Saturday, November 10, 2007

Sun Ra and his Myth Science Arkestra - 1956-1967 - Angels and Demons at Play/The Nubians of Plutonia

""Angels and Demons" is a short 8-song collection (more an "EP" than an "LP") that shows Ra's Chicago-era Arkestra doing some of their best work, moving from colorful big-band music (tracks 5-8) to more idiosynchratic music that reflected Ra's belief is cosmology (tracks 1-4). "Nubians" is a heavily percussive LP that influenced Coltrane among others. The recording quality on it varies from good to so-so. There are some wonderful compositions on it and many lengthy moments of drum-fueled ambience - "global trance" - that sound contemporary today, and were extraordinary for the late 1950's." ~ Amazon

The fallowing album info is taken from Saturn Research

Angels and Demons at Play
Saturn SR 9956-2-0/P (between 1963 and 1967)
Saturn LP 407
Impulse AS 9245 (1974)
Evidence (CD, due fall 1993)

Side A: Tiny Pyramids (Ronald Boykins)
Phil Cohran-muted tp; Nate Pryor-muted tb; Marshall Allen-fl; John Gilmore-cl; Ra-p; Ronnie Boykins-b; Jon Hardy-d with mallets; other Arkestrans, perc. Hall Recording Co., Chicago, late 1960.

Phil Cohran says that he is playing on this piece and identified the venue.

Between Two Worlds (Ra)
Bo Bailey-tb; John Gilmore-ts; Marshall Allen-as; Ra-p; Boykins-b (arco all the way); Robert Barry or Jon Hardy-d with mallets; unidentified-wood blocks. Chicago, probably 1960.

The trombonist is a fluent bop player. Cohran was not present when this was made but agrees that it is not Nate Pryor. Since Julian Priester wasn't around, it might be his teacher, Bo Bailey.

Music from the World Tomorrow (Ra)
Ra-org; Ronnie Boykins-b (arco again); Phil Cohran-zither; Jon Hardy- d. Rehersal, Chicago, 1960.

Same sonorities as Interplanetary Music on We Travel the Spaceways, but without the vocal. Same organ, too; I'm not sure what it is, but it definitely ain't a Hammond. Gilmore says it's Phil Cohran on zither; Cohran says it was also called a violin/uke because you could bow it and pluck it, and that he bought it on 1/22/60. Cohran's "space harp" was an African thumb piano he built (not used on any of the Saturns). Sound is not good enough for it to be a studio recording.

Angels and Demons at Play (Ronald Boykins)
Marshall Allen-fl; Phil Cohran-zither; Ronnie Boykins-b; unidentified-wood blocks (indeterminate pops, as on It's Chrismastime); John Gilmore- solar bells.

If Ra is playing on this, he's contributing in the percussion department. Saturn attributes this piece to Ra; Gilmore says it was written by Boykins. Cohran says it was recorded at Hall Recording Co. late in 1960.

Side B: Urnack (Julian Priester)
Art Hoyle-tp; Julian Priester-tb; John Gilmore-ts; Pat Patrick-bs; Charles Davis-bs (solo); Ra-p; Wilburn Green-eb; Robert Barry-d.

Medicine for a Nightmare(Ra)
Art Hoyle-tp; Julian Priester-tb; John Gilmore-ts; Pat Patrick-bs (solo); Charles Davis-bs; Ra-p, Wurlitzer ep; Wilburn Green-eb; Robert Barry-d; Jim Herndon-tympani.

A Call for All Demons (Ra)
Art Hoyle-tp; Julian Priester-tb; John Gilmore-ts; Pat Patrick-bs; Ra-p, Wurlitzer ep; Wilburn Green-eb; Robert Barry-d; Jim Herndon-tympani.

Demon's Lullaby (Ra)
Art Hoyle-tp; Julian Priester-tb; Pat Patrick-as, bs; John Gilmore-ts; Ra-p; Wilburn Green-eb, Barry, d. All of Side B from RCA Studios, Chicago, early 1956.

Hoyle says that this was the old RCA Studios near Navy Pier. Victor Sproles is credited by Impulse, but he's not on Side B and is an unlikely candidate for Side A (where there's a lot of arco bass and/or composition credits for Boykins).

The 1967 Saturn catalog shows an abstract squiggle cover; there are also Chicago Saturn copies with a blank gold cover. Are there any copies extant with a yellow label?

Lady with the Golden Stockings (retitled The Nubians of Plutonia)
Saturn SR 9956-11E/F (c. 1966)
Saturn LP 406
Impulse AS-9242 (1974)
Evidence (CD, fall 1993)

Side A:
Plutonian Nights (Ra) (4:20)
Ra-p, Wurlitzer ep; Lucious Randolph-tp; Marshall Allen-as; John Gilmore-ts; Pat Patrick- bs; Ronnie Boykins-b; Robert Barry-d.

Lucious Randolph is not sure whether he's on this one, but Phil Cohran, whose name is listed on the Saturn and Impulse releases, says he is not on this album at all.

The Lady with the Golden Stockings (The Golden Lady) (Ra) (7:44)
Ra-Wurlitzer ep; Lucious Randolph-tp; Marshall Allen-fl; James Spaulding-as; John Gilmore-ts; Ronnie Boykins-b; Robert Barry-perc; Jim Herndon-perc; other band members- perc.

Lucious Randolph confirms his presence here.

Star Time (Ra) (4:17)
Ra-p; Lucious Randolph-tp; Nate Pryor-tb; James Spaulding-as solo; Marshall Allen-as; John Gilmore-t;, Pat Patrick-bs solo; Charles Davis-bs; Ronnie Boykins-b; Robert Barry-d; Jim Herndon-timbales, perc.

Could this be older than the others? Lucious Randolph thinks he is on this cut.

