Saturday, November 3, 2007

Bad Brains - 1982 - Bad Brains

For fans of hardcore, many would agree that the holy grail of the genre is Bad Brains' self-titled album, originally released back in 1982 as a cassette-only release on ROIR. The ensuing years after its initial release haven't dulled the album's fury and rage in the least, and it's still impressive how the band can switch gears from red-hot hardcore to cool reggae dubs in the blink of an eye. All the classics are here: "Sailin' On," "Banned in D.C.," "Pay to Cum," "Right Brigade," as well as one of their strongest reggae tunes, "I Luv I Jah." The back of the album boasts a quote from the Beastie Boys' Adam Yauch, which sums up the proceedings simply, "the best punk/hardcore album of all time." [Although Bad Brains was available on CD on the now-defunct In Effect label in the late '80s (then titled Attitude: The ROIR Sessions with a different album cover), it's since been remastered and re-released with its original cover, as well as an untitled bonus track added at the end. -

Mood - 1997 - Doom

"Doom is the 1997 debut album of hip hop group Mood. It features production by DJ Hi-Tek and guest appearances by Talib Kweli and Sunz of Man. It features one single, "Karma", whose b-side is "Cincinnati". Mood's classic Doom launched the careers of Talib Kweli, Hi-Tek, and Lone Catalysts. Producer J.Rawls of Lone Catalyst is also experiencing commercial success as a soloist in Europe and Japan" ~ Wikipedia


01. Esoteric Manuscripts
02. Info For The Streets
03. He Is DJ Hi-Tek
04. Karma
05. The Vision
06. Tunnel Bound
07. Nuclear Hip-Hop
08. Another Day
09. Sacred-Pt. 1
10. Peddlers Of Doom
11. Millennium
12. Babylon The Great
13. Peace Infinity
14. Secrets Of The Sand
15. Illuminated Sunlight
16. Industry Lies
17. No Ordinary Brother
18. Cincinnati

Supersilent - 2001 - 5

"1-3 is raw, manic, and excellent, but a bit imposing as a three-CD set. 4 is good, but slightly under average since it captures Supersilent in transition from the group's feverish beginnings to its slightly more laid-back sound of later years. And then you have 5, full of consistently exciting free improvisation, perfectly balanced between acoustic and electronic, rock and jazz, loud and quiet. This one is definitely the place to start exploring the seductive music of the Norwegian quartet — because after you get hooked, you can still look up to the exquisite 6. Released in 2001, it was put together from four different performances recorded in 1999 and 2000. There is a gap between 1998's 4 and this album, a gap the group members spent honing their listening skills. Arve Henriksen's trumpet, already fractured in the previous albums, becomes downright ambient and haunting — the almost obligatory reference to Bitches Brew-era Miles Davis must be updated with serious acknowledgments to Bill Dixon. The drums also adopt a quieter attitude, exploring background textures and taking tortuous, covered paths to impose a groove without anyone noticing. "5.4," by far the softest track on this CD, also provides its highlight. Its measured pace and use of space are exemplary. But 5 is not all droning and floating. In "5.1" and "5.3," the group engages in galvanizing passages that come close to matching the disordered intensity of some of the material on 1-3. This group has yet to release an unconvincing album." AMG


01 5.1 (19:45)
02 5.2 (11:17)
03 5.3 (13:48)
04 5.4 (8:25)
05 5.5 (17:38)

All selections are recorded direct to DAT on the following locations Purcell room, Queen Elisabeth Hall, London 16.11.00 I.T.C. Teatro di San Lazzaro, Bologna 26.09.00 Kulturkirken Jakob, Oslo 08.10.00 Bla, Oslo 07.02.99

Xzibit - 1996 - At The Speed of Life

"Being from the east coast, I have to say that in 1996, there weren't a lot of west coast MCs getting promotion over here unless they were signed to Death Row. I was actually blindsided by this album because I had never heard of Xzibit. When I first heard the singles "The Foundation" and "Paparazzi", I had no clue that this guy from the west. I actually thought he was from the east because of his potent lyrics (I know that was a generic compliment, but it's the truth). A lot the LPs being released in 1996 were either classic or near classic, so you had to drop classic or near classic material just to stand a chance. Just look at the material being released during this period:

