romance," after Evans' opening moments introducing the changes. Here Motian's brushwork is delicate, flighty and elegant, and LaFaro controls the dynamic of the tune with his light as a feather pizzicato work and makes Evans' deeply emotional statements swing effortlessly. Of the many recordings Evans issued, the two Vanguard dates and Explorations are the ultimate expressions of his legendary trio." ~ AMG
"For all of the group's first three albums each being intriguing, engaging listens, there was no hint that Mi Media Naranja would be as flat out amazing as it was. Yet it was, and remains, Labradford's best album yet, an accomplished meshing of all the various elements to their sound over previous releases into one near-perfect sonic document. Making a specific benefit out of turning the minimal into something maximal always was the band's major ability, but it gets showcased here to a new, breathtaking extent. "S" sets the scene just right, with Mark Nelson's trademark, deliberate, echoed guitar plucking, and all manner of ambient keyboard touches joined by gentle strings and, most notably of all, a crisp, dub-inflected rhythm, spare but forceful. Add to this an overlay near the start of the song of a high-frequency pitch — not annoying, but noticeable — and the end impression is of a band in full command of how to create detailed but not overly busy songs, compelling in their understated beauty. The album is packed with such high points and subtle sonic touches — the sample of a child and slight bossa-nova rhythm on "WR," the loops of running liquid and distant engines behind twinkly keyboard sounds — and then all that behind the usual guitar/organ interplay — on "I," along with cryptic found-sound, man-on-the-street statements dropped in at various points to boot. Quietly fascinating and endlessly listenable, Media turns what had been a very good band indeed into a masterful one." ~ AMG
01 S (6:19)
02 G (4:00)
03 WR (5:50)
04 C (6:25)
05 I (4:59)
06 V (6:25)
07 P (9:19)
AS POSTED ON DIME HERE
New Orleans, LA.
Tulane University 1975-03-02
Soundboard > cassette > CD > wAV > FLAC
SOUND QUALITY IS VERY GOOD - a little hiss in quiet moments.
Came across this little gem and would like to share it with everyone.
While my brother was attending Tulane, he was on the "concert committee" and they brought Jackson Browne to town. His concert committee "job" consisted of helping the roadies unload the band's equipment, finding the band the best sack of weed on campus (the easiest part of the day), then hanging out backstage all day.
Oh, and he was also able to patch into the soundboard with whatever crappy cassette recording equipment was the norm back in 1975.
Anyway, this is a wonderful show - above average sound (although there are a few squeaks coming from the band's equipment now and again), and the band sounds great.
One more note : my brother shared that bottle of wine Jackson talks about in his intro to Ready or Not !
David Lindley - guitars, "fiddle"
Larry Zack - drums
Dennis Kavourik (sp?) - bass
Wayne Cook - piano
Herb Peterson - banjo
Chris Smith - pedal steel
I Am A Child
Rock Me On the Water
Come All Ye Fair and Tender Ladies >
Take It Easy
Lady of the Well
For A Dancer
Ready or Not
Fountain of Sorrow
Crystal Ball story
Doctor My Eyes >
The Road and the Sky
Before the Deluge
"Jamaican Politics and Bob Marley One Love Peace Concert
Following the success of ’Smile Jamaica’ two of Jamaica’s most notorious ’area leaders’ tried to organize a concert that, in their estimation would aid in the decreased amount of killings that were taking place between rival gangs and seemingly only benefiting the politicians.
Therefore in 1978 the One Love Peace Concert was held at this momentous occasion Bob requested the two leaders of the rival parties to join him on stage and to join hands in an attempt to show the people of Jamaica their commitment to the betterment of the society including decreasing political rivalry and the struggle between capitalism and socialism.
Bob Marley and His Influence on Jamaican Politics
The Manley administration however used this historic One Love Peace concert to their political advantage, and within a few weeks called for an election in which there was a landslide victory for the PNP.
Many thought that Bob Marley's One Love Peace Concert had swayed the election. Manley as a politician utilized reggae artists like Bob Marley to validate his connection with Jamaican sufferers and Rastafarians and this aided at least in part the respect he received form those who called themselves sufferers.
The continued shifts in power Jamaica cause it to remain the most politically dynamic and culturally diversified in the Caribbean. States of emergency and political unrest are somehow signals of a struggling sovereignty’s attempt to rectify disparities between race, class, and color and instead create a space where the motto can be exemplified.
‘Until the philosophy which hold one race superior and another inferior is finally and totally discredited and abandoned; that until there are no longer first class and second class citizens of any nation; until the color of a man’s skin is of no more significance than the color of his eyes; that until the basic human rights are equally guaranteed to all, without regard to race; that until that day, the dream of lasting peace, world citizenship, the rule of international morality will remain but a fleeting illusion to be pursued but never attained.
And until the ignoble and unhappy regime that hold our brothers in Angola, in Mozambique, in South Africa, in sub-human bondage, have been toppled, utterly destroyed; until that day the African continent will not know peace. We Africans will fight we find it necessary. And we know we shall win, as we are confident in the victory of good over evil. (These words adopted directly from a speech made by Haile Selassie I)
The definition of the Babylon system and the need to defeat this system places Rastafarians in position to influence the impact of neo-colonialism on their society. Rastafarians see themselves as agents of Babylon’s destruction.
Their solution to “beating down Babylon” resonates among the dispossessed and is shown political dissonance and cultural resistance;
1)developing a mentality of Blackness,
4)and negative stereotypes of both blacks, poor and Rastafarians, attacking social problems with the abilities they have which finds itself in music.
Reggae restores self-awareness to people . According to Linden F. Lewis, “reggae is the Rastafarian vehicle for political, cultural, moral, and religious purposes and protests because it sets the stage for a departure from Babylonian lifestyle and eventual demolition of its system”.
Reggae music therefore was used as a tool for change from the top echelons of the very ghettos that he tried to liberate with his cry of not only mental liberation but also a intense support for the struggles of all Africans and blacks around the world.
Rasta and Politics are Inextricably Linked.
Though vehemently opposed to the “shitsym”, they were a body mass that created and sustained the single most powerful aspect of Jamaican culture. The use of cultural politics as it is practiced in Jamaica ensured that there is a place to use and abuse all aspects of the society.
Marley should be seen as an example of how culture is use by the system to out their message. The people recognized the inequity of the system, as it afforded them no say directly in the politics of the time, they therefore used their music to send their message to both politicians as well as the downtrodden.
It has been said that the music of Bob Marley allowed South Africans to deal with the Apartheid system.
It allowed them to demand a change and when such change was not fore coming from their governments then they went ahead and took control of the situation themselves and aid in bringing an end to the Apartheid system in South Africa.
Therefore Bob Marley has not only affected the politics of Jamaica but also international systems particularly those political struggles in Africa.
