Saturday, October 20, 2007
AS POSTED ON ELECTRIC SKY CHURCH HERE
"Here lies the complete concerts from one of the most important bands and periods of Jimi Hendrix's career. Jimi Hendrix was at a point in his career where he could stand in one spot and extract as much as he was during his early Experience days. More of a focal point surrounded his playing, not the gimmicks of his earlier shows. Jimi Hendrix was running with a very different crowd in late 68 and all of 69, people like Miles Davis and Velvet Turner. It's truly fascinating to see everything in his life culminating into one of the first forms of the fusion between jazz, rock, soul, funk and R&B. Now Jimi had a brand new bag of music, Machine Gun, Bleeding Heart, Buddy Miles' Them Changes, Ezy Ryder, Burning Desire, Stop and Earth Blues amongst reworked material of old Experience material. This new funk, soul, jazz and rock based music all coagulated into a brand of music that infected every musician who had their ear open to what Jimi was creating. Music would never be the same after these special New Years and New Years Eve performances. Buddy Miles was also a musician who had a very strong voice. His gut bucket style of drumming provided the perfect pallet to have a complete anchor while interjecting a unique status. One of the few drummers to sing and play at the same time, his style had an immediate impact on the flavor of the music. Billy Cox and Buddy Miles had a very tight rhythm section, and all of these shows display that solid foundation. This was very good for Hendrix as he was finally extracting more of his R&B roots that he had built so much of his professional musical beginning on. One thing that is clearly defined every night is Jimi and the Band of Gypsys rip through bone shattering versions of Machine Gun. Every version has a desperate feeling of a soul that is trying to define the cruelty and severity of all wars that existed in the world, whether it be from one group of people on another, or in the mind of the individual, Jimi had to express his desire for change. The only way to realize change is to somehow understand the pain and suffrage of the problem, and the solo's Jimi plays exemplifies this pain, anger and suffering that war brought all over the globe. Jimi's music finally touched ground zero with the human experience, now music was no longer about spacey concepts or the room full of mirrors that he created around himself while in the Experience. This is music that truly made people get up and dance and yet cry at other intervals. As with every live unit, the off nights are destined, and a very off night is presented as a filler in the historic Winter Festival for Peace event as the last disc. For this event, Jimi was having internal problems that are still unclear to this day, whatever happened that day, Jimi and the Band of Gypsys could only perform 3 songs before having to call it a show. Besides this small blemish, the band tunes into one another and really displays fresh and exciting chemistry between very young and ambitious creative talent. Play these concerts loud, let Jimi take you to the places that existed in his mind and what ultimately influenced him to groundbreaking levels of musicianship and creativity." ~ Otis
Band of Gypsys
1969-12-31 & 1970-01-01
Fillmore East, New York City
SBD & AUD compilation
Jimi Hendrix: Guitar & vocals
Billy Cox: Bass
Buddy Miles: Drums & Vocals
1969-12-31 Early Show
02. Power Of Soul
03. Lover Man
04. Hear My Train A Comin'
05. Them Changes
07. Machine Gun
09. Ezy Rider
10. Bleeding Heart
11. Earth Blues
12. Burning Desire
1969-12-31 Late Show
01. Also Sparch Zarathustra (2001) / Countdown / Happy New Year
02. Aud Lang Syne
03. Who Knows
04. Stepping Stone
05. Burning Desire
07. Ezy Rider
08. Machine Gun
09. Power Of Soul
10. Stone Free
01. Them Changes
02. Message To Love
04. Foxy Lady
05. Voodoo Chile (Slight Return)
06. Purple Haze
1970-01-01 Early Show
01. Intro / Who Knows
02. Machine Gun
03. Them Changes
04. Power Of Soul
05. Stepping Stone
06. Foxy Lady
08. Earth Blues
09. Burning Desire
1970-01-01 Late Show
01. Stone Free
02. Them Changes
03. Power Of Soul
04. Message To Love
05. Earth Blues
06. Machine Gun
01. Voodoo Chile (Slight Return)
02. We Gotta Live Together
03. Wild Thing
04. Hey Joe
05. Purple Haze
Band Of Gypsys
Madison Square Garden
New York City, NY
Winter Festival For Peace
07. Who Knows
08. Earth Blues
Label: Bad Taste [Iceland]
"Two years passed since Sigur Rós' debut. By this time, the band recruited in a new keyboardist by the name of Kjartan Sveinsson and it seems to have done nothing but take the band to an even higher state of self-awareness. Even on aesthetic matters, Sigur Rós entitle their sophomore effort not in a manner to play up the irony of high expectations (à la the Stone Roses' Second Coming), but in a modest realization. This second album — Ágætis Byrjun — translates roughly to Good Start. So as talented as Von might have been, this time out is probably even more worthy of dramatic debut expectations. Indeed, Ágætis Byrjun pulls no punches from the start. After an introduction just this side of one of the aforementioned Stone Roses' backward beauties, the album pumps in the morning mist with "Sven-G-Englar" — a song of such accomplished gorgeousness that one wonders why such a tiny country as Iceland can musically outperform entire continents in just a few short minutes. The rest of this full-length follows such similar quality. Extremely deep strings underpin falsetto wails from the mournfully epic ("Viðar Vel Tl Loftárasa") to the unreservedly cinematic ("Avalon"). One will constantly be waiting to hear what fascinating turns such complex musicianship will take at a moment's notice. At its best, the album seems to accomplish everything lagging post-shoegazers like Spiritualized or Chapterhouse once promised. However, at its worst, the album sometimes slides into an almost overkill of sonic structures. Take "Hjartað Hamast (Bamm Bamm Bamm)," for instance: there are so many layers of heavy strings, dense atmospherics, and fading vocals that it becomes an ineffectual mess of styles over style. As expected, though, the band's keen sense of Sturm und Drang is mostly contained within an elegant scope of melodies for the remainder of this follow-up. Rarely has a sophomore effort sounded this thick and surprising. Which means that "Good Start" might as well become of the most charming understatements to come out of a band in years." ~AMG
"Subtle's had a bad run. As we've reported in these pages, in the last two years, the genre-bending Oaklend sextet survived a tour van crash that left keyboardist Dax Pierson a quadriplegic, were robbed in Europe, and their major label debut, last year's For Hero: For Fool, received raves from the critics but less-than-breakthrough sales. Subtle's magnetic, magnanimous frontman, Adam Drucker, aka Doseone, has been a cult phenomenon in avant-hip-hop circles for years, but his intricate lyrics and jawd-ropping live performances have yet to find a wider audience.