Outkast: ATLiens
The Fugees: The Score
2 Pac: All Eyez On Me & Don Killuminati The 7 Day Theory
The Roots: Illadelph Halflife
Ras Kass: Soul On Ice
Jay Z: Reasonable Doubt
E 40: Hall Of Game
De La Soul: Stakes Is High
MC Ren: Da Villain In Black
Ghostface: Ironman
Redman: Muddy Waters

This was the level hip hop was at when Xzibit dropped his album. Back in '96 you had to be near classic for anyone to even listen to you. So it's no surprise really that X to the Z dropped such a hot album at the time. At The Speed Of The Life has all the elements of a classic album. The production from E Swift, Diamond D, and Muggs is tight and the guest appearances are on bangin' (especially the criminally underrated Ras Kass and Tash).

There are some suspect joints that keep this album from reaching classic status though. Tracks like "Just Maintain" and "At The Speed Of Life" aren't bad, but they are boring and they keep this album from reaching the classic status that it is so deserving of. But the negative aspects of the album are kept to a minimum.

Overall, this has to be one of the best hip hop releases of 1996. It was heavily slept on though. Believe it or not, a lot of east coast heads still don't know that this album is even out. If you're just getting into Xzibit, then this is the album you should start with because not only is it his first album, it's also his best album. Give it a try, you won't be disappointed.

Standout Tracks: Plastic Surgery feat. Saafir & Ras Kass, Positively Negative feat. King Tee, The Foundation, Eyes May Shine, Carry The Weight, Paparazzi, Bird's Eye View feat. Tha Alkaholiks & Hurricane G (My Favorite)" ~ Norfeest "Yes Yes Y'all"

Samples Used On This Album:

Eyes May Shine

"Minnie's Lament" by Minnie Riperton
"Inner City Blues" by Grover Washington Jr.
"The Start of Your Ending" by Mobb Deep


"Pavane" by Gabriel Faure

The Foundation

"Just the Way You Are" by Billy Joel
"The Stranger" by Billy Joel

Enemies & Friends

"Enlightment" by Billy Paul


01 Grand Opening (Interlude) (1:32)
02 At The Speed Of Life (3:45)
03 Just Maintain (3:21)
04 Eyes May Shine (3:54)
05 Positively Negative (3:36)
06 Don't Hate Me (Interlude) (1:32)
07 Paparazzi (3:56)
08 The Foundation (3:55)
09 Mrs. Crabtree (Interlude) (1:17)
10 Bird's Eye View (4:42)
11 Hit & Run (Part II) (3:49)
12 Carry The Weight (4:13)
13 Plastic Surgery (4:40)
14 Enemies & Friends (4:01)
15 Last Words (Interlude) (1:01)

Music Video For Paparazzi

Traffic - 1968 - Heaven Is in Your Mind

"In January 1968, United Artists Records released a reconfigured American version of Traffic's debut album Mr. Fantasy under the new title Heaven Is in Your Mind, but after the first pressing reverted to calling it Mr. Fantasy. In 2000, Island reissued two CD versions, one titled Mr. Fantasy containing the British track listing in mono, the other titled Heaven Is in Your Mind with the U.S. track listing in stereo. Both albums contained bonus tracks, making their contents similar (but not quite identical). Actually, the album originally called Heaven Is in Your Mind was the superior version even before this development brought the two editions into stark comparison, since the changes actually improved the record by adding strong singles. But just as important as the substitutions was the sequencing, which banished the British-flavored novelty songs to the middle of Side Two; "Dear Mr. Fantasy," which would turn out to be the best-remembered song on the album, was moved to a climactic position as the penultimate cut on Side Two. The result de-emphasized Traffic's pop-psychedelic style (a hangover from the influence of Sgt. Pepper) and promoted its abilities as a jamming blues-rock outfit, talents that were abetted by Jimmy Miller's production and that helped launch them as an album act in the U.S. The 2000 reissue includes as bonus tracks the two deleted Dave Mason songs and two songs from the Here We Go 'Round the Mulberry Bush soundtrack. Island's decision to reissue both versions could easily confuse consumers; the U.S. stereo version, once again known as Heaven Is in Your Mind, is really the one to own if you're only buying one." ~ AMG