Indeed were a part of Marley’s political agenda even within Jamaica, the game of 'politricks' was not just regulated to Jamaica but also on the African Continent in "Burnin' and Lootin'" we get a picture of the police state:
This morning I woke up in a curfew Oh god, I was a prisoner too - yeah Could not recognise the faces standing over me They were all dressed in uniforms of brutality." ~ Rasta-Man-Vibration
"Natty Dread" from the One Love Peace Concert
"Along with Dr. Dre's The Chronic, the Wu-Tang Clan's debut, Enter the Wu-Tang (36 Chambers), was one of the most influential rap albums of the '90s. Its spare yet atmospheric production — courtesy of RZA — mapped out the sonic blueprint that countless other hardcore rappers would follow for years to come. It laid the groundwork for the rebirth of New York hip-hop in the hardcore age, paving the way for everybody from Biggie and Jay-Z to Nas and Mobb Deep. Moreover, it introduced a colorful cast of hugely talented MCs, some of whom ranked among the best and most unique individual rappers of the decade. Some were outsized, theatrical personalities, others were cerebral storytellers and lyrical technicians, but each had his own distinctive style, which made for an album of tremendous variety and consistency. Every track on Enter the Wu-Tang is packed with fresh, inventive rhymes, which are filled with martial arts metaphors, pop culture references (everything from Voltron to Lucky Charms cereal commercials to Barbra Streisand's "The Way We Were"), bizarre threats of violence, and a truly twisted sense of humor. Their off-kilter menace is really brought to life, however, by the eerie, lo-fi production, which helped bring the raw sound of the underground into mainstream hip-hop. Starting with a foundation of hard, gritty beats and dialogue samples from kung fu movies, RZA kept things minimalistic, but added just enough minor-key piano, strings, or muted horns to create a background ambience that works like the soundtrack to a surreal nightmare. There was nothing like it in the hip-hop world at the time, and even after years of imitation, Enter the Wu-Tang still sounds fresh and original. Subsequent group and solo projects would refine and deepen this template, but collectively, the Wu have never been quite this tight again." ~ AMG
01 - Bring Da Ruckus
02 - Shame On A Nigga
03 - Clan In Da Front
04 - Wu-Tang- 7th Chamber
05 - Can It Be All So Simple
06 - Da Mystery Of Chessboxin'
07 - Wu Tang Clan Ain't Nuthing Ta Fuck Wit
08 - C.R.E.A.M.
09 - Method Man
10 - Protect Ya Neck
11 - Tearz
12 - Wu-Tang- 7th Chamber - Part II
13 - Method Man (Skunk Mix)
14 - Conclusion
Music Video for 'Protect Ya Neck'
"This two-disc set, running as long as CDs allow, provides a comprehensive look at the second and final decade of the Supremes, the era after lead singer Diana Ross left, when sole original member Mary Wilson juggled personnel changes and struggled with Motown Records and the changing musical times to try to maintain the group's success. She did that with some degree of effectiveness, especially in the first few years. It's apparent that Motown did make some efforts to support the Supremes, providing Smokey Robinson and Stevie Wonder as at least occasional writer/producers, with their old hitmakers — Brian Holland, Lamont Dozier, and Edward Holland Jr. — even coming back in toward the end. The result was a batch of hits, including the R&B chart-topper "Stoned Love," through mid-1972. It is not clear why the group had no album releases in 1973 or 1974, and Wilson in her liner notes doesn't seem to know, either. But by the time they returned to recording in 1975, despite the efforts of the Holland brothers and a series of disco-styled recordings that scored in the dance clubs, the old momentum was lost, especially as the lineup changed, with lead singer Jean Terrell giving way to Scherrie Payne, and the Supremes disbanded in 1977. On the hits, select album tracks, and some revealing previously unreleased material, one can hear the group's development. Their versions of well-known songs by others — Stephen Stills' "Love the One You're With," Joni Mitchell's "All I Want," Bread's "Make It With You," the Jackson 5's "Never Can Say Goodbye" — are illuminating, and hits like "Up the Ladder to the Roof" and "Floy Joy" hold up well. The later editions of the Supremes may not rank with the Diana Ross-led '60s version, but this collection demonstrates that they had their own appeal." ~ AMG
01. Up the Ladder to the Roof
02. Everybody's Got the Right to Love
03. The Loving Country
04. Life Beats
05. Together We Can Make Sweet Music
06. Stoned Love
07. It's Time To Break Down
08. River Deep - Mountain High(with the Four Tops)
09. Nathan Jones
11. Function at the Junction
12. Love the One You're With
13. Oh My Poor Baby
14. Make It With You
15. I'll Let Him Know That I Love Him
16. Never Can Say Goodbye
17. Walk With Me, Talk With Me Darling"
18. Floy Joy
19. Automatically Sunshine
20. Your Wonderful, Sweet Sweet Love
21. When Can Brown Begin
22. I Keep It Hid
01. All I Want
02. I Guess I'll Miss the Man
03. Bad Weather
04. Love Train
05. The Sha-La Bandit
06. It's All Been Said Before
07. He's My Man
08. Give Out, But Don't Give Up
09. Where Do I Go From Here
10. Bend a Little
11. Can We Love Again
12. High Energy
13. I'm Gonna Let My Heart Do the Walking
14. You're What's Missing In My Life
15. Don't Let My Teardrops Bother You
16. There's Room at the Top
17. You're My Driving Wheel
18. Let Yourself Go
19. Love I Never Knew You Could Feel So Good
20. We Should Be Closer Together
Band of Gypsys was the only live recording authorized by Jimi Hendrix before his death. It was recorded and released in order to get Hendrix out from under a contractual obligation that had been hanging over his head for a couple years. Helping him out were longtime friends Billy Cox on bass and Buddy Miles on the drums because the Experience had broken up in June of 1969, following a show in Denver. This rhythm section was vastly different from the Experience. Buddy Miles was an earthy, funky drummer in direct contrast to the busy, jazzy leanings of Mitch Mitchell. Noel Redding was not really a bass player at all but a converted guitar player who was hired in large part because Hendrix liked his hair! These new surroundings pushed Hendrix to new creative heights. Along with this new rhythm section, Hendrix took these shows as an opportunity to showcase much of the new material he had been working on. The music was a seamless melding of rock, funk, and R&B, and tunes like "Message to Love" and "Power to Love" showed a new lyrical direction as well. Although he could be an erratic live performer, for these shows, Hendrix was on -- perhaps his finest performances. His playing was focused and precise. In fact, for most of the set, Hendrix stood motionless, a far cry from the stage antics that helped establish his reputation as a performer. Equipment problems had plagued him in past live shows as well, but everything was perfect for the Fillmore shows. His absolute mastery of his guitar and effects is even more amazing considering that this was the first time he used the Fuzz Face, wah-wah pedal, Univibe, and Octavia pedals on-stage together. The guitar tones he gets on "Who Knows" and "Power to Love" are powerful and intense, but nowhere is his absolute control more evident than on "Machine Gun," where Hendrix conjures bombs, guns, and other sounds of war from his guitar, all within the context of a coherent musical statement. The solo on "Machine Gun" totally rewrote the book on what a man could do with an electric guitar and is arguably the most groundbreaking and devastating guitar solo ever. These live versions of "Message to Love" and "Power to Love" are far better than the jigsaw puzzle studio versions that were released posthumously. Two Buddy Miles compositions are also included, but the show belongs to Jimi all the way. Band of Gypsys is not only an important part of the Hendrix legacy, but one of the greatest live albums ever.
4.Power of Soul-6:53
5.Message of Love-5:22
6.We Gotta Live Together-5:46
Marshall Allen Interview in Japan/performance
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Don't miss the opportunity to experience this incredible musical entity, live dates are scheduled in New York for later this month:
Oct. 26th. New York City Jazz Improv Festival. INFO CAN BE FOUND HERE
Oct. 31st. & Nov 1st. New York City Iridium, 1650 Broadway. INFO CAN BE FOUND HERE
Add to My Profile | More Videos
Don't miss the opportunity to experience this incredible musical entity, live dates are scheduled in New York for later this month:
Oct. 26th. New York City Jazz Improv Festival. INFO CAN BE FOUND HERE
Oct. 31st. & Nov 1st. New York City Iridium, 1650 Broadway. INFO CAN BE FOUND HERE
Free Moral Agents is the experimental/trip hop/jazz/funk side project of The Mars Volta's Ikey Owens, and this is their debut. I couldn't find a decent review of this online, but don't think that that means the album is bad. This is an excellent debut from an incredibly interesting band, and I highly recommend it, and you should definetely check it out!