So what do they do? Keep working. Yell & Ice, a remakes and remixes collection based on For Hero: For Fool, comes out on Lex Records October 23. It features contributions from members of TV on the Radio, Wolf Parade and the Notwist, as well as Anticon associates Why? and Chris Adams of Bracken and Hood. Check out "Deathful", featuring Tunde Adebimpe of TV on the Radio, by clicking on the link below. (The full tracklist for Yell & Ice and Subtle's upcoming tour dates cam also be found below.)
Doseone describes Yell & Ice as a labor of love. "Like fuck it, make it fun for these artists that we're cold-calling, that we love," he said. "We're not paying, there's no money turned around on this record-- which I love-- and so it's like, I send this to you, you should take what inspires you and fuck it up a little bit, ruin it, make it pretty, send that to us, we will do the same, and just keep remaking things. What I like is that it expresses, quietly and in a mature way, how committed we are to the depths in our music. That we can go in and remake all these songs because we made a bunch of rights, and we could've made lefts. And they're just as valid."
We recently spoke with Dose about his upcoming albums and projects, Dax Pierson's recovery, and how a cover of Shellac's "Prayer to God" wound up on Subtle's setlist this year. We also talked at length about the storyline behind the three Subtle LPs, A New White, For Hero: For Fool, and the upcoming conclusion, ExitingARM, which will come out as both an album and a website. And much, much more. Stay tuned to the Features section of Pitchfork, where the full interview will be published within the coming weeks." ~ Pitchfork Media
Yell & Ice tracklist:
01 Falling ft. Why?
02 Middleclass Haunt ft. Dan Boeckner of Wolf Parade
03 Deathful ft. Tunde Adebimpe of TV on the Radio
05 Pit Within Pits ft. Markus Acher of the Notwist
06 Cut Yell
08 Sinking Pinks ft. Chris Adams of Bracken & Hood
09 Requiem for a Dive
Produced by Spectrafilm
"Arriving nearly a decade after Mon Oncle, Playtime continues the adventures of M. Hulot. More than a decade seems to have passed since its predecessor, however. The colorful Paris of Mon Oncle, last seen being slowly chipped away by progress, has now vanished almost entirely. Playtime takes as its setting an ultra-modern Paris where familiar landmarks appear only as fleeting reflections in the new buildings of glass and steel. Alternating between Hulot and a group of American tourists, Tati exploits the chaos just below the overly ordered surface of this brave new world. Again moving from one nearly wordless episode to another, Tati sends his alter ego off to make an appointment in a whirring, featureless office complex. He subsequently moves on to an exhibition of new inventions, meets an old friend at an aquarium-like apartment, wreaks havoc in a snooty new restaurant, and, again, almost falls in love. The most ambitious and technically complex of the Hulot films, it proved unprofitable and helped usher in the financial difficulties that would plague Tati late in life before later getting the recognition it enjoys today." ~AMGb
Directed by Jacques Tati (M. Hulot)
Produced by ABKCO
"A film that screams "product of its time," The Holy Mountain was Alejandro Jodorowsky's dizzying elegy to the sex, drugs and spiritual awakening of the late 1960s and early 1970s — a suitably bizarre follow-up to his El Topo (1971). Fascinating although it only fitfully makes sense, The Holy Mountain is beautifully shot and designed, and it suggests what might have resulted if Luis Buñuel, Michelangelo Antonioni, and George Romero had all dropped acid and made a movie together. A Christ-like vagrant and thief wanders through a perverse and unfriendly land until he encounters an enlightened one, who gathers the thief and six of the world's most powerful individuals for a spiritual pilgrimage. If that description sounds a bit sketchy, well, narrative isn't this film's strongest suit. But if you want to see the conquest of Mexico re-enacted by reptiles, soldiers shoot innocent people as birds fly from their wounds, and a wizard turn feces into gold, this is the movie for you." ~AMGb
Directed by Alejandro Jodorowsky
Science & Technology
Produced by Films de Losange
"Penny Patterson, an American psychology student, began an experiment in primate communication in the early 1970s using a young zoo gorilla named Koko, who was loaned to Penny for the experiment. Due to a philosophical predisposition to consider that "humanizing" animals is wrong, and alarmed at the increasing publicity over the experiments, the zoo took back the gorilla, which by then had learned over three hundred signs and showed, to many observers, an almost human comprehension of her condition. This French documentary explores the experiments, the circumstances of Koko's being withdrawn from them, and the question of the gorilla's "civil rights," if any." ~AMGb
Directed by Barbet Schroeder
AS POSTED ON ELECTRIC SKY CHURCH HERE
THE JIMI HENDRIX EXPERIENCE: THANK YOU, AND I JUST BLEW ANOTHER AMP!