Side B:
Nubia (Ra) (8:12)
Ra-Wurlitzer ep, bells; Ronnie Boykins-b; Robert Barry-d; Jim Herndon- cga, tympani, timbales, perc; John Gilmore-Nigerian bells.

Africa (Ra) (5:06)
Ra-Wurlitzer ep; Nate Pryor-tb; Marshall Allen-fl; John Gilmore-ts; Pat Patrick-bs, space lute; Ronnie Boykins-b; Robert Barry-d, perc; Jim Herndon-timbales, perc. All sing.

Watusa (Ra) (2:33)
Ra-p; Bill Fielder-tp; Marshall Allen-as; John Gilmore-ts; Ronnie Boykins-b; Robert Barry-d, perc. Other percussion, including d, tambourine, bells, and gongs, probably by Jim Herndon, who may have gotten some help from Pat Patrick.

Lucious Randolph doesn't recall playing this one. Cohran is out too. Bill Fielder remembers playing the piece -- we're getting warm.

Aiethopia (Ra) (7:13)
Ra-p; Lucious Randolph-tp; Nate Pryor-tb; Marshall Allen-as, fl; John Gilmore-ts, bells; Pat Patrick-bs, bells; Robert Barry-d; Jim Herndon- timbales, perc; someone in Arkestra helps out on tambourine.

Randolph remembers playing this tune many times and never soloing. "Sun Ra was always talking about Ethiopia. Says that it was recorded on a gig with bad acoustics; "the mike was on the other end."

All from various clubs and rehearsal rooms, Chicago, 1958-1959.

[Personnel and soloists from album jacket; additional track-by-track breakdowns by rlc with help from Lucious Randolph, who supplied the date; Impulse says 1959]

James Spaulding began working with Ra in mid-1957. He left Chicago for "Naptown" (Indianapolis) in early 1960. [Interview in Cadence, Chase, plus conversation with L. Randolph] Drummer Alvin Fielder says he didn't work with Jim Herndon. However, Bill Fielder recalls him working with Herndon on occasion...

This album was originally titled Lady with the Golden Stockings, and is so listed in the 1967 Saturn catalog; it probably started with a blank cover and graduated to a generic Tonal View of Times Tomorrow. The issue date is unclear -- Cohran recalls being told that a piece with him on it was being issued in 1965, and the Saturn jacket says he is on the album. The new title and cover by Richard Pedreguera were in place for the 1969 Saturn catalog. On the retitled Saturn issue, The Lady with the Golden Stockings was retitled The Golden Lady.

The Life and Times of Allen Ginsberg

"The Life and Times of Allen Ginsberg is a 1993 film by Jerry Aronson chronicling the poet Allen Ginsberg's life from his birth and early childhood to his thoughts about death at the age of 66. The film has been completed and released a number of times due to changing technologies and world events. The first release of the film was in 1993 at the Sundance Film Festival after which it enjoyed an international festival run and USA theatrical run. At the time, Allen was still alive. When Mr. Aronson showed the film to Ginsberg, the poet is reported to have nodded his head thoughtfully and said, "So, that's Allen Ginsberg."

When Allen passed in 1997, Jerry Aronson decided to update the ending of the film to include the poet's passing, one shot of Ginsberg's headstone in New Jersey and a new recording of Paul Simon singing Allen's "New Stanzas for Amazing Grace" for closing credits.

The new DVD, released on July of 2007, includes interviews with Bono, Paul McCartney, Yoko Ono, Johnny Depp, Hunter S. Thompson, Andy Warhol, Patti Smith, Joan Baez, Michael McClure, Norman Mailer, Amiri Baraka, Ken Kesey, William S. Burroughs, Paul McCartney, Anne Waldman and Timothy Leary - all of whom considered Allen a good friend." ~ Wikipedia

Deluxe two-disc set
Disc One:
The Life and Times of Allen Ginsberg
by Jerry Aronson
84 Minute Feature Documentary plus Two Hours of Extras.

Disc Two:
35 Interviews
and the 1998 New York City Memorial for Allen Ginsberg.

spiritual seeker,
renowned poet,
founding member of a major literary movement,
champion of human rights,
political activist
and teacher -

Academy Award nominated Director Jerry Aronsonspent 25 years accumulating more than 120 hours of film on Allen Ginsberg, resulting in this comprehensive portrait of one of America's greatest poets. This deluxe 2-disc DVD set contains the Director's cut of the award-winning documentary updated and re-mastered. This DVD set includes never-before-seen material and historical interviews with friends, family and contemporaries and the latest generation of artists influenced by Ginsberg. This 8 - hour compilation illuminates the last 60 years of American culture and the uncertainties and possibilities of current times.

Allen Ginsberg Official Site

The Life and Time of Alan Ginsberg Trailer

Alan Lomax - The Land Where the Blues Began

"A self-described “song-hunter,” the folklorist Alan Lomax traveled the Mississippi Delta in the 1930’s and ‘40s, armed with primitive recording equipment and a keen love of the Delta’s music heritage. Crisscrossing the towns and hamlets where the blues began, Lomax gave voice to such greats as Leadbelly, Fred MacDowell, Muddy Waters, and many others, all of whom made their debut recordings with him.

The Land Where the Blues Began is Lomax’s “stingingly well-written cornbread-and-moonshine odyssey” (Kirkus Reviews) through America’s musical heartland. Through candid conversations with bluesmen and vivid, firsthand accounts of the landscape where their music was born, Lomax’s “discerning reconstructions . . . give life to a domain most of us can never know . . . one that summons us with an oddly familiar sensation of reverence and dread” (The New York Times Book Review). The Land Where the Blues Began captures the irrepressible energy of soul of people who changed American musical history.

Winner of the 1993 National Critics Circle Award for nonfiction, The Land Where the Blues Began is now available in a handsome new paperback edition.