01. Paper Sun (3:26)
02. Dealer (3:13)
03. Coloured Rain (2:46)
04. Hole in My Shoe (3:04)
05. No Face, No Name, No Number (3:38)
06. Heaven Is in Your Mind (4:22)
07. House for Everyone (2:05)
08. Berkshire Poppies (2:59)
09. Giving to You (4:18)
10. Smiling Phases (2:44)
11. Dear Mr. Fantasy (5:33)
12. We're a Fade, You Missed This (0:53)
13. Utterly Simple (3:17)
14. Hope I Never Find Me There (2:09)
15. Here We Go 'Round the Mulberry Bush (15:45)
16. Am I What I Was or Am I What I Am (16:45)

Total Time: 76:07

- Steve Winwood / vocals, keyboards, guitars, bass pedal (organ)
- Chris Wood / saxophone, flute, organ
- Jim Capaldi / drums & percussion

Dr John's New Orleans Swamp (Dr. John, The Meters, Professor Longhair, Earl King) - 1974 - FREEZER's Boogie Woogie of New Orleans


DATE: 1974.06.13

NOTE: Dr. John's New Orleans Swamp (Dr. John, The Meters, Professor Longhair, Earl King)
June 13, 1974 (actual recording date - at St. Bernard Cultural Center in Chalmette Louisiana)
broadcast in 1974 on Soundstage
(pre-broadcast audio source from WYES-12 TV in New Orleans)

Lineage: New Orleans PBS station Channel 12 WYES-TV rebroadcast in the early 90's>Cox cable>recorded on a Sony VCR>FUJI High grade VHS>played back on a different Sony VCR in 2007>Sony DVD burner>CDR (0) >CDR(1) >EAC (secure mode, test and copy, read offset correct) >WAVE >TLH >FLAC >L8

RECORDED FROM TV Broadcast & transfered to CDR(0) BY: FREEZER

Disc 1 (58.46)

01. Programmer Intro-Professor Longhair
02. She Walked Right In/ Shake Rattle And Roll
03. Tipitina
04. Whole Lotta lovin'
05. Every Day I have The Blues-Earl King
06. Mama And Papa
07. Loney Loney Nights
08. Look-Ka-Py-Py/Jungle Man-Dr. John
09. Call A Doctor
10. Qualified
11. Quitters Never Win
12. Such A Night
13. Right Place, Wrong Time-Dr John/Professor Longhair/The Meters/Earl King
14. Big Chief
15. End Of Broadcast

The Night Tripper from 1970!

Boom Bip & Doseone - The Birdcatcher's Return

Flying Lotus at Low End Beat Invitational

Here's the first clip we're releasing. By the end of the weekend, I should have a Daedelus sample and a Greenlab Reel up feat live performances from Daedelus, Gaslamp Killer, Zechs Marquise, Free Moral Agents, Jel, and more! (plus interviews)


Friday, November 2, 2007

Comus - 1971 - First Utterance

"Comus' first album contains an imaginative if elusive brand of experimental folk-rock, with a tense and sometimes distressed vibe. Although there are elements of traditional British folk music, there's an edginess to the songwriting and arrangements that would be entirely alien in a Fairport Convention or Pentangle disc. At times, this straddles the border between folk-rock and the kind of songs you'd expect to be sung at a witches' brew fest, the haunting supernatural atmosphere enhanced by bursts of what sound like a theramin-like violin, hand drums, flute, oboe, ghostly female backup vocals, and detours into almost tribal rhythms. All of this might be making the album sound more attractive than it is; the songs are extremely elongated and fragmented, and the male vocals often have a grating munchkin-like quality, sometimes sounding like a wizened Marc Bolan. The lyrics are impenetrable musings, mixing pastoral scenes of nature with images of gore, torture, madness, and even rape, like particularly disturbing myths being set to music. It's been reissued on CD, but here's one case where you might want to get the LP reissue (on Get Back) instead, as it comes with a bonus 12" of three songs in a similar vein as their rare 1971 EP." ~ AMG