1. Everbody's Favorite Weapon
2. Lay Down
3. Underwater Reverb
4. Omar On A Swing
5. What's Your Bloodgauge?
6. Gem From A Broken Rock
7. I Travel
8. Talk Show Host
9. Disjointed Love Song
10. I Travel (Remix)
Friday, October 5, 2007
"Joe Zawinul was born in Earth time on 07 July 1932 and was born in Eternity time on 11 September, 2007. He, and his music, will continue to inspire!" ~ Official Site of Joe Zawinul
AS POSTED ON DIME HERE
Joe Zawinul Sindycate - 2007-07-29 Minori (Salerno) Italy DVD (AUD)
(Maybe the last video ever)
Jazz on the coast - Minori (Salerno) Italy
Video Source: Canon DV + Ext Mic Audiotechnica
Video Lineage: AUD (Hand Held) > Master DV > DVD-Lab pro > DVD
Video Bitrate: 10080 kb/s VBR
DVD Author: Umax25
DVD Length: 1:42:51
Default DVD5 (Single Layer)
Audio Source: Canon DV + Ext Mic Audiotechnica
Lineage: Master DV > Sound Forge 7.0 > DVD-Lab pro > DVD
Audio Codec: MPEG-1 Layer 2 CBR
Audio Bitrate: 48000Hz 224 kb/s tot , Stereo
center of stage
to be defined
chapter every song
Zawinul Sindycate is:
Joe Zawinul - Keyboards and voice
Paul Shigihara - guitar
Linley Marthe - bass
Paco Sery - drums
Jorge Bezerra - percussions
Sabine Kabongo - voice
Aziz Sahmaoui - percussions and voice
AS POSTED ON DIME HERE
This is a special seed for my friend Pierre:
Duke ELLINGTON Orchestra
Live in Stuttgart-Germany, 1965-02-09
SOURCE: FM>tape copy from the original broadcast>CD TRANSFER>trade>CD>EAC Secure Modus>Flac Frontend Level 6>Flac
SOUND: A- (FM noises from the original Broadcast, listen to mp3 sample)
Cat Anderson, Cootie Williams, Herbie Jones,
Ray Nance, Mercer Ellington -tp; Lawrence Brown, Chuck Connors,
Buster Cooper -tb; Johnny Hodges, Russell Procope -as;
Jimmy Hamilton, Paul Gonsalves -ts; Harry Carney -bs;
Duke Ellington-p; John Lamb -b; Sam Woodyard-d;
1 MIDRIFF 4.20
2 AFRO BOSSA 3.52
3 TOOTIE FOR COOTIE 6.02
4 MEOW 3.14
5 CHELSEA BRIDGE 4.12
6 BLOW BOY BLOW 3.50
7 KINDA DUKISH - ROCKIN' IN RHYTHM 5.02
8 SATIN DOLL - SOPHISTICATED LADY 4.30
9 C-JAM BLUES 3.34
10 PASSION FLOWER 4.34
11 THINGS AIN'T WHAT THEY USED TO BE 3.08
12 HARMONY IN HARLEM 2.54
13 JEEP'S BLUES 4.34
14 JAM WITH SAM 3.28
15 THE OPENER 2.46
16 TAKE THE 'A'- TRAIN 4.20
17 JUST A'SITTIN' AND A'ROCKIN' 3.48
18 ADLIBIN' AT NIPPON 12.14
19 PERDIDO 8.14
20 COME SUNDAY 4.56
Total time: 1h 33.32
*COMPLETE ORIGINAL BROADCAST*
Thursday, October 4, 2007
"This is the second of two performances from February 1975 at the Osaka Festival Hall in Japan. This is the evening show; the Columbia release Agharta was the afternoon show. Pangaea is comprised either as a double LP or double CD of two tracks, "Zimbabwe" and "Gondwana." Each is divided into two parts. The band here is comprised of Sonny Fortune on saxophones, Pete Cosey (who also played synth) and Reggie Lucas on guitars, Michael Henderson on bass, Al Foster on drums, James Mtume on percussion, and Davis on trumpet and organ. The band, no doubt inspired by their amazing performance earlier in the day, comes out swinging, and I mean like Muhammad Ali, not Benny Goodman. This is a take-no-prisoners set. Davis seems to be pushing an agenda of "What the hell is melody and harmony? And bring on the funk -- and while you're at it, Pete, play the hell outta that guitar. More drums!" If there is anything that's consistent in this free-for-all, as everybody interacts with everyone else in an almighty dirty groove & roll while improv is at an all-time high, it's the rhythmic, or should we emphasize "polyrhythmic," invention. Mtume and Foster are monstrous in moving this murky jam session along ("Zimbabwe" is one set, and "Gondwana" is the second of the evening) some surreal lines. When Cosey's not ripping the pickups out of his guitar, he's adding his hands to various percussion instruments in the pursuit of the all-powerful Miles Davis' inflected voodoo funk. And while it's true that this set is as relentless as the Agharta issue, it's not quite as successful, though it's plenty satisfying. The reason is simple: the dynamic and dramatic tensions of the afternoon session could never have been replicated, they were based on all conditions being right. Here, while the moods and textures are carried and the flow is quite free, the dramatic tension is not as present; the mood is not quite so dark. And while the playing of certain individuals here may be better than it is on Agharta, the band's playing isn't quite at that level. That said, this is still an essential Miles Davis live record and will melt your mind just as easily as Agharta. People would complain on this tour that Davis played with his back to the audience a lot -- Lester Bangs went so far as to say he hated his guts for it. But if you were this focused on creating a noise so hideously beautiful from thin air, you might not have time to socialize either."
" Before writing up my review of Tera Melos' new EP Drugs to the Dear Youth I decided that Tera Melos was my favorite band with regard to technical proficiency. To challenge that and maybe break myself, I decided to go on youtube and watch everything I could think of that was technically insane. I watched the trailer for the new DEP album. They're pretty good with their instruments, I do agree. Then my friend Carlos knocked on my door and came in. He had me watch all of these virtuostic guitarists do two-handed tapping techniques. We watched stuff by Michael Hedges, Stanley Jordan, Justin King, etc. As I am every time I see videos of these guys performing, I was in at awe at how good they are on their instruments, and this is all while they write pretty good, tasteful songs. But then I decided to bring up a Tera Melos video. They do use two-hand tapping, and they aren't as aggressive and crazy as DEP, but I noticed that there was something else at work with their music. I think it was while watching their guitarist do a two hand tapping segment for "Melody 5" and then run into a crowd member, falling over, and still hammering out his giant headbanging guitar part while on the ground that I realized they aren't art�*stes or virtuosos, but people who know how to write fun music, yet decide to run that through the meatgrinder that is their amazing technical proficiency and harrowing live performance. Then, comparing this conclusion to my opinion of Tera Melos' self-titled LP, I saw that a lot of songs, while technically awesome, utilized a lot of pretty major key sounds, and a lot of songs operated like good At the Drive-In songs with cool chord voicings and nice crescendos at the ends (see "Melody 6"). They were very palatable and decidedly untechnical and their posture and swagger. So I guess short of repeating the success of their first album, Tera Melos could have gotten either poppier, or more technical. Would they move towards the anthemic sound of ATDI or Fall of Troy, or would they move off towards the fractious, oddball territory of Dillinger Escape Plan? To my pleasant surprise, they did both.
Drugs to the Dear Youth is in many ways poppier than the self-titled LP. Gone are the likes of 3-minute computer programmed outros a la "Melody 5", and the 28-minute long noise exposition "Melody 8," and in its place are incredibly concise and catchy songs. Excepting the extended "40 Rods to the Hog's Head" most of the songs feel completely jam-packed with cool ideas and catchy riffs. In other ways though, this poppiness seems to get trumped by the technicality. This EP is not somehow more technically proficient from an instrumental standpoint, but in general the song structures and variety to each song is even weirder than on the LP, meaning and even more stuttered and convoluted flow, and an even larger arena for stretching musical frontiers. There are pros to their interactions as well. By having a lot of weirder transitions, there are a lot of really memorable little seconds. The first minute of "Spoonful of Slurry" seems almost geared towards having each 2 second fragment be as memorable yet varied as possible, resulting in sweet riffs, amazing solos, and an altogether impregnable wall of ideas and textures. The end result is that the songwriting is ridiculous verging on genius, maybe closer to the latter, and on top of that, every moment is palatable and geared towards fun and catchiness.