Alan Lomax is an ethnomusicologist, record producer, and network radio host/writer. His work includes the prize-winning 1990 PBS television series American Patchwork and the multimedia interactive database called the The Global Jukebox, which he produced as an anthropologist for Columbia University and Hunter College." ~ The New Press

also check out the film by the same title

Film by John M. Bishop, Alan Lomax, Worth W. Long
Produced by The Mississippi Authority for Eduational Television & Alan Lomax
Cinematographer: John M. Bishop. Additional photography Ludwig Goon.
Sound: Steve Darsey, Kenneth Gates, Jacqueline Mack, Paul Burt
Editing: John M. Bishop. Videotape editor Ike Touchstone
Copyright: 1979 Alan Lomax
58 minutes, Color
Original format: 3/4 tape, 1979
Distributor Contact: Media_Generation

MPEG-4 Stream: Download Here

Real-Surestream: Download Here

Sun Ra and his Intergalactic Astro-Solar Infinity Arkestra - 1970 - The Night of the Purple Moon

"Sun Ra - "Sun-Eart Rock (Preview)" (The Night of the Purple Moon)

By Bill Meyer

Scarcity is the common denominator between the records that have become grails in Sun Ra’s bulging discography, but beyond that a myriad of factors come into play. Cosmic Tones For Mental Therapy sported a great name and an out of this world proto-dub recording technique developed when Skatalites were still recording around a room mic; Strange Strings substituted stringed thrift-shop acquisitions for the Arkestra’s usual instrumentation, with bracing results; Lanquidity was an improbable reach into the realm of smooth jazz-funk. The conventional wisdom about The Night Of The Purple Moon is that it, like the still MIA pair of late ’70s waxings for the Italian Horo label, is a highly listenable, small group session that coulda-woulda-shoulda broadened Ra’s audience if only people had heard it. But after a small pressing made in 1972 on Ra’s Saturn label, it passed into the collectors’ domain. Now that Atavistic has taken up the baton carried in the ’90s by Evidence records by resuming the reissue of the Saturn catalog, pipe dreams about what could have been can be swapped for the more tangible pleasure of listening to this charming record.

In 1970, when Ra made The Night Of The Purple Moon, he was in the midst of a major cosmic shift. After a spending the latter half of the ’60s making extremely far out music situated at the farthest fringes of free jazz, he started recording tunes again. In this regard, the quartet tracks that comprise the bulk of the album bear a strong resemblance to the organ combo excursion originally released as side one of My Brother The Wind II. Danny Davis and (on one track) John Gilmore play saxophone lines that would have sounded right twisting through the smoke in a suave lounge back in the day when Charles Earland and Jimmy Smith were jukebox stars; like those Hammond titans, Ra seasoned tunes like the slinky “Sun Earth Rock” and jubilant “Impromptu Festival,” with churchy harmonies, hard-swinging grooves, and catchy themes. James Stafford’s electric bass gives the rhythmic foundation an essential, idiomatic tightness that is undermined by Ra’s decision to have the saxophonists (mostly Gilmore) play drums; both men’s drumming is a bit slack, and when the band goes free on “A Bird’s Eye View Of Man’s World,” Gilmore sounds like he’s chasing an idea he can’t quite catch. The effect probably delighted Ra, who cherished paradoxes as a way of breaking out of conventional thinking; but the shamble factor makes it unlikely that this album could ever have muscled in on the B-3 titans’ airtime.

Another factor that adds to the record’s subtle aura of strangeness is Ra’s keyboard choice. Throughout he uses the RMI Rocksichord, an electric harpsichord to craft a spider-like web of mysterious echo and salty tone that reaches its apotheosis on the swaggering title tune. Two Mini-moogs join the Rocksichord on a trio of solo tracks that comprised the second half of side one. “Blue Soul” and “Narrative” are succinct and accessible, very much of a piece with the group performances. But on “Outside the Time Zone,” he ventures into atonality, which is compounded by vinyl crackle and distortion. The original tapes for this session are long gone, and Saturn used such low-rent pressing plants that even virgin copies like the one Atavistic used for this reissue were pretty noisy. But anyone who buys a pre-’80s Sun Ra record expecting hi-fi sound is either uninformed or afflicted with a serious learning disability; Ra was never terribly concerned with adhering to the conventions of audio fidelity.

This reissue is bolstered by four bonus tracks. One is an alternate version of “Love In Outer Space” that you might already know from Blast First’s Out There A Minute compilation. The other three are brief solo keyboard performances from 1964. By using distorted amplification and a percussive attack, Ra obtained sounds from a Wurlitzer electric piano that would fit right in on a Konono No. 1 record. They provide an early glimpse into his endless search for otherworldly sonorities." ~ Dusted Magazine

The fallowing album info is taken from Saturn Research

The Night of the Purple Moon
Thoth Intergalactic IR 1972 (1970)
Saturn LP 522

Side A:
Sun-Earth Rock (Ra)
The All of Everything (Ra)
Impromptu Festival (Ra)
Blue Soul (Ra)
Narrative (Ra)
Outside the Time Zone (Ra)

Side B:
The Night of the Purple Moon (Ra)
A Bird's Eye View of Man's World (Ra)
21st Century Romance (Ra)
Dance of the Living Image (Ra)
Love in Outer Space (Ra)

Ra-two Mini-Moogs, rocksichord; John Gilmore-d, ts; Danny Davis-as, acl, fl, cga, d; Stafford James-eb. Probably New York 1970.