01. Diana
02. The Herald
03. Drip Drip
04. Song to Comus
05. The Bite
06. Bitten
07. The Prisoner

Blackstar feat. Common - Respiration

Blackstar - Definition

Jimi Hendrix - 1969 - Royal Albert Hall

Thursday, November 1, 2007

Marvyn Gaye - 1978 - Lets Get It On

Fela Kuti - Black President

Part One

Part Two

Part Three

Sun Ra Documentary - Brother From Another Planet

Part One

Part Two

Part Three

Part Four

Nice Nice @ PDX Pop Now! 2005

Quasimoto - 2000 - The Unseen Instrumentals

Produced by Madlib

01. Welcome to Violence
02. Bad Character
03. Microphone Mathematics
04. Basic Instinct
05. Goodmorning Sunshine
06. Discipline 99 Pt. 0
07. Discipline 99 pt.1 (CD only)
08. Real Eyes
09. Low Class Conspiracy
10. Return of the Loop Digga (LP only)
11. Come On Feet
12. Bluffin
13. Boom Music
14. MHBs
15. Put a Curse on You
16. Astro Black
17. Green Power
18. Jazz Cats Pt. 1
19. 24-7
20. The Unseen
21. Phony Game
22. Astro Travelin
23. Axe Puzzles
24. Blitz
25. Lord Such's Otomisauq Outro (CD only)

Acid Bath - 1996 - Paegan Terrorism Tactics

“Acid Bath's second album further establishes the band's unique Southern punk/sludge/goth metal hybrid, only with warmer, fuller production and a more melodic songwriting approach than on their debut. The songs here are stylistically all over the map, but bound together in part by frontman Dax Riggs' powerful singing and dark lyrics (filled with references to death, graveyards, and bone dust.) The opener, "Paegan Love Song," is an instantly catchy shout-along anthem that combines '70s blues-rock elements with more modern metal drumming, while "Venus Blue is a straightforward slow rock song with a sad, soaring, guitar-heavy chorus that might have almost been radio ready if not for the graphic lyrics. "Diab Soule" is more in line with their debut, shifting between raging metal sections, melancholy melodic crooning and a heavy Southern/groove rock breakdown. The closer, "Dead Girl," is an all-acoustic ballad that brings to mind Alice in Chains, but again, thanks to the lyrics, it is more disturbing and sinister than any of that band's work. A couple of the songs go on a bit longer than they need to, but on the whole, this album is still filled with strong vocal melodies, memorable riffs, and well structured songs. While their debut also had plenty of standout tracks, Paegan Terrorism Tactics gets the edge over that CD due to its better production, more consistent songwriting, and generally more confident, mature tone.” ~ AMG

1. Paegan Love Song
2. Bleed Me An Ocean
3. Graveflower
4. Diäb Soulé
5. Locust Spawning
6. Old Skin
7. New Death Sensation
8. Venus Blue
9. 13 Fingers
10. New Corpse
11. Dead Girl
12. The Beautiful Downgrade

Angels of Light – 2007 - We Are Him

1. Black River Song
2. Promise of Water
3. The Man We Left Behind
4. My Brother’s Man
5. Not Here/Not Now
6. Joseph’s Song
7. We Are Him
8. Sometimes I Dream I'm Hurting You
9. Sunflower’s Here to Stay
10. Good Bye Mary Lou
11. The Visitor
12. Star Chaser


Angels Of Light: Siobhan Duffy Gira, Ryan Vanderhoof, Larkin Grimm (vocals); Michael Gira, Seth Olinsky (acoustic guitar); Christoph Hahn (electric guitar); Phil Puleo (hammer dulcimer); Patrick Fondiller (mandolin); Eszter Balint, Paul Cantelon (violin); Julia Kent (cello); David Garland (flute); Birgit Cassis Staudt (accordion); Steve Moses (trombone); Bill Rieflin, Miles Seaton (bass guitar); Dana Janssen (drums); Adam Sachs (unknown instrument).