However, Drugs to the Dear Youth is also much more technical. After losing a guitarist, there was a need to fill the space created by losing one voice in a 4-part crazy technical band. The ironic thing about Tera Melos though, is that the primary guitarist already often uses two-handed tapping techniques so further doubling the parts to fill in for the loss of a guitarist would imply quadruple-tapping, which would then require being a Mortal Kombat character like Shiva or Goro with 4 arms. Not a likely solution. So, instead of just wiling out and upping the game to a superhuman level, the remaining guitarist, Nick, just made his playing even more varied and unpredictable, which also ties into the improvements to the songwriting. The bass and the drums also bring their A game. One aspect I like about the drumming is that the scattered, loose-feel drumming makes an appearance outside of the "filler" tracks (really just the 28-minute long noise track "Melody 8"). There's a distinct balance between the hard hitting snare accent sections and the more loose-feel ones that is really appealing. Once again the bass is the "weakest" instrument, if you can even use that term in relation to a Tera Melos musician. The bass just isn't balls out ridiculous but once again is incredibly tasteful and fun.
My only gripe: it's an EP. It probably has as much actual music as their self-titled LP when you skim off all of its filler aspects and 28-minute closing track, but I wish Tera Melos would get around to shredding out a full LP. Their songwriting isn't schtick and can legitimately hold my attention for well over 20 minutes, so why haven't they produced a full album? Maybe it's tough to create more than 20 minutes of material this insane and saturated with cool moments in any given go at writing an album, but I'm aching for more. Overall, this album is both more technically impressive, yet also catchier. I don't know how they're balancing it, but this album is even more savage and fun than their LP, just with reduced content at its 20:51 running time."
1. Ambassadors of All That is Good
2. 40 Rods to the Hog’s Head
3. Guy vs. DC Sniper
4. A Spoonful of Slurry
5. The Werewolf and Ben
6. (Is Good For What Ails You)
From Splendid Magazine:
"Tera Melos would be the first ones to tell you that they don't play punk, and they'd be 100 percent correct. While they're certainly inspired by punk, they use its simplicity and power to rip a hole in the genre formerly known as instrumental guitar rock, combining elements of jazz and electronica to create a unique synthetic blend. The result is an album that values loud blast of volume and catchy anthemic riffs as much as weird sounds, unexpected textures and non-traditional song structure -- and a fantastic lesson in how to take instrumental music beyond its constraints.
Uninitiated listeners may simply label Tera Melos as math rock and be done with it, but they'd be half wrong; "Melody 2" and the muscular "Melody 4" in particular belie a certain affinity for shifting time signatures and a propensity for doubling up on rhythms, but the melodic intent is so ferocious that it's easier to relate the band to spazzers like Cap'n Jazz than to instrumental perfectionists like Don Caballero or Turing Machine. Indeed, some of the deconstruction they pull off at the end of "Melody 3" and throughout the 28-minute closer "Melody 8" is similar to the instrumental work of Cap'n Jazz alums Ghost & Vodka and Joan Of Arc. "Melody 8", in particular, is an unlikely example of rock on the margins -- that is, a sonic experiment that can only loosely be classified as rock. It's a cacophony of melodies and noise, repeatedly surging and suppressing itself, creating texture and rhythm out of unanticipated conjunctions. This is the most extreme example of their experimentalism; "Melody 6" comes closer to math/emo pioneers Braid's familiar jerky stop/start style.
Lest you think this is all heady guitar rock or artsy tripe, rest assured that it's not. Opener "Melody 1" is a short, jazzy electronic piece, "Melody 5" ends with a glitchy piano fade-out, and drummer Vince Rogers's free jazz training is clearly in use on sections of "Melody 2" and "Melody 6". Most of the album rocks out hard enough to sue for whiplash, and apparently the band's live shows are legendary acts of near-catastrophe. The album is a well-oiled and barely-contained version of that same intensity, resulting in fly-on-the-wall appreciation for a musical approach that's just short of dangerous. It's tough to recommend this record strongly enough -- you just need to check out Tera Melos for yourself."
1. Melody 01
2. Melody 02
3. Melody 03
4. Melody 04
5. Melody 05
6. Melody 06
7. Melody 07
8. Melody 08
"As is typically the case with this type of music, listening to it on CD simply does not do it justice. It must be heard and seen in the live setting for full appreciation. Behold… the Arctopus is one of the better bands falling into that category. And fortunately for us, Metal Blade has reissued the trio’s debut, "Nano-Nucleonic Cyborg Summoning," complete with live versions of most of the songs. It still doesn’t match the sensory experience of a concert, but it’s the next best thing.
Behold… the Arctopus plays technical and deranged instrumental music full of hairpin turns and precise stops and starts. The most interesting aspect involves the use of a 12-string warr guitar played by Colin Marston. It occupies a space between bass and guitar, with Marston relentlessly tapping out intricate rhythms. Guitarist Mike Lerner more than holds his own, however, dishing out electrifying fretboard finesse that would raise Eddie Van Halen’s eyebrows. Drummer Charlie Zeleny, as well, gets his time in the spotlight, most noticeably on the drum solo that ends "Estrogen/Pathogen Exchange Program."
Sometimes there’s restraint shown that still possesses amazing proficiency. Other times Behold… the Arctopus goes completely haywire. Parts of "Sensory Amusia" approximate a malfunctioning machine. But if you’ve got the skill, you might as well flaunt it. There’s classical, mood-enhancing passages and methodical, head-splitting metal. As chaotic as the proceedings sometimes seem, this trio plays as fluidly as could be expected, like each member instinctively knows where the others are going.
While the group isn’t trying to be as over-the-top as some Dillinger clones have tried, this music definitely falls into the avant-garde realm. Given its song lengths, lack of vocals and variegated structures, it’s only likely to appeal to a limited group of music freaks. But of those who like their tunes flashy, scholarly and wildly eccentric, this is a must. Even if you consider this one giant wankfest, you must at least bow to the members’ facility and dexterity. And try seeing it live to be fully converted."
1. Exospacial Psionic Aura
2. Estrogen/Pathogen Exchange Program
3. Sensory Amusia
Wednesday, October 3, 2007
A madman with a solid work ethic, Devin Townsend played everything on this album himself, except the drums, which were programmed using Meshuggah's "Drumkit From Hell". Heavy Devvy's done a lot of great music before, but this is his first concept album - and the good news is, the concept is a total hoot. It's about this intergalactic marauder named Ziltoid who is on a quest for the universe's ultimate cup of coffee. He comes to earth and asks for our best of coffee - which however turns out to be far from good (no doubt, the hapless Ziltoid touched down somewhere in the USA where they drink this acrid black secretion instead. A cup of steaming South Indian filter coffee would have inspired him to declare himself humanity's lifelong protector). Ziltoid then determines to destroy the planet. Woe is us! Or are we? For you see, Captain Spectacular has seen through his facade and now sets out to expose Ziltoid for what he really is - a nerd.
I won't give away any more of the plot, but it's all super fun, a classic B-grade SF movie filtered through a seriously warped sense of humour and an equally warped and totally brilliant musical sensibility. The music is as strong as anything Townsend's ever done, ranging from really heavy semi-industrial fare like 'By Your Command' or the ferocious 'Ziltoidia Attaxx' to the many moods and soaring melodies of 'Solar Winds', the more melodic and mid-tempo 'Hyperdrive', the demented 'Planet Smasher' or the epic 'Colour Your World', which has as much right to be called prog as anything by Dream Theater.
I think they'll be calling this one an eccentric masterpiece in the years to come. You could say that about all Townsend's music, of course, but his hijacking of B-movie thematics and OTT narrative interludes is so utterly corny - yet artistically succesfull - that I'd rate it pretty high. It'll make you laugh and it'll impress you too.