[Personnel from jacket, date from rlc; the album was mentioned the London concert program of 11/70, which nails it down to that year; Victor Schonfield bought his copy in 1970] Danny Thompson and Victor Schonfield have said the move to Philadelphia happened before 1970. Fall 1968 and fall 1969 seem to be the confidence limits. Was this recorded in Philly, or was Ra still commuting by Amtrak all the time? [rlc]

At The Drive-In - 2000 - Theatre Of Living Arts, Philadelphia, PA


At The Drive In - Theatre Of Living Arts, Philadelphia, PA , 10.18.00

Video Attributes:
Video compression mode: MPEG-2
TV system: 525/60 (NTSC)
Aspect Ratio: 4:3
Display Mode: Only Letterbox
Source picture resolution: 720x480 (525/60)
Frame Rate: 30.00
Source picture letterboxed: Not letterboxed
Bitrate: 6.38Mbps

Audio Attributes:
Audio Coding mode: LPCM
Sampling Rate: 48kHz
Audio application mode: Not specified
Number of Audio channels: 2
Number of Audio streams: 1


01 Arcarsenal
02 Embroglio
03 Pattern Against User
04 Lopsided
05 Rascuache
06 Sleepwalk Capsules
07 One Armed Scissor
08 Metronome Arthritis
09 Cosmonaut
10 Invalid Litter Department
11 Chanbara
12 198d
13 Catacombs
14 Napoleon Solo

Friday, November 9, 2007

Operation Ivy Anthology Part 1


Operation Ivy
August 24, 1987
Gilman Street Project
Berkeley, California

2.I Got No
3.Artificial Life
4.Sleep Long Sleep Well
5.Yellin' In My Ear
7.Junkie's Running Dry
9.Here We Go Again
10.Plea For Peace
15.Healthy Body Sick Mind
16.Cretin Hop

Low generation Tape(from a copy of original)>digital>EAC>FLAC(level 8)
Operation Ivy
October 25, 1987
Ramone's Cover Night
Gilman Street Project
Berkeley, California

1.Cretin Hop
2.Go Mental
3.I Wanna Be Sedated
4.I Don't Care
5.Chasing The Night
6.Sheena Is A Punk Rocker

Released as the Ramones EP

Bootleg Vinyl>Original 'Silver' Bootleg CD>EAC>FLAC(Level 8)
Operation Ivy
"Demo Tape"
sometime in 1987
Bay Area, California(?)

4.Plea For Peace

Bootleg Vinyl>Bootleg Silver CD>EAC>FLAC(Level 8)
Operation Ivy
"Newport 69"
sometime in 1987
Bay Area, Berkeley(?)

2.Left Behind

Bootleg Vinyl>Bootleg CD>EAC>FLAC(level 8)
Operation Ivy
February 21, 1988

2.Usual Place
3.I Got No
5.Hangin' Out
6.Yellin' In My Ear
7.Here We Go Again/Artifical Life
8.Sleep Long
9.Junkies Runnin' Dry
12.Healthy Body, Sick Mind

Analog(?)>Digital(ca. 1999)>EAC>FLAC(level 8)
Operation Ivy
March 17, 1988
KSPC Radio
Berkeley, California

1.Healthy Body
2.The Crowd
3.Junkie's Running Dry
4.Here We Go Again
5.Yellin In My Ear
6.Cretin Hop
8.Old Friendships
9.Sleep Long Sleep Well
11.Plea For Peace
12.I Got No
13.Hangin Out
14.Left Behind

Analog(?)>Digital>EAC>FLAC(level 8)
Operation Ivy
March 17, 1988
KSPC Radio
Berkeley, California

2.Hangin Out
3.Yellin In My Ear
4.Here We Go Again
5.Artificial Life
6.Sleep Long Sleep Well
7.Junkie's Running Dry
10.Healthy Body

Analog Radio broadcast(?)>Digital>EAC>FLAC(level 8)
Operation Ivy
April 15, 1988
Norwalk, Connecticut

2.I Got No
3.Yellin In My Ear
5.Hangin Out
6.Here We Go Again
7.Healthy Body
8.Junkie's Running Dry
11.The Crowd
12.Artifical Life
13.Sleep Long Sleep Well
15.Cretin hop
16.Wild Thing

Master(got it from the guy who taped it)>digital>EAC>FLAC(level 8)

Thursday, November 8, 2007

Al di Meola - 1976 - Land of the Midnight Sun

Photo Sharing and Video Hosting at Photobucket

Al di Meola
Land of the Midnight Sun
Release Date: 1976
Label: Columbia
Time: 35:11


"One of the guitar heroes of fusion, Al di Meola was just 22-years-old at the time of his debut as a leader but already a veteran of Chick Corea's Return to Forever. The complex pieces (which include the three-part "Suite-Golden Dawn," an acoustic duet with Corea on "Short Tales of the Black Forest," and a brief Bach violin sonata show di Meola's range even at this early stage. With assistance from such top players as bassists Jaco Pastorius and Stanley Clarke, keyboardist Barry Miles, and drummers Lenny White and Steve Gadd, this was a very impressive beginning to di Meola's solo career." ~AMG


01 The Wizard
02 Land of the Midnight Sun
03 Sarabande from Violin Sonata in B Minor
04 Love Theme from "Pictures of the Sea"
05 Golden Dawn: - (suite): Morning Fire / Calmer Of The Tempets / From Ocean To The Clouds
06 Short Tales Of The Black Forest

Pat Metheny - 1975 - Bright Size Life

Photo Sharing and Video Hosting at Photobucket

Pat Metheny
Bright Size Life
Recording Date: Dec 1975
Label: ECM


"Pat Metheny's debut studio album is a good one, a trio date that finds him already laying down the distinctively cottony, slightly withdrawn tone and asymmetrical phrasing that would serve him well through most of the swerves in direction ahead. His original material, all of it lovely, bears the bracing air of his Midwestern upbringing, with titles like "Missouri Uncompromised," "Midwestern Nights Dream," and "Omaha Celebration." There is also a sole harbinger of radical matters way down the road with the inclusion of a loose-jointed treatment of Ornette Coleman's "Round Trip/Broadway Blues," proving that Song X did not come from totally out of the blue. Besides the debut of Metheny, this CD also features one of the earliest recordings of JACO PASTORIUS, a fully formed, well-matched contrapuntal force on electric bass, though content to leave the spotlight mostly to Metheny. Bob Moses, who like Metheny played in the Gary Burton Quintet at the time, is the drummer, and he can mix it up, too." ~AMG