Michael Gira continued to atone for years of fronting the loudest band ever, the Swans, with both his second band, Angels of Light, and his label, Young God Records, which gave the world the likes of Devendra Barnhart and Akron/Family. Both of these endeavors bolstered his belief that music need not split ears to be adventurous, challenging, and beautiful.

WE ARE HIM, the fifth long-player from Angels of Light, is wholly uncategorizable, and features Gira chasing far-flung muses from Beefheart stomps ("My Brother's Man") to dirgy semi-ragas ("Promise of Water"), to almost traditional pop ("Good Bye Mary Lou.") The constants throughout are delicate arrangements, odd structures, and Gira's mesmerizingly laconic baritone. There are familiar touchstones here--synth-era Leonard Cohen and Nick Cave's solo work to name two--but Gira is an original and WE ARE HIM is weird American noir that sounds like nothing else on earth. - CD Universe

Jethro Tull - 1972 - Thick As A Brick

From Allmusic:

Jethro Tull's first LP-length epic is a masterpiece in the annals of progressive rock, and one of the few works of its kind that still holds up decades later. Mixing hard rock and English folk music with classical influences, set to stream-of-consciousness lyrics so dense with imagery that one might spend weeks pondering their meaning -- assuming one feels the need to do so -- the group created a dazzling tour de force, at once playful, profound, and challenging, without overwhelming the listener. The original LP was the best-sounding, best-engineered record Tull had ever released, easily capturing the shifting dynamics between the soft all-acoustic passages and the electric rock crescendos surrounding them.

Track Listing:

1. Thick As A Brick (Side One)-22:37
2. Thick As A Brick (Side Two)-21:03

Wednesday, October 31, 2007

Spread the love!

To all the users of the Comatorium (and similar message boards) out there:

Put this in your signature:


The more people click, the more the love is spread.

Emerson, Lake, and Palmer - 1973 - Brain Salad Surgery

This is the follow-up to my post about Alberto Ginastera's Piano Concerto #1 (

This album contains the song "Toccata," which is an adaptation of Ginastera's Piano Concerto #1, 4th Movement, as I talked about in that post. Rather than finding some arbitrary prog review (prog reviewers are crazy), I'd rather just leave you with my thoughts on this album, why it's important to me, and why I uploaded it (aside from the cool classical music connection):

Emerson, Lake, and Palmer (or ELP) is a very hit-and-miss band, like many prog groups from the 70s. They had a lot of awesome material, and some pretty questionable, mediocre-to-downright-awful stuff as well. While some of their poppier songs are among the biggest lows of 70s prog, their highs are my favorite favorite of any prog band, period. And my two favorite songs of theirs both come from their hands-down best album: Brain Salad Surgery. One of the songs, "Toccata", has already been outlined for you. The other, the 3 part, 4 track post-apocalyptic epic, "Karn Evil 9," is a masterpiece. The demented vaudeville imagery and circus-like music of the First Impression give the image of some kind of big-top show in a future where life on Earth is on the brink of extinction. The Second Impression is an all-instrumental fusion of classical piano, rock, jazz, and some crazy caribbean breakdown that sounds almost tribal and violent, yet still manages to give a wink to "St. Thomas." The Third Movement, while definitely the weakest, is probably the first experience into sonic outer space that many 1973 mainstream listeners ever had.

I've put up the whole album for wholeness's sake, but a word of caution: while the opening track, "Jerusalem," is decent, the remaining two tracks are pure unadulterated garbage. Especially "Still...You Turn Me On." But the focus of this album is clearly Toccata and Karn Evil 9, and they are well worth the attention. Enjoy the best that these 3 virtuosos had to offer.

1. Jerusalem
2. Toccata
3. Still... You Turn Me On
4. Benny the Bouncer
5. Karn Evil 9: First Impression, Pt. 1
6. Karn Evil 9: First Impression, Pt. 2
7. Karn Evil 9: Second Impression
8. Karn Evil 9: Third Impression

Jimi Hendrix and The Gypsy Sun & Rainbows - 1969 - Woodstock Music & Arts Fair

RIP Larry Lee :(


Message to Love
Hear My Train A Comin'
Spanish Castle Magic
Red House
Lover Man
Foxy Lady
Jam Back At The House
Gypsy Woman
Voodoo Child (Slight Return)/Stepping Stone
The Star-Spangled Banner
Purple Haze
Woodstock Improvisation/Villanova Junction
Hey Joe

Gypsy Sun & Rainbows: Woodstock - Nothing But Primary Rhythm Things ... (ATM 239-240 / 21.04.2007 / 2CDR)
(Woodstock Music & Arts Fair (Woodstock Festival), Yasgur's Farm, Bethel, NY 18.08.69 [Complete Show]; 67:01 / 59:47) Sbd Composite* - Digitally Restored & Pitch corrected to match the official version
[* Main source: 2nd Gen]
- A Complete as possible version of the Woodstock performance; The basic source for this composite is the Kramer source, which is only missing "Message To Love" and a few short cuts in music or tuning. These were patched in from the Douglas source or from official releases. Chip's closing comments were also added. Everything was pitch-adjusted to the official tracks. Pitch was fairly stable except during "Hey Joe" where it varied a bit on the Kramer source. The Kramer source was EQ'd to get it closer to the official tracks, and the patch bits were EQ'd to match the rest.

Info from Hans-Peters's excellent site

Watch the Alan Douglas compiled version of this historic performance:

For very extensive info on the entire Woodstock festival, please visit this page.


Monday, October 29, 2007

Alberto Ginastera - 1961 - Piano Concerto #1

I wanted to share this piece for two reasons. One is that I love Ginastera, and have ever since I played a piece of his, "Danza de la Moza Donosa," on piano. Some time later, I discovered the band "Emerson, Lake, and Palmer," and learned that their song "Toccata" is based on the 4th movement of Ginastera's Piano Concerto #1. I am a big fan of that song, and the album it is from, "Brain Salad Surgery." I will be uploading that one later this week, so this is a little warm up for you. Or, for those who already know "Toccata," I'm sure you will appreciate this.

From Wikipedia:

"Ginastera is reported to have said, "Diabolical!"[citation needed] Emerson misunderstood Ginastera's meaning: Ginastera spoke no English and meant that their interpretation was frightening, which had been his intent when he wrote it; Emerson, being British, took it to mean "awful". Emerson was so upset that he was prepared to scrap the piece until Ginastera's wife intervened saying that he approved. Ginastera later said, "You have captured the essence of my music, and no one's ever done that before.""

I've uploaded all four movements, because the work as a complete whole is a masterpiece, very creative, very progressive, and an absolute microcosm of contemporary classical music. Enjoy.

This particular recording is a performance of the Slovak Radio Symphony Orchestra under the direction of Dora de Marinis and concertmaster Julio Malaval

Omar Rodriguez-Lopez Quintet - 2007 - The Apocalypse Inside of an Orange

To be released on 2xLP 11/20/07.

The latest offering from the Omar Rodriguez-Lopez Quintet is going to be released soon, and just to get us all excited the mysterious D.E.I.M.O.S. Myspace (Define Every Inch The Mile One Seeks) have released a couple of tracks for us to drool over! The tracklisting even includes a new, unreleased version of Jacob Van Lennepkade! Check this out, its gonna be huge...

from the deimos myspace:

"The Apocalypse Inside of An Orange is the next in a series of albums written while Omar Rodriguez Lopez was living in Amsterdam in 2005. As the name on the album implies, the tracks included are performed by the Omar Rodriguez Lopez Quintet (as opposed to the ORL Group), the band that toured Europe in late 2005, which includes bassist Juan Alderete de la Pena, keyboardist Money Mark Ramos-Nishita, horn player/percussionist Adrian Terrazas Gonzales, and drummer/percussionist Marcel Rodriguez Lopez. The 60-minute, limited edition double-vinyl LP features 7 new tracks as well as a previously unreleased version of the song "Jacob Van Lennepkade" that first appeared on Omar's self-titled (aka "Dutch") album in 2005. A CD version will be released sometime in 2008. Meanwhile, the songs will be available online shortly after the release of the vinyl."

Apparent Tracklisting:

1. "Melting Chariots"
2. "Knee Deep in the Loving Hush of Heresy"
3. "Jacob van Lennepkade II"
4. "Fuerza de Liberacion"
5. "Spared from the Insult List"
6. "Baby Fat"
7. "The Apocalypse Inside of an Orange"
8. "Coma Pony"

Click this link to hear two tracks from this soon to be released full length:

If you thought Omars output for material done in Amsterdam was done, check out this bit of info from the deimos myspace page:

"Calibration is another in a series of albums written while Omar Rodriguez Lopez was living in Amsterdam in 2005. Similar to the recent Se Dice Bisonte No Bufalo album, Omar utilized his usual cast of contributors to perform some of the tracks, while completing others by himself. With an emphasis on electronic, dub and synth-based compositions, the resulting album has more in common with Rodriguez's DE FACTO output than with his rock-oriented work. Calibration includes vocal appearances by Cedric Bixler Zavala and John Frusciante, as well as performances by Thomas Pridgen, Juan Alderete de la Pena, Money Mark, and more. Album art was created by world-reknowned graffiti artist GREY, a childhood friend of Omar's and longtime artistic collaborator."

Sunday, October 28, 2007

Nina Simone Documentary by Peter Rodis 1969

If you enjoyed that documentary, check out some more full length videos from the one and only Nina Simone.

Nina Simone Live, 1961-1962

Nina Simone Live at Ronnie Scott's 1985

Nina Simone Live in Brazil

Nina Simone Live in Hamburg, 1988

Soul of Nina

Nina Simone Live in Montreux

Ice Cube - Check Yo Self

Ice Cube - Friday

Ice Cube & Dr DRE - Natural Born Killaz

Ice Cube - It Was A Good Day

Queen - Bohemian Rhapsody

"The song was recorded over three weeks by the band and producer Roy Thomas Baker. Recording began at Rockfield Studio 1 near Monmouth on August 24, 1975, after a 3-week rehearsal period in Herefordshire. During the making of the track, a further four studios – Roundhouse, SARM (East), Scorpion, and Wessex – were used. According to some band members, Mercury had worked out the entire song in his head and directed the band through the song.

Brian May, Mercury and Roger Taylor sang their vocal parts continually for ten to twelve hours a day, resulting in 200 separate overdubs. Since the studios of the time only offered 24-track analogue tape, it was necessary for May, Mercury and Taylor to overdub themselves many times, and "bounce" these down to successive sub mixes. In the end, eighth-generation tapes were being used. The tapes had passed over the recording heads so many times the normally opaque tapes could be seen through, as the oxide layer was beginning to wear off. The various sections of tape containing the desired sub mixes would have to be cut with razor blades and reassembled together in the correct sequence using adhesive tape, a process known as splicing.

A backing track of the grand piano (Mercury), bass guitar (John Deacon) and drums (Taylor) was recorded first. The band used many instruments to produce the song, including a Fender Precision Electric Bass, May's Red Special electric guitar, Ludwig Drums, timpani and a Paiste Gong. Mercury used a Bechstein "Concert" Grand Piano, the same he'd later play in both the promotional video and the UK Tour. When it was finished it was the most expensive single ever made and remains one of the most elaborate recordings in music history.

When Mercury wanted to release the single in 1975, it had been suggested to him that, at 5 minutes and 55 seconds, it was far too long and would thus never be a hit. But Mercury gave a copy of the single to friend and London DJ Kenny Everett, informing him (with a wink and a nod) that it was for him personally, and that he must never play it on air. Mercury's plan worked, as Everett did just the opposite, teasing his listeners by playing bits and pieces of the song throughout his show. Ultimately, Everett would go on to play the song as many as fourteen times in a single day. From then on, every major radio station played the song in full. The track proved popular and was released with "I'm in Love with My Car" as the B-side." ~ Wikipedia

Themselves - 2002 - The No Music

"Let's start off this review by making a declaration. To save a lot of trouble, and avoid getting involved in the pointless debate over the relevancy of groups such as Themselves in today's hip-hip scene, I declare that Themselves are not a hip-hop group. OK now we can get on with it.
Doseone and Jel's latest project, following their acclaimed self-titled Them album, visits some strange places indeed. From the street samples, whistles and fractured beats of "Poison Pit" to Doseone's monologue on masturbation at the start of "Hat in the Wind," it's clear that this is the extreme side of the Anticon label. Perhaps surprisingly, Themselves manage to make this odd concoction sound natural. Not many groups could manage to fit lyrics such as "Where's the safe happy everlasting page long candy coat?/Over there, draped over your birthday black and black exposed throat" into the flow of a song. From the in-jokes and obscure references, The No Music likes to play with itself. Be prepared to not understand.

"Good People Check" provides an important musical and thematic centerpiece of the album. Its relative conventionality makes it stand out from the pack, but it is also distinguished by the direct commentary delivered by our man Doseone. Rap music is Dose's target, derided for its current hollow and superficial state. At the same time Dose is nostalgic for the old days of hip-hop, and has a clear message for today's poseurs "Shove that gun up your ass/You're as good as dead." Jel shines on "Good People Check," melding beautiful samples with a sputtering beat that builds and then falls.

Doseone works best when he is the center of attention. Unfortunately, on The No Music he is tragically low in the mix. The mix itself is somewhat muddy, leaving the listener little room to move in the morass.

While a lot of thought probably went into the making of The No Music, it often sounds like a bunch of creative guys messing around in the studio. Perhaps for this reason, it is not the landmark album that cLOUDDEAD or Boom Bip and Doseone's Circle were. (Both records featured Doseone.) Some listeners will definitely find this record a tad self-indulgent, but in the end, The No Music serves to remind us that there are just too many dull albums out there." ~ Fake Jazz


01. Home: Work
02. Mouthful
03. Good People Check
04. Poison Pit
05. Live Trap
06. Only Child Explosion
07. Paging Dr. Moon or Gun
08. Dark Sky Demo
09. You Devil You
10. Out in the Open
11. Hat in the Wind

Michael Jackson - 1981-1996 - Moments of Glory

To deny that Michael Jackson moved millions of people and danced and sung in incredible ways would deny the fact that we breath air to sustain life. Michael Jackson did venture off into some pretty oddball directions by anybodies standards, but this collection represents a period in his career in which he was laying down lots of foundation for what everyone would come to know as one of the greatest pop musicians to ever live.


This is (probably) the greatest compilation of MJ's golden days.
EX video and audio quality.
Mostly Lip-singing performance but who cares?
no one can dance like MJ!





BIT RATE : 6155 kbps
VIDEO : MPEG-2 / 720*480 / 4:3 / 29.970 fps / 8000 kbps
AUDIO : MPEG-1 AUDIO LAYER 2 / 128 kbps / 48 KHz / 2CH
TOTAL TIME : Approx. 90 min.
Lineage : TV > VHS > Transfer > Author > DVD

1. Diana Show 1981
Rock With You
Ease On Down The Road (with Diana Ross)
Upside Down (with Diana Ross)
Rock With You (with Diana Ross)

2. Motown 25th Anniversary 1983 Jackson5 and Supremes reunion performance! (and the first time MJ did moonwalk)
I Want You Back
The Love You Save
Never Can Say Goodbye
I'll Be There
Billie Jean
Someday We'll Be Together (Diana Ross & The Supremes)

3. Grammy Awards 1988
The Way You Make Me Feel
Man In The Mirror

4. MTV 10th Anniversary 1992
Black Or White (with Slash)
Will You Be There

5. Super Bowl Half Time Show 1993
Intro / Billie Jean
Black Or White
We Are The World
Heal The World

6. Soul Train Awards 1995
You Are Not Alone

7. Brit Awards 1996
Earth Song