"With Chris Prescott as the new drummer and Greg Wales handling production in place of Trombino, on Fire in the City of Automatons, No Knife would seem to be wanting a fresh start all around, though it's more a logical extension of where the band's been. In ways, though, the band has never sounded more immediately radio-friendly — and that's not an insult. There's something about the choppy but never spastic flow of songs like "Academy Flight Song" (with an obvious titular and subtly musical nod to Mission of Burma) which makes good driving music, propulsive and cleanly powerful. Overall, meanwhile, there's a sense — almost indefinable, but still present — of trying for the post-punk soar and sound of American bands like For Against, the Curtain Society, and 12 Rods. It's not only in the guitars, but in the way Mitch Wilson's voice, which shows ever more control and subtlety as the years go by, sings in a strong but not testosterone-laden way while also avoiding shrill shrieks. Meanwhile, the music shows the powerfully sorrowful side of the band like never before, whether it's the slow groove of "The Spy" (Brian Desjean and Prescott in particular deserve some credit on this one, while Ryan Ferguson's piano is a fine extra touch) or the equally captivating film noir shades of "Under the Moon," Wilson's singing often at his quietest yet most direct. The really wonderful "Minus One" not only shows off one of Wilson's best lead vocals yet, but is shot through with a swinging, epic rhythm mixed with just enough melancholic guitar chime. There's still enough out-of-nowhere rhythm section shifts to remind one of the earlier band — check out "Heavy Weather" or "Angel Bomb," the weird radio-signal guitar on the verses in particular being a strange, captivating touch." ~
Tuesday, October 2, 2007
From Rolling Stone:
"The weegee photo on the cover sets you up for downtown composer/alto saxophonist John Zorn's latest musical onslaught. Yanking deliberately harsh and grainy shots out of the mix-and-match sonic grab bag called pop history, Zorn compresses them into odd-angled sound bites, shuffles them and then hurls them by in a gleeful assault. Despite patches of relative calm and even innocence, ironic subversion lurks at every turn of phrase.
Naked City was formed a year and a half ago to give Zorn a focused vehicle for his omnivorous compositions and rearrangements. Taking its name from the gritty pulp TV show ("There are eight million stories in the ..."), this collection of downtown all-stars – Zorn, Bill Frisell on guitar, Wayne Horvitz on keyboards, Fred Frith on bass, Joey Baron on percussion – did a four-night, eight-set stint at the Knitting Factory, in New York City, last summer, never repeating a tune. Now tightened and toughened by roadwork, the band jump-cuts – often within a single piece – from surf-music buoyancy to reggae punch, country twang to film noir sleaze, hardcore slam-dunk to second-line strut, with the kind of grinning, methodical urgency you'd expect from a chain-saw murderer in a rush-hour subway car.
Imagine the resulting spatter as a Jackson Pollock canvas, and you'll begin to understand how Naked City transforms everything it touches. Like, for example, jazz great Ornette Coleman's "Lonely Woman." Coleman, a Zorn hero, wrote and played it as a brooding, off-balance elegy, but in this band's hands, it comes out as a contemporary "Peter Gunn" played by Booker T. and the MG's. "The Sicilian Clan," by another Zorn fave, spaghetti westerner Ennio Morricone, curls up in a cocktail lounge with a cheesy Farfisa organ out of "Telstar." Then there are Zorn's originals – raging grungers like "Hammerhead," mutant cartoon memories like "Snaggle-puss," skewed beach-blanket bingos like "Batman" and infectious R&B party-downs like "Latin Quarter" – each produced to mimic its genre's classic sound.
Think of Zorn as a rapid-fire radio scanner: Part of the listening fun is hanging on for dear life whenever he hits the button. Catch your breath when you can. (RS 581)
1. Batman – 1:58
2. The Sicilian Clan (Ennio Morricone) – 3:27
3. You Will Be Shot – 1:29
4. Latin Quarter – 4:05
5. A Shot in the Dark (Henry Mancini) – 3:09
6. Reanimator – 1:34
7. Snagglepuss – 2:44
8. I Want to Live (Johnny Mandel) – 2:08
9. Lonely Woman (Ornette Coleman) – 2:38
10. Igneous Ejaculation – 0:20
11. Blood Duster – 0:13
12. Hammerhead – 0:08
13. Demon Sanctuary – 0:38
14. Obeah Man – 0:17
15. Ujaku – 0:27
16. Fuck the Facts – 0:11
17. Speedball – 0:37
18. Chinatown (Jerry Goldsmith) – 4:23
19. Punk China Doll – 3:01
20. N.Y. Flat Top Box – 0:43
21. Saigon Pickup – 4:46
22. The James Bond Theme (John Barry) – 3:02
23. Den of Sins – 1:08
24. Contempt (Georges Delerue) – 2:49
25. Graveyard Shift – 3:25
26. Inside Straight – 4:10
you either love this record or you hate it.
from everything i've read, there's no in between.
I, personally, love it.
Side B is runs 25 minutes (taking up the whole side) and is called, "Free Form Funkadelic Filth"
Listen and judge for yourself.
If you're a fan of Sigur Ros and love the organic nature of vinyl, this is for you. This is a direct rip from the limited edition 10" entitled 'Vaka'. Side A is called "Untitled 1" from the ( ) album. Side B is also untitled, however not found on the same album. (I think the track was previously unreleased). At any rate, this is Sigur Ros at their best. Enjoy the sounds...
"For the most part I�m a pretty musically open person. I listen to an assortment of bands in every genre and respect them all for their individual traits. For awhile I thought I would never be able to do this with one genre though. Metal to me has always seemed over done, badly produced and incredibly repetitive (but not in a good way). Few metal bands seem to stretch themselves out to the point of true experimentation and would much rather fill some filler with a five minute guitar solo then with something that would actually be worth my time to listen to. I tried to get into Opeth, I worked very hard to get into Cryptopsy, and finally when I thought all hope was lost, I found the perfect metal band for me, maudlin of the Well. At the recommendation of Nick (Dfelon) two years or so ago, I downloaded the album Choirs of the Eye by a band by Kayo Dot. The album interested me, but seemed a little bit too dense for my tastes. It seemed like someone who truly understood the actual �making" of the music would respect the album far more than me, so I kind of listened to it rarely and considered it something that was a bit above me. As time passed my musical knowledge increased as well as my taste and finally one day I picked up Choirs of the Eye and everything clicked. The piccolo trumpet solo on �The Manifold Curiosity", the spoken lyrics closing �Marathon" and the overall purpose of the album. I wanted more of the band so as I searched and searched I discovered that the previous incarnation of Kayo Dot, maudlin of the Well had released three albums. I picked up Bath the �highly recommended" record and was absolutely floored. Finally, a band that wasn�t afraid to step so far out of the boundaries of metal that it didn�t even sound like it anymore. maudlin of the Well gave me faith for a genre I had little for and also gave me a reason to enjoy metal music. So what does this story have to do with anything? Well, I feel as if Kayo Dot in turn has helped me further appreciate the genre of �metal" and that really helps describe what kind of band they are. They�re the kind of metal band that can take a hardcore/indie fan and turn him into a head banging metal kid at their concerts. They�re the kind of metal band that isn�t afraid to sound like �pussies" or be a bit �awkward". They have the serious tone to them like every metal band, but they have an organic feel that makes the music actually interesting to me. And that�s why I hold them in the highest accord, because they are and have been the metal band that can convert any music fan into a metal fan, and with their release �Dowsing Anemone With Copper Tongue" they further prove this.
�Dowsing Anemone With Copper Tongue" begins with the song Gemini Becoming the Tripod which is a slow burner. By the end of the song Toby�s voice is going insane, and the most metal moments on the album are occurring. The song is a mess of drones and whispers until its explosion and the bands �other instruments" (the trumpet and violin) are heard very far in the background which is very similar to the start of �Choirs of the Eye". The lyrics written by Jason Byron (his only role in the band) are much more melancholy and ugly in comparison to the ones found of �Choirs of the Eye" which is interesting, because they have far more in common with typical metal lyrics than any other aspect of Kayo Dot�s musical endeavors. The difference of Kayo Dot as a band is instantly evident in the first song as they seem to have gone darker and more atmospheric, while �Choirs of the Eye" had long building songs they never were as showered in ambience as �Dowsing Anemone With Copper Tongue�s" pieces are.