01 Bright Size Life
02 Sirabhorn
03 Unity Village
04 Missouri Uncompromised
05 Midwestern Nights Dream
06 Unquity Road
07 Omaha Celebration
08 Round Trip/Broadway Blues

Weather Report - 1977 - Heavy Weather

Photo Sharing and Video Hosting at Photobucket

Weather Report
Heavy Weather
Recording Date: 1977
Label: Columbia/Legacy


"Weather Report's biggest-selling album is that ideal thing, a popular and artistic success — and for the same reasons. For one thing, Joe Zawinul revealed an unexpectedly potent commercial streak for the first time since his Cannonball Adderley days, contributing what has become a perennial hit, "Birdland." Indeed, "Birdland" is a remarkable bit of record-making, a unified, ever-developing piece of music that evokes, without in any way imitating, a joyous evening on 52nd St. with a big band. The other factor is the full emergence of Jaco Pastorius as a co-leader; his dancing, staccato bass lifting itself out of the bass range as a third melodic voice, completely dominating his own ingenious "Teen Town" (where he also plays drums!). By now, Zawinul has become WR's de facto commander in the studio; his colorful synthesizers dictate the textures, his conceptions are carefully planned, with little of the freewheeling improvisation of only five years before. Wayne Shorter's saxophones are now reticent, if always eloquent, beams of light in Zawinul's general scheme while Alex Acuña shifts ably over to the drums and Manolo Badrena handles the percussion. Released just as the jazz-rock movement began to run out of steam, this landmark album proved that there was plenty of creative life left in the idiom." ~AMG


01 Birdland
02 A Remark you Made
03 Teen Town
04 Harlequin
05 Rumba Mamá
06 Palladíum
07 The Juggler
08 Havona

Miles Davis - 1975 - Get Up With It

From Allmusic

When Get Up with It was released in 1975, critics -- let alone fans -- had a tough time with it. The package was a -- by then customary -- double LP, with sessions ranging from 1970-1974 and a large host of musicians who had indeed played on late-'60s and early-'70s recordings, including but not limited to Al Foster, Airto, John McLaughlin, Reggie Lucas, Pete Cosey, Mtume, David Liebman, Billy Cobham, Michael Henderson, Herbie Hancock, Keith Jarrett, Sonny Fortune, Steve Grossman, and others. The music felt, as was customary then, woven together from other sources by Miles and producer Teo Macero. However, these eight selections point in the direction of Miles saying goodbye, as he did for six years after this disc. This was a summation of all that jazz had been to Davis in the '70s and he was leaving it in yet another place altogether; check the opening track, "He Loved Him Madly," with its gorgeous shimmering organ vamp (not even credited to Miles) and its elaborate, decidedly slow, ambient unfolding -- yet with pronounced Ellingtonian lyricism -- over 33 minutes. Given three guitar players, flute, trumpet, bass, drums, and percussion, its restraint is remarkable. When Miles engages the organ formally as he does on the funky groove that moves through "Maiysha," with a shimmering grace that colors the proceedings impressionistically through Lucas, Cosey and guitarist Dominique Gaumont, it's positively shattering. This is Miles as he hadn't been heard since In a Silent Way, and definitely points the way to records like Tutu, The Man with the Horn, and even Decoy when he re-emerged.

That's not to say the harder edges are absent: far from it. There's the off-world Latin funk of "Calypso Frelimo" from 1973, with John Stubblefield, Liebman, Cosey, and Lucas turning the rhythm section inside out as Miles sticks sharp knives of angular riffs and bleats into the middle of the mix, almost like a guitarist. Davis also moves the groove here with an organ and an electric piano to cover all the textural shapes. There's even a rather straight -- for Miles -- blues jam in "Red China Blues" from 1972, featuring Wally Chambers on harmonica and Cornell Dupree on guitar with a full brass arrangement. The set closes with another 1972 session, the endearing "Billy Preston," another of Davis' polyrhythmic funk exercises where the drummers and percussionists -- Al Foster, Badal Roy, and Mtume -- are up front with the trumpet, sax (Carlos Garrett), and keyboards (Cedric Lawson), while the strings -- Lucas, Henderson, and electric sitarist Khalil Balakrishna -- are shimmering, cooking, and painting the groove in the back. Billy Preston, the organist who the tune is named after, is nowhere present and neither is his instrument. It choogles along, shifting rhythms and meters while Miles tries like hell to slip another kind of groove through the band's armor, but it doesn't happen. The track fades, and then there is silence, a deafening silence that would not be filled until Miles' return six years later. This may be the most "commercial" sounding of all of Miles' electric records from the '70s, but it still sounds out there, alien, and futuristic in all the best ways, and Get Up with It is perhaps just coming into its own here in the 21st century.