Fillmore East, New York City, NY 10.05.68; 2nd Show
Aud; 1st Gen - Digitally restored, Phase & Speed corrected
01 "Lover Man"
03 "Foxy Lady"
04 "Red House"
05 "Hey Joe"
06 "The Sunshine Of Your Love"
07 "Hear My Train A-Comin'"
08 "Can You Please Crawl Out Your Window ?"
09 "Purple Haze"
10 "Wild Thing"
Total time: 62:16
This is an upgrade that has been doing the rounds at JPIO and other places this summer. Generally considered to be one of Hendrix' finest performances, it has has been bootlegged several times over the years. These bootlegs have however all been missing "Wild Thing" (19), and collector's discs - including the ATM 093 "Bill Graham Presentes The Jimi Hendrix Experience" - have only featured 0:46 of the track. Although still incomplete, "Wild Thing" (19) clocks in at 3:16 here, making this set not only an upgrade in regard to generation, but also the longest and most complete version of the show to date.
Artwork is included.
Friday, October 19, 2007
Although Block has been delivering the goods to indy emcees like Aesop, Cage, Slug, and Murs, he always seems to keep the best, most forward stuff for himself. His mode for this album seems to be funky synthesizer playing as he adds a new fold to his already polished boom-bap sound. Check the first two tracks to see how he gets down. For the patented head-nod stuff, check "Duke of Hazzard" and "Squirmy Worm." If you just want to chill and get lost, check "Not So OK Corral" and the 80s electro nod "Do The Tron." - turntablelab
Thursday, October 18, 2007
"Sweet vocal jazz for the post-club generation that could have been made decades ago, Koop's debut album finely treads the line between the hipster posturing and lounge perfection that is the specialty of acid jazz radio guru Gilles Peterson. Lush orchestration and hard bop rhythms make Waltz for Koop a pleasing sensation, but it is the rotating cast of vocalists that gives the album a strength beyond kvetch. Newcomers Cecilia Stalin and Yukimi Nagano both follow the fluttering vocal lineage of Astrud Gilberto on two songs each. The ladies perform effortlessly next to songs featuring certified vocal greats Earl Zinger and Terry Callier, each of whom wrote the lyrics to their respective numbers, "Modal Mile" and "In a Heartbeat." Callier's turn is the highlight of the album, with Koop augmenting the master's voice and their own retro melodies with subtly modern sounds, creating a fusion that remains true to the traditional form while staking their own 21st century musical claim. Though Koop occasionally steps into pretension (the album contains several unnecessary vocal interludes taken from old jazz programs), Waltz for Koop is one of those rare albums that succeeds in paying homage to the artist's heroes without sounding like watered-down versions of said forerunners. Put any of this album's songs on a mix tape next to a classic by Elis Regina or Chet Baker, and see if it doesn't fit together." ~AMG
As jazz's first extended, continuous free improvisation LP, Free Jazz practically defies superlatives in its historical importance. Ornette Coleman's music had already been tagged "free," but this album took the term to a whole new level. Aside from a predetermined order of featured soloists and several brief transition signals cued by Coleman, the entire piece was created spontaneously, right on the spot. The lineup was expanded to a double-quartet format, split into one quartet for each stereo channel: Ornette, trumpeter Don Cherry, bassist Scott LaFaro, and drummer Billy Higgins on the left; trumpeter Freddie Hubbard, bass clarinetist Eric Dolphy, bassist Charlie Haden, and drummer Ed Blackwell on the right. The rhythm sections all play at once, anchoring the whole improvisation with a steady, driving pulse. The six spotlight sections feature each horn in turn, plus a bass duet and drum duet; the "soloists" are really leading dialogues, where the other instruments are free to support, push, or punctuate the featured player's lines. Since there was no road map for this kind of recording, each player simply brought his already established style to the table. That means there are still elements of convention and melody in the individual voices, which makes Free Jazz far more accessible than the efforts that followed once more of the jazz world caught up. Still, the album was enormously controversial in its bare-bones structure and lack of repeated themes. Despite resembling the abstract painting on the cover, it wasn't quite as radical as it seemed; the concept of collective improvisation actually had deep roots in jazz history, going all the way back to the freewheeling early Dixieland ensembles of New Orleans. Jazz had long prided itself on reflecting American freedom and democracy and, with Free Jazz, Coleman simply took those ideals to the next level. A staggering achievement.
Wednesday, October 17, 2007
this one is a special 12' that was done for the dublab echo expansion tour of europe in the fall of 2007.
"An exclusive 12" produced for the dublab "Echo Expansion" tour of Europe. All of the songs are previously unreleased and totally amazing. This collection gives a great view into the dublab creative collective. Listen and expand with us."
THE GASLAMP KILLER & THE GONJA SUFI : robots
DAEDELUS : dnt fk sgr
DIMLITE : jose's views
FLYING LOTUS : backpack caviar
BLANK BLUE : eyes closed (private stash version)
ADVENTURE TIME : set on satellites
DNTEL : sundial
THE LIFE FORCE TRIO : take me there
i love this mix, worth the download!!!
this one is another exclusive dublab set. won't be found on dublab.com!! runs at about 30 mins or so. burn a blunt and hang with a loved one.
Come along for an escapade in surreal soundscapes. Adventure Time cut and paste and re-cut to taste. Their hopped up polyrhythms give majorettes and marionettes a reason to dance. This mission is fun for all so let's make the action happen. Adventure Time is...
The good looker >> Daedelus
Daedelus is a musical genius with a brave heart and pockets full of soaring songs. His Plug Research debut, Invention, created a buzz in international circles. LA's freshest young producer has been remixed by Madlib, Anti Pop Consortium, Prefuse 73, and Venetian Snares. Daedelus was nominated twice as best turntablist for the LA Weekly Music Awards. His sounds are championed by international radio, press, and music fans. Daedelus' blooming discography includes releases on Plug Research, Tigerbeat 6, Mush, Phthalo, and Eastern Developments. (daedelusdarling.com). The listening man's best friend. Daedelus has magic beat chops, karate chops, and blue ribbon lamb chops.