Following Gemini Becoming the Tripod is Immortelle and Paper Caravelle which is a very �jazzish", slow song. It begins with some interesting percussion work and a drifting guitar and bass line. The song reminds me very much of the band Talk Talk and their album Laughing Stock. Its jazz doused in the taste of pop and it�s beautiful to the ears. The same effect that was implicated on Toby�s voice in Manifold Curiosity seems like it is used slightly on this track. The contrasting beauty of this track fits perfectly with the all out brutality of the last track. Forbes� trumpet is subtle and beautiful as are Mia�s occasional violin swells. This is the only track on the album featuring lyrics by Toby Driver and it seems a lot more beautiful and airy in comparison to the harsh nature of the other songs on the album. The end of Immortelle is a soft and beautiful conclusion, which seems as if it�s about to explode into a crescendo at numerous moments. That moment never does come though which I find particular interesting since Kayo Dot seems to be more reliant on sounds bold and boisterous after moments of beauty, but in the end of this song they just let it slowly fade away, which is perfectly suited for the situation.
Aura on An Asylum Wall starts off with a very tribal beat and the singing voice of Toby that has a sense of anxiety in it which Mia compliments with some screechy violin. In my opinion Aura is the most �accessible" song on the album, and also the one most like �Choirs of the Eye". Forbes is highlighted in this songs beginning very much. The reason this is my pick for the easiest song on �Dowsing Anemone With Copper Tongue" is because it features the most all band performance. Toby is playing clarinet, Mia is stroking her violin, and Forbes is playing off of them both with his trumpet, as the band backs them in such soft complimenting ways. The trio of �other instruments" ends and a small drum builds our minds for a large release since the last twelve or so minutes have been relatively soft in Kayo Dot�s world. The build up is so organic it feels like a Godspeed You Black Emperor! Song, every drum beat, guitar lick, violin stroke, is all perfectly encompassing the sense of tension and it�s beautiful. When the release finally comes it�s not unexpected, but it washes over the mind. It feels so right and so in place that it�s so difficult to imagine just a few minutes ago the song was leaning on jazz legs. The song ends pretty directly after its build-up and we are lead onto the next journey Kayo Dot is guiding the light through.
Following the easiest likeable track is the most difficult song to get into on the album. On Limpid Form is an eighteen minute travel into the brink of insanity. That�s all I can think once the early spotless meanderings end on this song. An interesting part of this song is it has the first �typical" guitar solo which is fairly humorous because right after it�s played the song decays into a thirteen minute dissonance/ambience session. The ambience and dissonance of this section is only created with the bass, guitar and drums which is kind of saddening, but it also helps to remind that Kayo Dot is one heavy band. The really fantastic part about this song is the end build-up is spawned by all of the members of the band sans Toby, slowly stopping their instruments and making their way to bang on a trash can. The song slowly builds up until we just hear Toby�s guitar feedbacking in the distance and the loud, intense beating of an oil barrel. Then everything just cuts off suddenly, and we�re greeted with some soft beats of a drum to kick off the final track.
Amaranth the Peddler is my favorite track on �Dowsing Anemone With Copper Tongue". It�s slow four minute build leads into one of the most beautiful sung passages I have ever heard, and the added softness of the music backing Toby just compliments everything so perfectly. The actual song part of Amaranth the Peddler is the most verse chorusish song on the album, and when it gets to the �bridge" it�s an absolute moment of clarity. It�s the first time we hear a strain of beauty in Toby�s voice, rather than a strain of anguish or anger. Since I have such a love of the band and it�s members, to hear something I haven�t heard since the maudlin of the Well track Geography, is absolutely spine tingling, and it�s the equivalent of the piccolo trumpet solo on Choirs of the Eye for this album, in my opinion. Amaranth ends on a note that�s very similar to that of Immortelle�s a slow build up that dissolves into nothing. And like that the album is finished.
Kayo Dot�s �Dowsing Anemone With Copper Tongue" is like any great album, at first hard to enjoy. Its complexity is perplexing especially to someone who is usually more inclined to simple songs. Kayo Dot are past metal, even past being described by a genre, they seem as if they have transgressed into a simple emotional reflection of their members. Whether that be a strong sense of loneliness or a sense of pure bliss, the emotions are covered in full detail and that�s what in time makes this so accessible to the listener. Like I said before Kayo Dot can attract a non-metal fan and this is the primary reason, their main reliance is on that of pure emotional outlet, not technical prowess, not lyrical finesse. While they possess both of those traits, they aren�t the foundation of their music and that is what helps them to, in my opinion but one if not the top fore-runner in today�s music scene."
1. "Gemini Becoming the Tripod" – 10:43
2. "Immortelle and Paper Caravelle" – 9:42
3. "Aura on an Asylum Wall" – 7:44
4. "___On Limpid Form" – 18:00
5. "Amaranth the Peddler" – 14:07
There are few words that can really do this album justice. Zu are an Italian band. They don't just do jazz, or avant garde, or hardcore punk, or funk... They do it all. They consist of a bassist, drummer, baritone saxophone, and on this, their debut released in 1999, a trumpet player too. The musicianship and power of this band are amazing. Definetely one of my favourite bands at the moment. This is probably their most accessible album in my eyes, so if you are new to Zu I'd recommend checking this out first. A highly recommended album. Also, if you do some searching on here you will find two of their other albums, Igneo and The Way Of The Animal Powers which I also highly recommend.
Check this shit out.
1. Detonatore (03:36)
2. Xenitis (03:11)
3. Testa di Cane (03:06)
4. Paonazzi (01:20)
5. Zu Circus (03:42)
6. Asmodeo (04:06)
7. Cane Maggiore (03:24)
8. Epidurale (01:51)
9. Villa Belmonte (02:54)
10. Erotomane (04:25)
11. La Grande Madre delle Bestie (05:43)
* Total playing time: 37:22
From Dusted Reviews:
"Boris are the only living band (with the possible exception of Electric Wizard) who have mastered the art of out-Sabbathing Black Sabbath. Obviously, a ton of groups play in that crushing, occult style, and many do it quite competently, but only Boris have been able to consistently break on through that wall of rock into the experimental wasteland that lies beyond. And, once there, they thrive.
Of course, like the inescapable Melvins allusion of their band name, Boris are never more than a power chord away from heavy ’70s sludge fuzz, and that’s important to remember because their elemental intensity has a lot more to do with presentation and execution than writing the perfect riff, a point driven home with electric clarity on their latest slab of magma music, Boris At Last - Feedbacker.
A single 43-minute composition (broken into five tracks for easier access), Feedbacker begins at the core, with ambient waves of Earth-like drones rippling across an otherwise silent nine minute expanse before Atsuo spills into his cymbals, commencing a funereal march. Bassist/vocalist Takeshi drawls up and down his double-necked bass while Wata (the femme fatale guitarist) curls out little tongues of blue flame, the band awash in anticipatory shimmer.
Vocals are always a “less is more” matter with Boris, so when Takeshi finally howls out a few stanzas in long, mournful wails 23 minutes into the recording, it’s a sign the fuse is lit. Wata arcs her echoing feedback up and holds it in a piercing squeal, the drums go half time, the bass grinds like a bulldozer (loosening the tectonic plates), and then, at last, they all explode into a thrashing frenzy of power and white fire. The song churns and burns like lava until, abruptly, the drums stutter, crash, and everything dissolves into a lonely, fluttering screech, like loud amps left on and abandoned. This is the sound of Boris basking in the wreckage of their rock.
Fans of Boris’ metal mayhem won’t be disappointed, but in truth Feedbacker is a more pensive, reflective release, closer to Flood than Amplifier Worship, and a step further away from their rock heritage. They pray at different electric altars than they once did, moving from Ozzy to Keiji, and they have no reason to look back. Here’s to hoping they never do."