Track Listing

Disc One
1.He Loved Him Madly-32:14
3.Honky Tonk-5:55
4.Rated X-6:51

Disc Two
1.Calypso Frelimo-32:07
2.Red China Blues-4:09
4.Billy Preston-12:36

Wednesday, November 7, 2007

Don Cherry - 1966 - Stuttgart, Germany


Don Cherry Complete Communion
Stuttgart (Germany)
Liederhalle (Beethovensaal)

Don Cherry cornet
Gato Barbieri ts,
Karl Berger p, vibes
Bo Stief b
Aldo Romano dr

1) 08:09 u.t
2) 22:00 Elephantasy (Don Cherry)
3) 13:42 Orfeo Negro (Luiz Bonfá)

this is dedicated to Mr. "C"
Source/Lineage: FM (excellent, aired 2006.11.23 SWR II) – DAT – DENON CDR 1000 – HD – flac- dime

Robert Fripp & The League of Crafty Guitarists - 2007 - World Cafe Live, Philadelphia


Artist: Robert Fripp & The League of Crafty Guitarists
Date: 2007-11-05
Venue: World Cafe Live, Philadelphia, PA, USA

Robert Fripp – electric guitar (acoustic on last song)
With 10 other unnamed guitarists (amplified acoustic guitars)

Lineage: Zoom H4 (44.1/16 WAV mode); SD memorycard; HD; Roxio Sound Editor
(split tracks); Traders Little Helper (encode to flac-6)

01. Multi-lingual intro and babble
02. (title ?)
03. All or Nothing (?)
04. (title ?)
05. (title ?)
06. (title ?)
07. (title ?)
08. (title ?)
09. (title ?)
10. Eye of the Needle (?)
11. (title ?)
12. Thrak (KC cover)
13. (title ?)
14. (title ?)
15. (title ?)
16. (title ?)
17. (title ?)
18. (title ?)
19. encore cheering / tuning
20. Vroom (KC cover)
21. Mission Impossible theme
22. (title ?)
23. (title ?) 11 unplugged acoustic guitars / cheers & outro

Sorry about the limited setlist - Not only does Fripp not announce songs, he didn't speak a word the entire evening.
Any help with the set list would be appreciated.

The show was great - the League of Crafty Guitarists are a group of talented players who follow Fripp's zen-like stage personality but play with abandon.
Fripp sat in his chair behind his stack of electronics and played - sometimes with the LCG, sometimes by himself, and sometimes letting TLCG play without him.
The 1st track is several of the LCG players all aying something in various languages - the last of which was in english and turned out to be Fripp's statement of policy regarding no photos and no recordings.
You could omit this track and #19 as well without losing any music - I left them in so that you can decide if you want the entire experience or not.

The sound in the World Cafe was wonderful and the recording reflects it.
I was dead center on the elevated rear platform over the soundboard.
I did nothing to the raw recording except split the tracks, and increase the volume on the final acoustic song, then encode to flac.

The following is a posting from Fripp's DGM website:

The Philadelphia Story
:: Posted by Sid Smith on Wed., Nov 7, 2007
My thanks to Jimmator for offering his thoughts on Monday night’s concert.
“Just wanted to offer a few notes about the Monday night concert in Philly for those interested:
The venue (essentially a dinner theater) posed obvious challenges as far as audience noise, but people managed to eat rather quietly (at least up in the mezzanine where I was.)
Shouting was another matter.
The first encore was "Vrooom" complete with Coda.
After the second encore the group (with Fripp) walked to the front of the stage and played a song without amplification.
The audience remained quiet throughout.
This was short-lived.
Immediately after the applause began, a much too exuberant bearded fanboy in the front row felt inclined to shout out his personal thanks multiple times, even after the applause had died down.
It appeared to me that the group was about to perform a second song "acoustically" (if you will) because they remained still, waiting.
Fanboy ran his mouth.
Fripp made a motion like he was about to lead the LCG in another song, but then smiled and bowed out (prompting some audience members to laugh.)
Two points regarding the above: there was at least one person in attendance who would have very much liked to hear more and could bear keeping quiet to do so; never assume a smile is a good thing.
Aside from these audience issues, the concert was wonderful.
Fripp has every right to be proud of the craftiness that the LCG displayed.”

Support Fripp and The League of Crafty Guitarists and buy their stuff.

Please do not sell this recording, trade only in lossless format.

Mwandishi - 1973 - Jazz Workshop, Boston


Herbie Hancock
Jazz Workshop
Boston, MA USA



disc 1

You'll Know When You Get There

disc 2

(solo piano)
watermelon man
Maiden voyage
Ositinato (Suite for Angela)

Herbie Hancock- Keyboards,Pianos
Buster Williams- Bass
Billy Hart- Drums
Benny Maupin- Reeds
Eddy Henderson- Trumpet/Flugelhorn
Julian Priester- Trombone
Dr. Pat Gleason- Synths
"Scorch"- Congas

Björk - 2007 - Teatro Gran Rex, Buenos Aires, Argentina


Teatro Gran Rex
Buenos Aires, Argentina

Taper: Rony Kohn

Source: MM-MCSM-4 > MM-MBM with bass roll off > Sony MD NH700
Transfer: Sony NH700 > Rca cables > SB PCI 128 > CEP > WAV > FLAC (Level 8)

01 Intro - Brennið Þið Vitar
02 Anchor Song
03 Immature
04 Unravel
05 Aurora
06 Unison
07 Joga
08 Hunter
09 The Pleasure Is All Mine
10 Oceania
11 Wanderlust
12 Earth Intruders
13 Army Of Me
14 Innocence
15 I Miss You
16 Cover Me
17 Hyper Ballad
18 Pluto
19 Encore Break + Band Introduction
20 Declare Independence

This is Bjork´s show at Buenos Aires from last sunday. It was recorded from the first balcony by the left. I´m very happy with the recording, hope you like it too.


Tuesday, November 6, 2007

The Mars Volta’s Descent Into Bedlam: A Rhapsody In Three Parts

The genesis of The Mars Volta’s new album The Bedlam in Goliath is one of the weirdest stories in the history of modern music, a tale of long-buried murder victims and their otherworldly influence, of strife and near collapse, of the long hard fight to push “the record that did not want to be born” out into the world. And I swear we’ll get to all of that in a second.