The fast talker >> Frosty
Frosty's ears are sonar honed. This aquaman is the founder of ..1 super sound station dublab.com. He produced the acclaimed dublab cd compilations freeways (Emperor Norton Records) and summer (Hefty Records). Frosty has rocked decks across the US and Europe and was nominated by the LA Weekly as best selector. Recently, Frosty curated a shining art show, UP OUR SLEEVE: the dublab covers project. He writes run-ons for XLR8R Magazine and spends days advising, connecting, and promoting brilliant young music makers. Frosty is shaping a world with wide sound vibes. (dublab.com)
- plugg research
Syracuse, New York was the stomping ground for this R'n'B/blues-influenced combo dominated by vocalist Ed Wool, whose strong raucous style could be compared to Eric Burdon, especially on numbers like the cover of Brown-Terry's Please Please (Don't Go). The LP is bluesy rock-pop, if that's your bag, whose highlight is undoubtedly Love Love Love Love Love, another vocal tour-de-force, by Tom Haskell.
Nowadays Wool resides in Albany, N.Y. and continues to record and tour with The Ed Wool Band, playing jazz-rock and big band dance music. Tom Haskell is now a freelance photographer.
Compilation appearances include: I Need Somebody on Mind Blowers (LP).
- Max Waller
another great reissue from the guys at finders keepers! if you know about them then get this, quaity album guys!!!!!
This is one of the gems lurking in amongst the second line of Krautrock worthy of investigation after your Cans, Neu!s and Cosmic Jokers have permanently lodged themselves into your swirling brains. There are pitfalls aplenty when digging around in the piles of this stuff that are now available. Some German rock gargoyles have given me several moments of gut-wrenching disappointment – normally when they’ve let tepid, very white jazz-fusion enter into the equation. Infact the more I’ve scrabbled around, the more I’ve formulated a line in my head with mind-blowing Kosmische at one end and Toe-curling Jazz-prog at the other.
This Eroc album is one of the reasons I persist in running the gauntlet and taking gambles on the next Krautrock obscurity maybe coming up with the goods even after sometimes getting burnt fingers just as they’ve healed from the last time. The Eroc album is a record which seems to have missed re-appraisal even with the last decade’s resurgence of interest in Krautrock. This may be because this is a solo side-project of the drummer from Grobschnitt, Joachim Heinz Ehrig. By their nature solo side-projects don’t usually attract avid attention, particularly when they’re by a band’s drummer, but especially when that band is, from what I’ve read, a Yes-styled progmare of Jurassic proportions. However, in this case these factors actually seem to have conspired to produce an album of true beauty.
The fact that Eroc was born from Grobschnitt’s drumstool might make you think that this record will be all self-indulgent, bombastic Keith Moon flailing. This could hardly be further from the truth. The whole of the first side of the record contains no drums at all. Recording material for a solo album seems to have given Ehrig a sense of liberation which resulted in a record which adventurously explores the possibilities of all sorts of instrumentation and studio wizardry. The result manages to be a great mixture of music and moods whilst retaining focus by virtue of a slightly claustrophobic quality which could only come from this being the vision of one person.
The album’s opener starts almost imperceptibly as a discrete playground synth line slowly fades in. It starts to modulate until each note results in a full elastic-band stretch. Then in comes a beautiful playful little monophonic synth line, which can only be an impressionistic view of a little child at play (the track is called ‘Kleine Eva’ – Little Eva). Now that might sound mawkish, but it manages to avoid gooeyness because the synth playing is gorgeously restrained, steering clear of unnecessary virtuoso filigrees. Its repeated tune slowly accumulates rather than sailing away into noodle land. Then in comes a spinning set of modulating synth sounds which sound just like the most spaced out section of the ur-KLF/Orb album ‘Space’. This gives way to the playground spirit again. You can’t fail to be seduced by this track if you like Cluster’s playful ‘Zuckerzeit’ (Sugar Time), which could indeed have appropriately titled this track too. It’s almost 12 minutes long, but when it fades out it makes you want to petulantly stick your bottom lip out, like a child being told it’s time for bed: “No fair!”. However, the following track ‘Der Zauberers Traum’ (The Magician’s Dream) is just as gorgeous, except that the child has grown into an adult, but still hung-up on an entranced view of the beauty of the world. The track starts off sounding like the beginning of a ‘Phaedra’-era Tangerene Dream track, but then the sequenced synth line starts to sound more like it’s come from Irmin Schmidt’s systemic train-ride album ‘Toy Planet’. Then in comes a meandering monophonic synth sounding like some snake-charmer’s rare woodwind. The sequencers bubble away underneath, continually rising into view, then disappearing over the brow of the hill. It’s honey-sweet and delicious. The track is then interrupted by some German-spoken hilarity in the studio. ‘Die Music Vom “Ölberg”’ Is a tiny and silly marching synth theme, which I can imagine satirically sound-tracking sped-up film of Nazi soldiers marching around wartime Europe. It’s reminiscent of La Düsseldorf’s ‘Individuellos’ album, especially as Eroc stops it in its tracks by smashing a pane of glass then running away. ‘Norderland’ begins with smooth synth and gusting arctic winds. We’ve gone from child to adult again. Just as you’d begun to think this was another all-synth track, in crashes a fully-formed instrumental rock tune with drums, bass, and guitar. The tune is a plodding, drunken sounding thing, sound-tracking the slow progress of arctic explorers, but when the lead guitar joins in the aurora borealis appears and the explorers stare up at the beauty before them as the biting arctic winds tear around them, ignored. The ego-less Karoli-sounding guitar lines klang together in metallic harmonies. At points it sounds like a punk version of The Shadows mogadonned on Venus playing ‘Albatross’. That sounds awful, but this track transcends those references to create something which is all lush swaying gorgeousness way beyond anything The Shadows or Fleetwood Mac were capable of even imagining. It’s beautiful in its simplicity and has a right to find itself jammed right up on the Kosmische end of that line I was talking about earlier. The following track ‘Horrorgoll’ is a collaged Faust Tapes weirdathon shoved through a delay and morphed into a bizarre lysergic radio play. German spoken word fragments fly about as all sorts of electrickery is used to pull as much otherworldliness as possible from the material fed into Eroc’s aural mincing machines. Occasionally, especially when electronic sounds are involved, this sounds like Stockhausen’s tape work, but with a more blatantly psychedelic goal. A German ‘Revolution 9’ perhaps. Uncompromising, and successful because of it. The final track ‘Sternchen’ (Little Star), starts off with wobbly, watery sounding guitar, then in comes the bass and the other guitars which play a pretty, but melancholic instrumental song which would have any vocalist who’d tried to sing on it in floods of tears. This tune wouldn’t have sounded out of place on the most Krautrock-influenced bits of Blur’s ‘13’ album. An accordion even joins in, low in the mix as if to give your heartstrings a final subliminal little tug, if they needed it. Oh, and no drums. The final crescendo strum ends a two minute track which, as it dies away, resurfaces in a backwards coda, which sounds just as haunting as the tune did forwards. A great ending which leaves the mind wistful, but uplifted.
Eroc’s first album is brilliantly infused with the wonder of childhood AND adulthood. It’s a totally unselfconscious record, whose egoless 35 minutes let sincerity and simplicity shine through. And it’s got lovely tunes on it too. It brings smiles to my face and just makes me want to hug the man who made it.
review by Julian Cope
from the dublab vaults, a special proton mix. funk, soul, psych, and all the way back for this mix. this was an exclusive dublab proton mix so don't sleep on this one, some quality shit!!! if you know his stlye you'll love this if you don't know about him pick this up and get your mind warped. some dirty psych shit.
A peek inside the mind of a serial DJ wacko. The Gaslamp Killer approaches DJing, beats, and life much differently than anyone I know; and it comes through in his DJ sets. Here's some unfiltered clues to Gaslamp's world with 15 unmixed psyche gems from his personal stash. No tracklist for all the biters, but access is better than nothing. The final track is a exclusivo Gaslamp re-edit. Also look for an upcoming GLK beats 12" coming to Money Studies in the fall. Recommended.
- Turntable Lab
The Mars Volta will bring in 2008 with a special New Years Eve performance at San Francisco’s Bill Graham Civic Auditorium. Una notte di amici e le sorprese ha presentato in un modo sorprendente. Costumes are required.
Tickets for this event go on sale this Saturday, October 20th at 10am PST here
Here is some of the album artwork from the yet to be released new album from The Mars Volta!
With 1971's Fragile having left Yes poised quivering on the brink of what friend and foe acknowledged was the peak of the band's achievement, Close to the Edge was never going to be an easy album to make. Drummer Bill Bruford was already shifting restlessly against Jon Anderson's increasingly mystic/mystifying lyricism, while contemporary reports of the recording sessions depicted bandmate Rick Wakeman, too, as little more than an observer to the vast tapestry that Anderson, Steve Howe, and Chris Squire were creating. For it was vast. Close to the Edge comprised just three tracks, the epic "And You and I" and "Siberian Khatru," plus a side-long title track that represented the musical, lyrical, and sonic culmination of all that Yes had worked toward over the past five years. Close to the Edge would make the Top Five on both sides of the Atlantic, dispatch Yes on the longest tour of its career so far and, if hindsight be the guide, launch the band on a downward swing that only disintegration, rebuilding, and a savage change of direction would cure. The latter, however, was still to come. In 1972, Close to the Edge was a flawless masterpiece.
1.Close To The Edge-18:42
2.And You And I-10:08
This new compilation from Dis-Joint (record label from the folks over at San Fancisco's world famous Groove Merchant record store) has been receiving some heavy pre-release hype. The subtitle here is "an international psychedelic mystery mix" and they've collected a batch of super rare, funky psychedelic rock from the late 60s/early 70s from all over the world. Keeping with that "mystery" theme, there is no tracklisting, no real info and a whole heap of undercover yap yap going on (awesome cover too by the way). We heard they sent out test presses to some of the top funk/psych collectros out there, all with individually unique covers, and the response has been overwhelmingly thumbs up (check out the soulstrut boards for the proof). It's billed as a "mix" but these tracks can really be taken on their own- there is no real "mixing" to speak of here, no 15 second drum break wind-downs or any of that- which is just how we like it. You'll still want to search out the full tracks in some places, but you get more than enough of the real thing to hold you over.
This is a pastiche of 60s and 70s ultra rare funky psyche songs from all over the world (Korea (San Ul Lim), Italy, Israel, Spain,Canada (J.K & Co), etc.) that is fused together with bizarro samples.
Gathered together from over 44 contries, Internet DJ's and Bedroom Composers gathered to create a tribute to the Intergalactic Bump King's, Trap Door. 16 Dyn-o-mite Tracks pay homage to the album Conscious. Featuring tracks by such international stars of trance like Poe-Pete, King Skeleton, The Apple and On the Money to name a few.