An absolute masterpiece. Definetely my favourite Boris album and probably one of my favourite albums of all time.
Feedbacker (Pts 1, 2, 3, 4, 5) - 43:49
Monday, October 1, 2007
"Eric Gales, the youngest of a trio of musical brothers from Memphis, started playing guitar at age four. He was taught the upside-down, left-handed style of his grandfather, Dempsey Garett, Sr. (the style of Albert King as well), known to have jammed with the likes of Muddy Waters and Howlin’ Wolf. One-third of The Gales Brothers Band, Eric was the first to break away from the clan. He signed his first record deal at age 15, releasing The Eric Gales Band, with brother Eugene on bass and Jim Gaines as producer.
The Psychedelic Underground is the latest from guitarist/vocalist Eric Gales. It’s his second produced by Mike Varney, known for his work with Pat Travers, Jason Becker, and Michael Schenker and UFO. Now in his early 30s, with six record releases under his belt, this album continues along a road of creative maturity, with signs of the influential resources that made 2006's Chrystal Vision an album to reckon with. Though he proved his prowess as a musician at a very young age, when we were given the opportunity to hear ‘Hand Writing On The Wall’, from 2001's That’s What I Am, I realized he was taking himself seriously. He took the bull by the horns and ran with it. I began taking him seriously then as well. Though it's only a sporadic feature in his music, the fusion of his style of hard driving guitar rock and rap lyrics is novel in itself.
The album’s opener, ‘Wake Up Call’, is evocative of ‘Hand Writing On The Wall’ in places. The rocked up vibe gets rolling immediately with a sizzling riff that forces a hard thumping groove. ‘Rumble’ doesn’t stray too far from that same mold. The riffs are incredible and the lead solo is scorching. Gales has a knack for keeping the melody fresh and distinct while the guitar riffs and the bass lines charge forward, bowling over everything in their way.
The addictive riff and concrete thunder that sustains throughout ‘I’ve Got Something On You’ makes it a solid rocker. ‘Dark Corners Of My Mind’ is in a slow groove, bluesy and rhythmic, but that doesn’t stop Gales from cutting loose and crying out in melancholic elation near the song's end. His fluid style electrifies in this form as well. ‘Pretty Lie’ is a potent rocker. ‘Psychedelic Underground’, as the title states, is very Hendrix-like and classic sounding. ‘Honey In The Comb’ is a melodic rocker, heavy on guitar crunch and deep in the psychedelic vibe as well. ‘Someday’ is a captivating blues rocker. The rhythmic flow sustains throughout, easily pulling listeners into its infectious groove. ‘Someone Else’s Problem’ is an interesting album closer. Gales mellows into a blues mode, reminding us of his Memphis roots as the album ends.
It wouldn’t be fair to place Gales in the same space as other players, because even though you can perceive influences like Hendrix, Jon Butcher, Vernon Reid, Ernie Isley, Michael Schenker, and Robin Trower in his playing, Gales is innovative and exciting in his own right. An amalgamation of all of these different artists might better define him. Keep in mind that however one might see the style of Eric Gales, it’s guitar and vocal rock, and it’s wonderful just to hear a young guitarist play in this incredible style, one that’s both classic and fresh. It seems a concept album in places, too, one both ‘psychedelic’ and ‘underground’. In my opinion, that can only be a good thing. ‘Psychedelic’ is colorful and moving, while ‘underground’ refers to good music, yet not intended for general listening. That defines the content in The Psychedelic Underground pretty well."
1. Wake Up Call
3. Day Of Reckoning
4. I’ve Got Something On You
5. Dark Corners Of My Mind
6. Pretty Lie
7. The Psychedelic Underground
8. Circling The Drain
9. Honey In The Comb
11. Crossing The Line
12. Someone Else’s Problem
Eric Gales: guitars and vocals
Thomas Pridgen: drums
Steve Evans: bass
Mark Robertson: keyboards
Jesse Bradman: background vocals
Released Feb. 20, 2007
"Sell me, I'm a skeptical boy" are the opening lyrics on Church Mouth the new electric soul craft from Portugal The Man, an arresting Alaskan avalanche whose singer John Gourley squeals like a falsetto foot between the thighs, escalating past the stairway to Robert Plant's heaven, shooting a substantially intensified load that only the mouth of Mariah Carey could blow.
In 2002, three strangers to the sun formed Anatomy Of A Ghost which vanished shortly after, forcing the pale snow shovelers to relocate to the more artistically nurturing city of Portland and inhabit the body of Portugal The Man. The arctic cools, whose birthplace was purchased from the Ruskies in 1867 for a mere $7 million, released their debut You Vultures! in 2006 on Fearless Records, and will up follow that frigid beast on July 24 with the release of Church Mouth, a towering iceberg with cumbersome guitars and revered spirit of esoteric proportions.
As for the band name, well, pot is legal in Alaska. Yes, and Gourley did at some point, plan on penning nostalgic ink about his father and memories, for a dream that may still become a novel called "The Man." And of course you remember Portugal as the westernmost country of Europe, bordered by Spain and the Atlantic Ocean.
There isn't one alarm clock snooze maker in this entire house that Portugal The Man built, as it's thumps and grinds like an all night whorehouse, rattling the roof with rambunctious drums, tumultuous screams, with a voluptuous clobber of distinct noise so orgasmic that even deaf porno actors take notice.
"Church Mouth" is an icky thump like White Stripes with a vicious streak like Wolfmother being crashed down on by the burning flames of Led Zeppelin. "Sugar Cinnamon" is nothing like its sucrose Manchester sister Sally, although it tastes just as sweet, with a constant smattering of drums, cymbals, claps, that make the entire event feel like a Sunday morning church service on the eroded banks of the Mississippi.
"My Mind" brightens up the album's swarthiness with a copacetic change of synthesized sensations that bang on like Zero 7, Portishead, or Massive Attack/Primal Scream, which conflict and confuses as much as it cures the album's aggression, if only for a few amiable moments.
"The Bottom" is the favorite son of this family of cretins, with its colossal mid-song crash, perfectly placed in the breast pocket of this devastating rocket, that continues to penetrate the Milky Way with a disaster immeasurable by even our planet's most expensive computers.
Church Mouth should be played in schools so children around the world can learn the art of diversification, while smashing their young brains with this thundering example of how to effectively agglomerate a priceless piece of audio gold. Honestly though, like for serious reals, I still think Gourley is a chick singer, but I also thought that Brody Dalle from The Distillers was a DUDE, am I wrong?