But right now, before we drag any new passengers on the Volta Express into the lunacy of The Bedlam in Goliath, we’ve got to bring them up to speed. And so I present “A Very Brief History of The Mars Volta”:Back at the turn of the century guitarist/producer Omar Rodriguez-Lopez and lyricist/vocalist Cedric Bixler-Zavala decided to form a musical partnership called The Mars Volta. They grabbed a few other intrepid musicians and recorded The Tremulant EP, which was incredible and weird and proved these guys were trailblazing far from the paths tread by their prior band, At the Drive-In. Then they released De-Loused In The Comatorium, an astonishing album that served as both an elegy for and celebration of their friend Julio Venegas (as told through the fictional character Cerpin Taxt whose life-and-death travails are chronicled via the songs). The album was huge in terms of exposure, influence, and raw momentum. Next came Frances the Mute, an album with a central plot, based, sadly, on the loss of another friend (this time fellow musician and bandmate Jeremy Ward). An equally bizarre and powerful album. For this record and the remainder since, Omar has produced solo, dropping some of the pop sheen that Rick Rubin brought to the first album in favor of more experimental textures and structures. If De-Loused… was a dark album, this thing is obsidian. And also inspiring. And majestic. Most recently they released Amputechture, their first album with no central concept (aside from stretching the boundaries of their prior musical achievements). Omar worked as a director/conductor/visionary, writing all the music and providing motivation, while Cedric stretched his vocals and lyrics around multi-tiered songs about things like modern witch-burnings, cultural oppression, and madness. The soaring intensity of the single Viscera Eyes alone is worth the admission. The tours supporting each of these albums have proven that The Mars Volta is an endlessly ambitious group intent on turning a standard concert into something transformative that can best be described as an aural blitzkrieg. Saul Williams, no slouch when it comes to rocking a stage, once joked that he rushed through his opening sets just so he could watch the Volta sooner.

Point Being: If you don’t have these albums, you need them. If you do have them then you know exactly what I’m talking about and you’re anticipating The Bedlam in Goliath more than any other record this year. And you know, as I do, that if the Volta comes to your town for a show that you have to be there or a little bit of your soul dies. That’s a science fact.

Which brings us to the now, on the eve of the release of The Mars Volta’s stunning new recording. Which brings us to The Story. Perhaps it’s best to insert a prologue for this tale stating that some (cynics, pragmatists, people who would like their life to be more boring) may instantly respond with rolled-eyes and disbelief. And that’s okay. But others are willing to acknowledge that most metaphysics may just be the elements of physics our brains can’t quite comprehend yet, and that there is a great power in words, and in belief.

Quotes from two Volta compatriots offer a relevant lead-in:
“The things you speak to can shape your world. Look at Biggie. ‘Ready to Die.’ Dead. Word.”
— Saul Williams (again)
“This is the sound of what you don’t know killing you. This is the sound of what you don’t believe, still true. This is the sound of what you don’t want, still in you.”

And so, all that being said, here is The Story (and various annotations): Omar was in a curio shop in Jerusalem when he found the Soothsayer. It seemed to him an ideal gift for Cedric, this archaic Ouija-style “talking board.” So it was then and there, in a city where the air swims with religious fervor, in a shop that might as well have carried monkey’s paws and Mogwais, that Omar changed the fate of The Mars Volta forever. Had he known at that moment that the board’s history stretched far beyond its novelty appearance, that its very fibers were soaked through with something terribly other, that the choral death and desire of a multi-headed Goliath was waiting behind its gates… well, he might have left it at rest there on the dusty shelves. The Upside of That Choice: No bad mojo unleashed. Erase the madness that followed. Erase the bizarre connection to a love/lust/murder triangle that threatened to spill out into the present every time the band let its fingers drift over the board.

The Downside: No Soothsayer means The Bedlam in Goliath never would have existed. And it turns out that this demented spiritual black hole of a muse has driven The Mars Volta to produce a crowning moment in their already stellar career.
So if Omar hadn’t given in to his curiosity and brought the Soothsayer home to Cedric then the band would probably have been happier, healthier, less haunted.
But you and I, Lucky Listener, we would have been robbed of one fucking amazing album. More on that in a moment. Back up to the last big tour. The Volta and the Red Hot Chili Peppers are tearing venues in half, retreating to their busses, rolling through the night. But instead of the normal Rock God routines the guys are sitting around Cedric’s new Ouija board, which they’ve dubbed the Soothsayer. And they love it— it’s the new post-show addiction. The Soothsayer offers them names: Goliath, Mr. Mugs, Patience Worth, Tourniquet Man. The Soothsayer offers them a story: It’s always about a man, a woman, and her mother. About the lust floating between them. About seduction and infidelity. And pain. And eventually, murder. Entrails and absence and curses and oblivion. Exactly the kind of spooky shit you’d want from your Ouija. Now here comes the rub. The Soothsayer starts asking the band what they have to offer.

This connection that’s set up runs both ways, and the invisible voices begin to speak of their appetites. They threaten oblivion and dissolution, or offer it as seduction. The voices merge as Goliath, a metaphysical quagmire and unfed saint whose hunger to return to the real world grows more urgent with each connection. There are proper ways to close this union, but The Mars Volta have never been anything if not adventurous. They stay in contact— even taking phrases from the board and inserting them as song lyrics— but never offer themselves as surrogates. And so the starving Goliath extends its influence. Inexplicable equipment issues abound while on tour. Conflict with the existing drummer escalates and results in a change of guard. Ritual gives way to injury and Cedric is laid low by a randomly (and severely) gimped foot. A completely reliable engineer’s mental composure cracks, pushing him from the project. The tracks he leaves behind are desperately tangled. Omar’s music studio floods, threatening to send him right over the same precipice as the engineer. Long-term album delays hit and people aren’t sleeping well. Nonsensical words and phrases the board had previously spoken begin to pop up in things like documentaries about mass suicide. The Soothsayer keeps telling the same story but the details are becoming more brutal. One day the label on the board peels back revealing pre-Aramaic lingo written across weird cone shapes. It’s bad mojo writ large, and things are crumbling quickly. Worst of all, the board has shifted from pleas to demands. To threats. So they buried the fucking thing.
There are many ways to close a spiritual connection. Wear white for a whole year. Surround yourself with salt. Close a board and ask someone else to open it, thus transferring the ownership. Break the board into seven pieces and sprinkle it with holy water. Or bury it. Omar wrapped the Soothsayer in cloth and found a proper place for it in the soil. Cedric asked that he never be made aware of its location.
And then their album found a new, more urgent purpose. The Bedlam in Goliath is here to consecrate the grounds where the Soothsayer lies in wait. It’s metaphor vs. metaphysics. Its story will be told to you and I, Lucky Listener, and we’re the ones re-opening the board. Taking on the ownership.