Fans of Andy Votel need this in their life. A mind blowing mix of international Psychedelic mysteries compiled and mix by the great San Fran label Di Joint
With no tracklisting only the most obsessive collectors could probably name some of the tracks on this comp, but that does not mean you will get hooked from the first minute. Tight fresh drum breaks, great pych vocals and fuzzy electronics makes this a compelling listen. - Lost in Tyme
"The Rhythm of Black Lines - Self Titled - Six Gun Lover
Review by: Jennifer Perkins
The Rhythm of Black Lines are quickly becoming a household name in the lonestar state. Now equipped with a self titled 4 song EP just out on Sixgunlover, the name could be known nationwide. Containing members of indie rock darlings The Hades Kick, as well as as Paul Newman isn't hurting either. This band was destined to do great things from the word 'go'.
Those familar with Paul Newman remember this seemingly shy man's masterful guitar playing. Very complex. This combined with Clint Newsome's epitome of indie vocals make for a perfect equation. Speaking of math, the temptation does arrive to throw that adjective out at the band. However, musical complexity is often mistaken for an attempt at 'math rock' and I am not sure that this is the effect The Rhythm of Black Lines are going for. There is too much fluidity in these songs to pigeonhole them wiith that term.
Listening to these engrossing and detailed songs, you feel like you are being let in on a big secret or handed down some prized family recipe. These songs sound like something these gentlemen worked quite diligently to create. you almost want to thank them for letting you listen in." ~ Naughty Secretary Club
Tuesday, October 16, 2007
Before his untimely passing this year, Detroit producer and MC J Dilla had established himself as one of hip-hop's most reliable auteurs. "He didn't overthink things," said Karriem Riggins, whom Dilla enlisted to finish the nearly completed The Shining shortly before his death, to the Detroit Free Press. Dilla's knack for intuitive and engaging beats served MCs well: His lucid, live-instrument-and-breakbeat-intensive production is synonymous with socially conscious rap's 1990s heyday-- a milieu on which Dilla left huge footprints with production credits on staples like the Pharcyde's Labcabincalifornia, A Tribe Called Quest's Beats, Rhymes and Life, and De La Soul's Stakes Is High.
Yet his prevailing focus on soulful, dynamic listenability instead of jazzbo hokum (let us pass over Common's Electric Circus in silence) instilled a durability in his music that allowed it to survive the seismic shifts in aesthetics that rocked hip-hop over the past decade. Despite the erratic quality of his own group Slum Village's output, Dilla's consistently sharp production kept the flame alive for the soul-jacking, pop-friendly rap that would enjoy a resurgence with recently influential records by Common and Kanye West.
A good hook, in other words, never goes out of style, and in a rap climate broad enough to allow for everything from deep-space funk to minimal snap music, Dilla's classicism acts as a control group amid more exotic strains. His other 2006 release, Donuts, with its profusion of brief instrumentals, was his record for heads-- a glorified beat tape that put the raw stuff of his vision on enticing display. In contrast, The Shining is more of a general audience record, by virtue of its song-length tracks and pervasive vocals from Dilla and his crew. As such, it presents challenges that Donuts didn't.
On a beat tape, you can make your point in a few bars and move on to the next boom-bap, but an album wants structure and continuity. Dilla imposed this structure upon The Shining by two primary methods, with varying levels of success. The first was by cultivating a sense of unified variety, and this is where The Shining truly excels-- it's a great digest of Dilla's various moods and modes. We get sumptuous neo-soul: "Love" recreates the Impressions' "We Must Be in Love" as a crackling swoon punched up with hearty brass, while "Baby" uses sped-up infant samples as bold, primary-color accents for its supple pastels. We get vertiginous, Madlib-esque fire: "Geek Down" weaves a sinister net of thunderclap drums, weird wavering bass, demonic incantation, and a dominant line like a sliced-up kazoo; the rock-solid stomp of "E=MC2" radiates as variegated vocoder textures swell and decay. And we get straight-up trunk-rattle: "Jungle Love" laces wowing sirens over skeletal trash-compacter percussion, while "Body Movin'" carves up a cymbal-heavy wash with off-kilter squelch and abrupt vocal drops.
The Shining's second layer of structural integrity resides in the guest vocals that dominate the album. Many of the record's guests also rose to prominence in the 1990s, though none of them remind us how much hip-hop has changed since then more starkly than Busta Rhymes: The guy who once had one of the most bugged-out flows in rap squanders "Geek Down" with thuggish, boring ad-libs that pay homage to the "fucking godfather Dilla" while contradicting the essence of his playful spirit. Common fares a bit better on "E=MC2", dropping innocuous party raps into the tight slots between the scratches and drums. He's equally passable sparring gently with the always sublime D'Angelo on "So Far to Go", which sports the sort of inventively dreamy yet perfectly coherent landscape Dilla also showed off on Steve Spacek's "Dollar", reminding us that the producer was as good with r&b atmosphere as he was with rap thwack (he makes Dwele sound way better than he has any right to on the "Dime Piece" remix). MED and Guilty Simpson spit nails that are well-suited to the junkyard jangle of "Jungle Love", while Black Thought mounts a commanding presence amid the overlapping click-tracks of "Love Movin'". Dilla embeds his own utilitarian rhymes in the deep digital swirls of "Won't Do", and while they don't add much force to the track, they pretty much stay out of the way.
Staying out of the way was one of Dilla's assets-- one hears his productions, first and foremost, as songs, not as stylized renditions of his brand. This is why his music is at once so enduringly listenable and why it never fully cracked a mainstream obsessed with personality and trademarked tics-- Dilla's trademark was self-effacement in the service of the groove. The mainstream wanted him, but he mostly didn't want it, preferring to work with friends and kindred spirits, admitting as much with the sample that closes out "Baby": "How do I feel about radio hip-hop? I think it's wack. Most of the shit they play is straight garbage." Whether or not one agrees with the sentiment is beside the point in the context of The Shining-- it's simply an expression of Dilla's steadfast commitment to his own vision amid the shifting tides of rap culture at large.