Sunday, September 30, 2007
"It is utterly compelling and maddening to listen to the opening "intro" off Swedish psych-prog outfit Dungen's third album Tio Bitar (which translates as "Ten Pieces/Songs"). It begins roaring out of the gate in a wall of guitar squall, but sounds like it's the middle of some long jam you missed the first half of. It squeals and roils with drums a batter and guitars in the middle of some freewheeling freak-out before it settles a bit and other, more textured sounds come into play before it simply fades. Huh? Believe it or not, this is a plus. Tio Bitar, which, as its predecessors did, combines elements of trippy, sprawling psychedelia with traditional Swedish folk elements and prog rock (sounds dreadful when put like that, doesn't it?) offers this bit of irony at the beginning of its most focused offering yet. They've dumped the longer, jam-oriented tunes of their first two efforts Dungen and Ta Det Lugnt — admittedly the latter was an excellent if still sometimes excessive step in this direction — in favor of well constructed songs. Gustav Ejstes, Dungen's founder, producer, singer/songwriter — and for the most part only member — played many things here himself with the aid of Reine Fiske doing many lead guitar and bass tracks; other musicians participated in elementary roles. It's a pasted together project to be sure, but not in the usual sense. Ejstes works his tracks in seamlessly. There is little space between the tunes themselves, and his willingness to glide from one set of sounds to the next is never jarring. His influences are so obvious he doesn't even try to hide them and it's far from necessary because this mash of the best of psych, folk, hard rock and prog now belongs to Dungen alone. One of the album's best tunes "Gör Det Nu" allows the free-form freak-out vibe to work its way into the actual melodic body of the song. As the wall of guitars builds itself into a frenzy, Ejstes sings effortlessly, melodically and unhurriedly. While there are no real hooks in it, the tune is hummable while melting your brain from the power of its sonic scree. "Mon Amour" is pure riff-driven hard rock (think Blue Cheer) with beautifully layered vocals and harmonies that, while doing nothing to thwart the heaviness it contains, make it somehow more accessible, even though it builds into a tower of guitar noise courtesy of Fiske in the middle and becomes a driving mindscape of guitar and electric piano effects as drums thrum and propel. An organ begins to sound in the distant backdrop, following another route of investigation, and a tune that's under six minutes feels like a full-length jam. On "Så Blev Det Bestämt," seemingly an indie rock tune, acoustic instruments, piano, violin, and guitar blend with electric guitars and a literally humming bassline to craft dreamy, arty pop songs which open onto a full prog rock inquiry with a huge church organ and rolling snares and cymbals. The track enters an Eastern modal frame and feels, because of its production, like it's slipping under the surface of water. The organ prevails but there's an acoustic 12-string solo that's a mind blower for its rootedness in bluesy raga rock. One can hear the influence of both Can and Donovan in "Svart Är Himlen," but only for a moment, as those big pulsing drums open onto a majestic, if distant, terrain of a choir, organ and guitar throb playing in a pronounced, march-like tempo before the Can riff comes back to alter its surface once again. The middle of Jimi Hendrix's "Third Stone from the Sun" makes an appearance in the opening moments of "Familj" before the hands of ELP wind their way in and displace it and the beautiful harmony vocals of the Jefferson Airplane begin to play an open-ended, cloudy mix that touches on jazz, ELP, and even the Move before extracting itself to become an indie rock psychedelic anthem. Everything on Tio Bitar reaches beyond itself into some unknown, where the lines between Ejstes' influences cease to matter because what one is hearing is most assuredly Dungen's own brew that is at once ambitious and intimidating, yet so utterly dreamlike it floats by even as it draws you into its complex, convoluted, and indulgent center. Despite the hordes mining the past for clues, Ejstes has found all he needs and has found a way to create something utterly strange and beautiful with them, leaving his own signature firmly planted on the finished product. Tio Bitar is Dungen's most realized album yet and should resonate with anyone who likes rock music at all. This is psychedelia in 2007, defined, articulated and offered in an array of rainbow colors that bleed into a swath of great rock power and beauty." ~ AMG
01 Intro (3:43)
02 Familj (5:40)
03 Gör Det Nu (3:03)
04 C Visar Vägen (4:28)
05 Du Ska Inte Tro Att Det Ordnar Sig (3:25)
06 Mon Amour (8:42)
07 Så Blev Det Bestämt (3:57)
08 Ett Skäl Att Trivas (2:59)
09 Svart Är Himlen (2:13)
10 En Gång I År Kom Det En Tår (3:45)
02 The Life Divine
03 A Love Supreme
04 Afro Blue
01 Flame Sky
02 Taurian Matador
03 Conga Solo
04 Drum Solo
05 Taurian Matador - Reprise
06 Let Us Go To The House Of The Lord
In 1972 Santana became a huge fan of the pioneering fusion band The Mahavishnu Orchestra and its guitarist John McLaughlin. Aware of Santana's interest in meditation, McLaughlin introduced Santana and Deborah to his guru, Sri Chinmoy. Chinmoy later accepted them as disciples in 1973 and Santana was given the name "Devadip" - meaning "The lamp, light and eye of God." Santana and McLaughlin recorded an album together,"Love, Devotion, Surrender" with members of Santana and the Mahavishnu Orchestra, along with percussionist Don Alias and organist Larry Young, who both had made appearances on Miles Davis' classic Bitches Brew record in 1969.
In 1973 Santana, having obtained legal rights to the band's name, formed a new version of Santana. Armando Peraza and Chepito Areas on percussion, Doug Rauch on bass, Michael Shrieve on drums, with Tom Coster and Richard Kermode on keyboards. Santana was later able to recruit jazz vocalist Leon Thomas for a tour of Japan, which was recorded for a live, sprawling, high energy fusion album "Lotus". CBS records would not allow its release unless the material was condensed. Santana did not agree to those terms and the album was available only as an expensive imported three-record set. The group later went into the studio and recorded "Welcome", which further reflected Santana's interests in jazz fusion and his commitment to the spiritual life of Sri Chinmoy.
"This is perhaps the only footage ever shot of harmonica genius Little Walter." ~ bluesplayer89
ALSO INCLUDED IS ANOTHER RARE GEM FROM LITTLE WALTER
"Here another rare video of Little Walter playing harmonica. Vocals: Koko Taylor, Guitar: Hound Dog Taylor" ~ bluesplayer89
ALSO INCLUDED IS ANOTHER RARE GEM FROM LITTLE WALTER
"Here another rare video of Little Walter playing harmonica. Vocals: Koko Taylor, Guitar: Hound Dog Taylor" ~ bluesplayer89
"Created by television pioneer and life-long jazz devotee Steve Allen, Jazz Scene USA was a nationally syndicated television program in the beginning of the sixties that showcased some of the best practitioners of that very American musical form. All appearances are featured in a relaxed, casual atmosphere created by hipster host, singer Oscar Brown Jr. Uncompromising in its use of imaginative camera angles, these shows are time capsules to cherish from America's golden days of televised jazz.
With the proliferation of Hammond B-3 organ today, it's hard to imagine a time when the instrument wasn't a common texture. Used in jazz before him as a sideline for kicks by the likes of Fats Waller and Count Basie, Smith (1925-2005)alone redefined the potential of the instrument. For ballads, he played walking bass lines on the bass foot pedals. For uptempo tunes, he would play the bass line on the lower manual and use the pedals for emphasis on the attack of certain notes, which helped to emulate the attack and sound of a string bass.Add to that his complete mastery of the bebop vocabulary, and a new era was born.
In this set circa 1962, Jimmy Smith plays "Walk On The Wild Side", Kurt Weil's "Mack The Knife" and Dizzy Gillespie's "The Champ" accompanied by Quentin Warren on guitar and Donald Bailey on drums." ~ itsartolie
"Walk On The Wild Side"
Kurt Weil's "Mack The Knife"
Dizzy Gillespie's "The Champ"
AS POSTED ON DIME HERE
Sun Ra Arkestra
Buffalo State College, Buffalo, New York
cass -cdr - wav - flac6 - u
d1t1 - unidentified titles
d1t2 - Shadow World (Ra)
d1t3 - The Sound Mirror (Ra)
d1t4 - Yeah Man! (Sissle-Henderson)
d1t5 - King Porter Stomp (Morton)
d2t1 - Unidentified
d2t2 - Unidentified
d2t3 - Unidentified
d2t4 - Unidentified
d2t5 - Unidentified
d2t6 - Strange World/Black Myth/Astro Black/The World is Waiting For The Sunrise/d27-11?
d2t7 - Space is the Place
The Book lists this as preserved on a 90 minute cassette. It also shows the set list for the first disc only. I got this one as a cdr trade with the first disc tracked as the book lists. Second CD was burned as one track. I split it in tracks and identified what i could. AS always corrections and additions always welcome.
The Arkestra: Ra-keyb; Eddie Gale-tp; Michael Ray-tp; prob. Vincent Chancey-frh; Marshall Allen-as, fl, perc; Danny Davis-as; John Gilmore-ts, cl, perc; Eloe Omoe-fl, bcl; poss. Julian Pressley-bs; James Jacson-Ancient Egyptian Infinity Drum, bsn; poss. Damon Choice-vib; poss. Dale Williams-eg; poss. Richard Williams-b; prob. Luqman Ali-d; unknown-d.
Personel list from: