Saturday, October 13, 2007

Jimi Hendrix - Message From Nine To The Universe (Reclamation)



AS POSTED ON ELECTRIC SKY CHURCH HERE

Reclamation CD RECD 1012, issued December 2006

1.Nine To The Universe 8:48
2.Jimi/Jimmy Jam 8:01
3.Young/Hendrix Jam 10:26
4.Easy Blues 4:17
5.Drone Blues 6:18
6.Midnight Lightning Jam 11:58
7.Highway Of Broken Dreams 14:16
8.Lonely Avenue Jam 2:48
9.Lover Man 4:13
10.Trying To Be 7:15

Tracks 1-5 comprise the original LP "Nine to the Universe," an LP issued in 1980 from mixes of Hendrix's studio jams compiled by Alan Douglas, here presented from the original master tapes on CD. Tracks 6-10 are more improvisationally-oriented studio jams, also apparently from the original master tapes. Quality is excellent-to-stunning throughout.

notes by emperor nobody:

Here is another in the series of Jimi Hendrix outtakes collections on Reclamation that was issued in December of 2006. No need to go into the internecine drama going on between the Hendrix Estate, who periodically issue magnificent CDs of master tapes of Jimi's jams, live gigs and outtakes, and the estate of his former manager Michael Jeffery, who also possess master tapes of Jimi that they have never surrendered to the family. You can read all this stuff about who has what masters and who's issuing them legitimately (Hendrix Estate) and illegitimately (Jeffery Estate and others) on the web. Suffice to say it is my pleasure to offer this up here in lossless format so that none of you have to pay money (as I voluntarily did) to the parties who are putting this stuff out without the consent of Jimi's family, declared by the courts to be the rightful administerers of his estate and substantial legacy as one of the most influential artists of all time in any field.

That said, this is an essential set, with master-quality sound, and it's doubly (nine times as?) important for Hendrix completists to have because it will in all likelihood be the only time the album (compiled as "Nine to the Universe" by Alan Douglas in 1980) will be issued on CD from the original album master tapes in complete form. That's why I bought it, and it does not disappoint, despite the (erroneous) claims made in the liner notes and elsewhere that these are the "uncut, raw & unedited" versions of the jams found on the Douglas LP... they aren't. It's the album, as issued in 1980, from what sounds to me like the original masters, in quality that can only be described as "stunning", plus 5 other jams, also in master-caliber quality. If you dig the mixes Douglas came up with on that album as much as I always have (and I'm no big Alan Douglas supporter, believe me), you must download this torrent immediately.

As for the music, both the album (tracks 1-5) and the other, similarly-vibed tracks (5-10) explore the jazzier, more improvisatory direction Jimi was adventuring into during the last 18 months of his life. The vocals are sparing and most tunes don't have any... this is Jimi the player and improvisor, helped out by various pals from ex-Yardbird (and soon-to-be-Renaissance-man) Jim McCarty (who lends a ridiculously tasty, sustain-driven Eastern-sounding guitar solo to track 2) to David Holland (Miles Davis' then-bass player of "Bitches Brew" fame, who anchors several cuts with a rock-solid, though subtly-jazzy, groove) to Larry Young (at the time the Blue Note label's "Coltrane of the organ," whose spiralling lines decorate track 3). Perhaps the standout track of the original LP is "Drone Blues" (track 5),wherein Hendrix lets rip a solo of unforgettably epic proportions over a devastatingly snap-tastic groove that encompasses everything from the deepest wailing blues to coruscating dissonances reminiscent of King Crimson's Robert Fripp (days before this spring-1969 jam, Hendrix was in attendance at the 9th-ever performance of this legendary group in England). It's rare that a so-called outtake can rival anything in the performer's released, regular catalog (usually these things remain "unreleased" for good reason), but this track stands up to anything I can think of in the Hendrix canon.

For me the highlight of the additional tracks is the "Highway of Broken Dreams" jam (track 7), a 14-minute outburst of spontaneous bluesifying presented here in the best quality I've ever heard it in, also more than likely directly from the master tape. All in all, if not for the legal issues this is a fine set, and as I specified, probably the only time we'll ever see the original LP presented from the original masters, unless Alan Douglas and Janie Hendrix suddenly become the best of friends, which is about as likely as Michael Jeffery rising from the dead.

Enjoy and share, share, share freely,

Emperor Nobody
Oakland, California, USA

Friday, October 12, 2007

Omar Rodriguez Lopez and Lydia Lunch - 2007 - Omar Rodriguez and Lydia Lunch



"Omar Rodriguez Lopez has been a fan of Lydia's work since discovering her in the early 90's. When Mars Volta curated All Tomorrow's Parties Festival in december 2005 they invited her. And when Omar and Lydia met, they hit it off very well. The EP is the first of what Omar hopes will be a series of collaborations with Lydia. The music was recorded in Amsterdam and New York and Lydia's vocals were recorded at her own studio in Barcelona. The politics of the record are fairly obvious and Omar feels as though she speaks for both of them in that regard. The EP will be released on both CD and vinyl." ~ Willie Anderson

This EP is a collaboration between Mars Volta guitarist Omar Rodriguez Lopez and spoken word poet Lydia Lunch. It is a single, extended track, much like Omar's previous collaboration with Damo Suzuki. The difference is, this is so much funkier. Enjoy!

Tracklisting

01. Welcome to My Church
02. Getting Rid of God
03. Back to the Goddess
04. The End of the White Man's Revolution
05. Women (In the Beginning)

Wednesday, October 10, 2007

Frank Zappa - 1981 - The Ritz, NYC



AS POSTED ON DIME HERE

FRANK ZAPPA
November, 17, 1981, The Ritz, NYC
Master Cassette recorded from WLIR >NAK BX-300>WAV (SB Audigy)>CD-R>EAC>Flac
Front end> Make Torrent

Sound A (check samples)

Disc 1
01. Treacherous Cretins (fades in)
02. Montana
03. Easy Meat
04. You Are What You Is
05. Mudd Clubb
06. The Meek Shall Inherit Nothing
07. Dumb All Over
08. Heavenly Bank Account
09. Suicide Chump
10. Jumbo Go Away
11. Envelopes
12. Drowning Witch
13. What's New In Baltimore
14. Moggio
15. Bamboozled By Love
16. Sinister Footwear

Disc 2

01. Stevie's Spanking
02. Cocaine Decisions
03. Nig Biz
04. Doreen
05. Goblin Girl
06. Black Page #2 (q: Smoke on the Water)
07. Tryin' To Grow A Chin
08. Strictly Genteel
09. Al DiMeola Intro
10. Clownz On Velvet* (world premier)
11. Ride Like The Wind**
12. Zoot Allures
13. This Is My Story
14. Whippin Post (Reggae Post)
15. Watermelon In Easter Hay

FZ, Steve Vai, Ray White, Scott Thunes, Chad Wackerman, Ed Mann, Tommy Mars, Bobby Martin

With Al DiMeola on guitar (*)
With Al DiMeola on guitar and Brian Peters (roadie) on vocals (**)

Thanks to all involved in sharing this at Zappateers

In Yojimbo's own words "One of the most popular FZ shows, and probably one of the most widely spread in its FM form". - A classic and a 'must have' for any serious FZ fan. Enjoy!!!

Tuesday, October 9, 2007

Heatwave - 1976 - Too Hot to Handle



"Too Hot to Handle was the debut album from the soul/funk ensemble Heatwave, and it was well received by R&B and pop fans. Their initial release was the disco anthem "Boogie Nights." From the suspenseful, interlude-like intro to the adamant vocal delivery, the single had a lasting effect on the charts. It peaked at numbers five and two on the Billboard R&B and pop charts, respectively. The ballad "Always and Forever" was and continues to be an ageless piece. Johnnie Wilder's vocal exhibition throughout the vamp is breathtaking. It peaked at number two on the Billboard R&B charts. These two releases were respectively certified platinum and gold singles. Heatwave did not waste any recording time. This album employs nothing but quality tracks. The moderately paced "Ain't No Half Steppin'" was received warmly by radio, and it remains a staple. While Rod Temperton was writing excellent songs, Johnnie Wilder's supreme vocals gave the songs their identity." ~ AMG

Keith Jarrett - 1986 - Still Live



"Once Keith Jarrett gets into a concept, he likes to keep those tapes rolling. This two-disc live outpouring from a Standards Trio gig at Munich’s Philharmonic Hall was the biggest offering from this group up to that time (it wouldn’t hold that distinction for long) — and once again, Jarrett treats his brace of pop and jazz standards with unpredictable, often eloquently melodic and structural originality. To cite a pair of highlights: “Autumn Leaves” always seems to bring out an endless flow of invention from Jarrett, and “The Song Is You” gets off to a rollicking start and maintains a nearly relentless energy level for 17 minutes, closing with a Spanish vamp. Again, the rapport with his onetime jazz-rock associate, drummer Jack DeJohnette, and bassist Gary Peacock is total; DeJohnette’s mastery of shifting cymbal patterns while maintaining the pulse acts on the trio like a loose tether made of carbon steel. There is a considerable amount of Jarrett vocalizing, though; sometimes he sounds like a tortured animal. CD buyers get “Billie’s Bounce” as a bonus." ~ d0za

Tracklist:
01- My Funny Valentine
02 - Autumn Leaves
03 - When I Fall In Love
04 - The Song Is You
05 - Come Rain Or Come Shine
06 - Late Lament
07 - You & The Night & The Music +
08 - Billie’s Bounce
09 - I Remember Clifford

Personell:
Keith Jarrett - Piano
Gary Peacock - Double Bass
Jack DeJohnette - Drums

Monday, October 8, 2007

Sleeping People - 2007 - Growing



"Growing advances Sleeping People as a band in every way. It's faster, more aggressive, more thoughtful and more dynamic than their debut. Engineered by Ben Moore (Hot Snakes, The Black Heart Procession), the songs are pushed to extremes, sparking an addictive adrenaline high that is ultimately eased by Rob Crow's surprise appearance at the conclusion of the album, his saccharine vocals providing a perfect, blissful freefall. Growing is Sleeping People at their most inspired. It is a document of a sometimes frantic, always fearless band who sounds best when they're only pretending to be in control. Like the band itself, Growing embraces change with an improvisational flair that is both confounding and consuming." ~ Temporary Residence Limited

Tracklisting

01. Centipede's Dream
02. James Spader
03. Yellow Guy / Pink Eye
04. Mouth Breeder
05. ...Out Dream
06. Three Things
07. Grow Worm
08. Underland
09. It's Heart Loves Open
10. People Staying Awake

Four Tops - 1974 - Anthology



"A bountiful three-record collection later issued on two CDs, the Four Tops' Anthology presented, in chronological order, every notable song from the group's tenure at Motown, from their 1964 breakout hit "Baby I Need Your Loving" all the way to 1972's "A Simple Game." (The compact disc also tacked on two songs from the '80s: "I Just Can't Walk Away" and "Don't Tell Me That It's Over.") Over the course of six sides, Anthology tells the group's story with every one of their three dozen hits of the '60s and early '70s, leaving just enough room for low-level hits or solid album tracks ("Just Seven Numbers (Can Straighten out My Life)," "Can't Seem to Get You out of My Mind," and a nice version of the Supremes' "Reflections") as well as some pop cover curios ("Climb Ev'ry Mountain," "A Place in the Sun," the surprising hit "If I Were a Carpenter," a beautifully wistful "Everybody's Talking," and a melody of "Hey Man" and Todd Rundgren's "We Gotta Get You a Woman"). It boasted far more attention to detail than the usual hits compilation and the sound was good for the time, though it became less crucial for Four Tops obsessives when Motown finally released the long-awaited box set Fourever in 2001." ~ AMG

Dreams - 1970 - Dreams

Dreams - Dreams

From Allmusic

Although Dreams is a legendary pioneer jazz-rock group that included such young players as trumpeter Randy Brecker, guitarist John Abercrombie, drummer Billy Cobham and the 19-year old tenor Michael Brecker, its music has dated very badly. This CD reissue finds solos being de-emphasized in favor of erratic and often unlistenable vocals. While trombonist Barry Rogers had a feeling for jazz, the remainder of the group (singer Edward Vernon, keyboardist-guitarist-vocalist Jeff Kent and bassist-vocalist Doug Lubahn) weighs down the recording with mundane pop sensibilities. Only a spirited "New York" and the 14-minute "Dream Suite" allow the horns a chance to blow a bit and even there the results are quite forgettable and disappointing.

Track List

1.Devil Lady-3:32
2.15 Miles To Provo-3:00
3.The Maryanne-2:23
4.Holli Be Home-5:40
5.Try Me-5:10
6.Dream Suite:Asset Stop/Jane/Crunchy Granola-14:41
7.New York-4:54

Tera Melos/By The End Of Tonight - 2007 - Complex Full Of Phantoms



"In the two years since the release of their debut album, A Tribute To Tigers, By the End of Tonight have toured almost non-stop, playing every rock club, living room (or even barn) that would have them. Their relentlessness has paid off, as evidenced by their half of this split album with good friends and like-minded power jammers Tera Melos. Not to be outdone, Sacramento's Tera Melos have also been on the road more than they've been home this year, touring with the likes of Fall of Troy and Horse the Band. Their frantic, absurdly complex songs are the perfect compliment to By the End of Tonight's darker, more sinister instrumental metal. The combination makes this by far the strongest release to date from either band."

This is the leak of the split, and although in my opinion By The End Of Tonight's side isn't very strong, Tera Melos more than make up for it, and they do it with style. Definetely the best release from TM.

1. BY THE END OF TONIGHT: Delaware Is Depressing
2. BY THE END OF TONIGHT: Philthy Collins
3. BY THE END OF TONIGHT: Jelous of a Ghost
4. BY THE END OF TONIGHT: Cold Hands
5. BY THE END OF TONIGHT: Ghost Boat
6. BY THE END OF TONIGHT: Elvis Never Didn't Die
7. TERA MELOS: 555-9676
8. TERA MELOS: Party With Tina
9. TERA MELOS: When Worms Learn To Fly
10. TERA MELOS: Melody 9
11. TERA MELOS: Last Smile For Jaron

Penut Butter Wolf Presents 2K8: B-Ball Zombie War (Instrumentals)





The tenet of cash rules everything around me has never been so prevalent in Hip Hop than now; partly, because it has become such a profitable commercial entity. If everyone’s about “gettin’ them dollars,” who’s going to actually put out quality music??? Simple, the eccentric minds over at boutique label Stones Throw will. Since their inception, founder of the label, Peanut Butter Wolf has continued to follow a simple business model, if he likes it, he puts it out. Following the same formula he’s been able to assemble one of the most talented, diverse, progressive label rosters. On 2K8: B-Ball Zombie War, Peanut Butter Wolf and company team up with 2K Sports (maker of 2K series videogames) to spawn a unique compilation of tracks that play an ode to the old school, new school and progressive side of Hip Hop.

B-Ball Zombie War really serves as a coming out party for Detroit up and comer and J-Dilla protégé, Guilty Simpson, who has a couple of notable tracks on the compilation including “Mash’s Revenge” where MF Doom and Guilty Simpson verbally style over one of the late J-Dilla’s masterful production efforts (originally found on J-Dilla’s Donuts); an ill piano sequence loop. Guilt Simpson effortlessly steals the limelight zoning out from the beginning of his verse with “…dude’s sick/I’m the medicine/storming in your residence when I’m in my element/no contest, I get hot and go unconscious/your boy is automatic…/now go play in traffic/the flow is graphic with no theatrics/still rock sold out shows for practice...” and the onslaught continues until the song fades out. Guilt also has a stellar showing on “Make It Fast.” In another rehash of J-Dilla’s Donuts, Talib Kweli and Q-Tip hop on the infamous “Lightworks” (played often on Adult Swim) beat on “Lightworking.” Kweli spazzes out, completely, while Q-Tip’s verse is a bit blah and jumps from topic to topic with no tangible connection. Nevertheless, it’s always a pleasure to hear a Dilla beat.

And what’s a Stones Throw mixtape without some memorable appearances from Madlib? DJ, producer, emcee, herbalist and all around music impresario, Madlib collaborates with newly signed emcee, Karriem Riggins, to form new group, Supreme Team, on “See.” Here, Madlib showcases his unfathomably deep record collection and obsession with finding rare movie and music samples as the two emcees serve up bars in the midst of a repetitive sample of a woman saying “see.” Karriem Riggins and Madlib use synergy bouncing various creative ways to use the sample; each one trying to outdo the other with their stanzas. The result is a funky, head-nodder with an old school feel. The album concludes with a collection of quirky instrumentals and break beats the B-Boys can wild out to putting the finishing touches on an interesting ride.

2K8: B-Ball Zombie War is strictly for Hip Hop heads. No YouTube dance moves will spring from this compilation. You probably won’t see any multi-million dollar videos with voluptuous chicks bouncing to and fro coming out of this tape either. But, if you like top notch production, emcees who take pride in their wordplay and artists who are not only willing to think outside the box but kick the ish down, you’re going to love 2K8: B-Ball Zombie War.

Album Review by: John Burnett
www.nobodysmiling.com

Sunday, October 7, 2007

Fela Kuti - 1972 - Roforofo Fight

OutKast - 1998 - Aquemini



"Even compared to their already excellent and forward-looking catalog, OutKast's sprawling third album, Aquemini, was a stroke of brilliance. The chilled-out space-funk of ATLiens had already thrown some fans for a loop, and Aquemini made it clear that its predecessor was no detour, but a stepping stone for even greater ambitions. Some of ATLiens' ethereal futurism is still present, but more often Aquemini plants its feet on the ground for a surprisingly down-home flavor. The music draws from a vastly eclectic palette of sources, and the live instrumentation is fuller-sounding than ATLiens. Most importantly, producers Organized Noize imbue their tracks with a Southern earthiness and simultaneous spirituality that come across regardless of what Dre and Big Boi are rapping about. Not that they shy away from rougher subject matter, but their perspective is grounded and responsible, intentionally avoiding hardcore clichés. Their distinctive vocal deliveries are now fully mature, with a recognizably Southern rhythmic bounce but loads more technique than their territorial peers. Those flows grace some of the richest and most inventive hip-hop tracks of the decade. The airy lead single "Rosa Parks" juxtaposes front-porch acoustic guitar with DJ scratches and a stomping harmonica break that could have come from nowhere but the South. Unexpected touches like that are all over the record: the live orchestra on "Return of the 'G'"; the electronic, George Clinton-guested "Synthesizer"; the reggae horns and dub-style echo of "SpottieOttieDopaliscious"; the hard-rocking wah-wah guitar of "Chonkyfire"; and on and on. What's most impressive is the way everything comes together to justify the full-CD running time, something few hip-hop epics of this scope ever accomplish. After a few listens, not even the meditative jams on the second half of the album feel all that excessive. Aquemini fulfills all its ambitions, covering more than enough territory to qualify it as a virtuosic masterpiece, and a landmark hip-hop album of the late '90s." ~ AMG

Dave Weckl, Vinnie Colaiuta and Steve Gadd



wow...also check out this clip of Billy Cobham playing with a latin group:

"Sabian endorser Billy Cobham during the recent Drumfest 2006 UK tour of Brentwood, Northampton and Birmingham."

View Here