One of Jon Philip Theodores last shows with The Mars Volta.
AS POSTED ON THE TRADERS DEN HERE
The Mars Volta
February 2nd, 2006
Melbourne, Victoria, AU
Equipment: Sony Mic>Unknown MD
Lineage: MD-M>PC>FLAC>Trader's Little Helper (fix sbes)>FLAC
Taper: Chris B.
01. Fistful Of Dollars - 3:50
02. Cygnus....Visimund Cygnus - 14:57
03. (noise) - 0:38
04. L'Via L'Viaquez - 11:42
05. (noise) - 1:11
06. Eriatarka - 10:02
07. (noise) - 1:48
08. The Widow - 3:25
09. (noise) - 2:23
10. Drunkship of Lanterns - 5:03
11. (Drunkship) - 9:53
12. (Drunkship) - 16:20
13. (Drunkship) - 1:33
14. Frances the Mute - 12:05
15. (noise) - 0:51
16. Roulette Dares (The Haunt Of) - 10:56
17. (noise) - 1:19
18. Cassandra Gemini - 19:48
19. (Cassandra) - 7:39
20. (Cassandra)- 3:49
Taper made two transfers, the first is the circulating mp3 version (and what he B+P'd me as audio discs) that has the horrible cymbal distortion. It had a specral similar to an LP4 recording. I got this second version from bobcunningham in a DC++ hub. Renamed to etree standards.
Enjoy! Extra verse in Eriatarka and a good version of Frances The Mute, not like the shitty versions with Blake. Also the last-ever Cassandra Gemini. I think Drunkship might actually be longer than Cassandra on this show. I also don't believe this has circulated in lossless form yet.
Monday, October 15, 2007
Listening to Miles Davis' originally released version of In a Silent Way in light of the complete sessions released by Sony in 2001 (Columbia Legacy 65362) reveals just how strategic and dramatic a studio construction it was. If one listens to Joe Zawinul's original version of "In a Silent Way," it comes across as almost a folk song with a very pronounced melody. The version Miles Davis and Teo Macero assembled from the recording session in July of 1968 is anything but. There is no melody, not even a melodic frame. There are only vamps and solos, grooves layered on top of other grooves spiraling toward space but ending in silence. But even these don't begin until almost ten minutes into the piece. It's Miles and McLaughlin, sparely breathing and wending their way through a series of seemingly disconnected phrases until the groove monster kicks in. The solos are extended, digging deep into the heart of the ethereal groove, which was dark, smoky, and ashen. McLaughlin and Hancock are particularly brilliant, but Corea's solo on the Fender Rhodes is one of his most articulate and spiraling on the instrument ever. The A-side of the album, "Shhh/Peaceful," is even more so. With Tony Williams shimmering away on the cymbals in double time, Miles comes out slippery and slowly, playing over the top of the vamp, playing ostinato and moving off into more mysterious territory a moment at a time. With Zawinul's organ in the background offering the occasional swell of darkness and dimension, Miles could continue indefinitely. But McLaughlin is hovering, easing in, moving up against the organ and the trills by Hancock and Corea; Wayne Shorter hesitantly winds in and out of the mix on his soprano, filling space until it's his turn to solo. But John McLaughlin, playing solos and fills throughout (the piece is like one long dreamy solo for the guitarist), is what gives it its open quality, like a piece of music with no borders as he turns in and through the commingling keyboards as Holland paces everything along. When the first round of solos ends, Zawinul and McLaughlin and Williams usher it back in with painterly decoration and illumination from Corea and Hancock. Miles picks up on another riff created by Corea and slips in to bring back the ostinato "theme" of the work. He plays glissando right near the very end, which is the only place where the band swells and the tune moves above a whisper before Zawinul's organ fades it into silence. This disc holds up, and perhaps is even stronger because of the issue of the complete sessions. It is, along with Jack Johnson and Bitches Brew, a signature Miles Davis session from the electric era.
2.In A Silent Way/Its About That Time-19:52
Sunday, October 14, 2007
AS POSTED ON ELECTRIC SKY CHURCH HERE
THE JIMI HENDRIX EXPERIENCE: HUNTER COLLEGE 1968
Hunter College, New York City, NY 2 march 1968; 2nd Show
Aud; 1st Gen - Digitally restored, Phase & Speed corrected
1 "Tax Free" (5)
2 "Foxy Lady" (22)
3 "Like A Rolling Stone" (5)
4 "Killing Floor" (11)
5 "Red House" (14)
Total time: 25:24
The "best" previously circulated version of this recording was formerly believed to be a master clone, but new info shows that this is not correct. Recordings such as the one included on ATM 039 "Hunter / Hilton" are in fact just 2nd Gen at best, so this 1st Gen version IS an upgrade, and the "best" version currently in circulation. The reason for the Master / 2nd Gen confusion was probably that the lineage of the old recording was listed as DAT Master > CDR. However, this so-called "DAT Master" wasn't actually a real Master, but merely a DAT copy of a 2nd Gen tape (at best). Anyway: There's no new music here compared to old version, but the recording starts a few seconds earlier, so it's marginally longer. As was the case with the Fillmore East 1968 upgrade, this recording has been doing the rounds at JPIO this summer.
"Along with Kind of Blue, In a Silent Way, and Round About Midnight, Sketches of Spain is one of Miles Davis' most enduring and innovative achievements. Recorded between November 1959 and March 1960 — after Coltrane and Cannonball Adderley had left the band — Davis teamed with British arranger Gil Evans for the third time. Davis brought Evans the album's signature piece, "Concierto de Aranjuez," after hearing a classical version of it at bassist Joe Mondragon's house. Evans was as taken with it as Davis was, and set about to create an entire album of material around it. The result is a masterpiece of modern art. On the "Concierto," Evans' arrangement provided an orchestra and jazz band — Paul Chambers, Jimmy Cobb, and Elvin Jones — the opportunity to record a classical work as it was. The piece, with its stunning colors and intricate yet transcendent adagio, played by Davis on a flügelhorn with a Harmon mute, is one of the most memorable works to come from popular culture in the 20th century. Davis' control over his instrument is singular, and Evans' conducting is flawless. Also notable are "Saeta," with one of the most amazing technical solos of Davis' career, and the album's closer, "Solea," which is conceptually a narrative piece, based on an Andalusian folk song, about a woman who encounters the procession taking Christ to Calvary. She sings the narrative of his passion and the procession — or parade — with full brass accompaniment moving along. Cobb and Jones, with flamenco-flavored percussion, are particularly wonderful here, as they allow the orchestra to indulge in the lushly passionate arrangement Evans provided to accompany Davis, who was clearly at his most challenged here, though he delivers with grace and verve. Sketches of Spain is the most luxuriant and stridently romantic recording Davis ever made. To listen to it in the 21st century is still a spine-tingling experience, as one encounters a multitude of timbres, tonalities, and harmonic structures seldom found in the music called jazz." ~ AMG
Credits: Arranged By, Conductor [Orchestra] - Gil Evans
Bass - Paul Chambers (3)
Bassoon - Jack Knitzer
Clarinet [Bass] - Danny Bank
Clarinet, Oboe - Harold Feldman (tracks: 1, 8)
Drums - Jimmy Cobb
Flugelhorn - Al Block , Eddie Caine (tracks: 1, 8) , Harold Feldman (tracks: 2 to 7) , Miles Davis (tracks: 1, 8)
French Horn - Earl Chapin (tracks: 1, 8) , Jim Buffington , Joe Singer (tracks: 2 to 7) , John Barrows (tracks: 1, 8) , Tony Miranda (tracks: 2 to 7)
Harp - Janet Putnam
Mastered By [Remastering] - Mark Wilder , Phil Schaap
Oboe - Romeo Penque
Percussion - Elvin Jones , Jose Mangual
Producer - Irving Townsend , Teo Macero
Producer [Reissue] - Phil Schaap
Recorded By - Fred Plaut
Trombone - Frank Rehak , Dick Hixon*
Trumpet - Bernie Glow , Ernie Royal , Johnny Coles (tracks: 2 to 7) , Louis R. Mucci , Miles Davis , Taft Jordan (tracks: 1, 8)
Tuba - Bill Barber (tracks: 2 to 7) , James McAllister (tracks: 1, 8)
Notes: Tracks 6-8 are bonus tracks not on the original LP, which was released in 1960.
Recorded at 34th Street Studio, NYC, Nov 15th 1959, Nov 20th 1959 & Mar 10th 1960.
Liner notes contain the original LP liner notes along with a short piece "The Making Of Sketches Of Spain".
01 Concierto De Aranjuez (Adagio) (16:19)
02 Will O' The Wisp (3:47)
03 The Pan Piper (3:52)
04 Saeta (5:06)
05 Solea (12:15)
06 Song Of Our Country (3:23)
07 Concierto De Aranjuez (Part One) (12:04)
08 Concierto De Aranjuez (Part Two Ending) (3:33)
Avishai Cohen's After the Big Rain is an ambitious, earthy and endlessly surprising work that finds the trumpeter/composer melding post-bop, avant-garde jazz, African folk music and electric soundscapes. Having been a force on the downtown NYC jazz scene since the '90s, Cohen has made a name for himself as an adventurous, forward-thinking musician performing in various ensembles that mixed everything from klezmer and free jazz to swinging hard bop and post-rock. Here, Cohen takes his world music inclinations one step further partnering with West African vocalist/guitarist Lionel Loueke on a series of loosely connected pieces that strongly feature Loueke's moody singing and percussive guitar. Interestingly, the album often sounds more like African folk music than jazz with Loueke setting a song up and then Cohen with his muted/electronically enhanced trumpet and keyboardist Jason Linder's wave-like Fender Rhoades joining in organically after a few bars. Cohen himself is a fire brand of an improviser who evinces both a Miles Davis-like sense of harmonic color and a knack for muscular, knotty Woody Shaw-inspired improvisational lines. Here, he mixes both styles liberally, often bumping against Yosvany Terry's rhythmic "jack-in-the-box" sounding chereke playing. In many ways, After the Big Rain harkens back to trumpeter Don Cherry's stellar 1975 jazz/world fusion album Brown Rice and in a similar sense is a moving and enveloping early masterwork. - All Music Guide
This post is dedicated to very special people in my life, one of which knows who she is :)
AS POSTED ON THE TRADERS DEN HERE
If you're a jazz fan, you need this!! This is about as good as it gets.
Thelonious Monk & Giants Of Jazz
Live at Erkel Theatre, Budapest-Hungary, 1971-11-01
SOURCE: SBD>unknown lineage>CD TRANSFER>trade>CD>EAC Secure Modus>Flac Frontend Level 6>Flac
SOUND: A (very fine sound!)
1 Wee 11:17
2 Round Midnight / Introduction by KW 8:38
3 Just Friends (SSt,as-feat) / Introduction by SS 4:54
4 Lover Man (KW,tb-feat) / Introduction by DG 5:57
5 Tour de Force / Introduction by AB 14:37
6 Tin Tin Deo (DG,tp,AMcK,b,feat) / Introduction by DG 14:30
7 A Night In Tunisia 11:28
Total Running Time: 71 min
*complete available version*