Perhaps if Goliath is spread between us all its hunger will dissipate. Or, as it threatened, it could become our epidemic.
So there’s the story, up to today, but it’s not over. Because this thing is about to enter the hearts and minds of countless listeners. My hope is that the album will do exactly as The Mars Volta have engineered it to do, and lift the unseen burden that hangs over them. When they first sent me The Bedlam in Goliath and asked me to write this, I was nervous. What if the music itself was somehow cursed, a sort of audio Macbeth? But after over one hundred listens I can tell you with confidence that I’d risk a little spiritual vengeance for this album. From the opening surge of Aberinkula to the Brobdingnagian blast of Goliath to the frenzy and near escape of Conjugal Burns, The Bedlam in Goliath is the sound of a band transformed. The Volta have never been what any sane person would call restrained, but in the heat of this bedlam, in their teeth-baring cornered animal response to an invisible entropy, they’ve created a truly relentless musical juggernaut.

The returning roster (Omar Rodriguez-Lopez on guitar and production, Cedric Bixler-Zavala on vocals and lyrics, Isaiah Ikey Owens on keys, Juan Alderete de la Pena on bass, Adrian Terrazas-Gonzalez on horns, Marcel Rodriguez-Lopez on percussion, Paul Hinojos on guitar and soundboard, Thomas “Holy Fucking Shit This New Guy is Incredible” Pridgen on drums, and Red Hot Chili Pepper/regular-Volta-album-contributor John Frusciante rounding out the guitar armada) have crafted a record that manages to contain the echoes of their considerable prior work and merge them with their uncompromising desire to carve out new territory in the musical landscape. Wax Simulacra carries with it the energy of De-Loused’s This Apparatus Must Be Unearthed and elevates the tone with frantic looped vocals and a swirling mix of horns and drum rolls. The mind-melting freak-out crescendos of tracks like Frances the Mute’s Cassandra Geminni or Amputechture’s Viscera Eyes have always given the Volta’s albums and shows an air of transcendence, and there are moments on new tracks like Goliath and Cavelettas and Ouroboros that guarantee escalating listener paroxysms, if not Scanners-style exploding heads. The more relaxed new tracks, like Ilyena or Tourniquet Man, manage to encapsulate the strange lamentation of other Volta slow-burners while adding an eerie sense of menace. The entire Volta crew is pushing themselves further than ever before. And to anyone concerned about the arrival of a new drummer, rest at ease.

The Bedlam in Goliath unveils Mr. Pridgen as a drum-pummeling berserker mainlining cheetah blood and snorting dusted mastodon bones, proving masterful with the elaborate and the explosive (and often melding both at the same time). It’s worth noting, amidst all of this rhapsodic praise, how Omar and a crew of dedicated musicians have managed to breathe thrumming life into what was almost a stillborn album. The audio that the first engineer (who, on an up note, is now on the mend and feeling much better) had left behind was close to unworkably snarled. In his absence it became a scramble to rebuild what the band knew they had been creating in the studio. Robert Carranza kicked in heavy on the engineering, sinking himself into the whole project with an added focus on the drum sonics. Lars Stalfors and Isaiah Abolin were also called in, and along with Omar they dodged daylight for too-long stretches and slaved to rework each track. Shawn Michael Sullivan and Claudius Mittendorfer did their best as editors to keep the band from having to start all over again. The ever-reliable Volta-mixer Rich Costey tried to keep things positive and helped Omar battle what he called Goliath’s “quantum entanglement” (which even Rich saw evidenced by things like randomly disappearing drum tracks). The depth of that entanglement becomes apparent when you realize that Omar, always at the center of these struggles, almost gave up on this record. The same Omar Rodriguez-Lopez that moved to Amsterdam and cut four solo albums while also working on Amputechture and a soundtrack for the Jorge Hernandez film El Bufalo de la Noche. The same guy that’s probably working on a DVD, his own film, and 10 new albums right now. But at certain points during work on Bedlam his nearly incandescent creative force was on the verge of being snuffed out. And he was sure Goliath was behind the chaos. After his studio flooded, Omar even banned all mention of the Ouija board for fear that simply acknowledging its existence might bring down some fatal blow. Despite the disallowance, he remained haunted.

He’d wake to fits of late night inspiration only to find that there was a power blackout (but only in his loft), or that the parts he’d crafted in the midnight hour would later vaporize. Production work became so nightmarish and Sisyphean that he’d occasionally check on the Soothsayer’s burial site, to see if it had been exhumed and “reactivated.” Knowing about the immense challenges faced in the creation of The Bedlam in Goliath only elevates my appreciation for Omar’s production. With this record he has laid out a blueprint for anyone else seeking to combine the complex with the primeval and make it all hit you where it counts. This is an album that’s electric for both the 3:00 AM headphone listener and the guy doing 90 on the interstate with the windows down. This is an album with an immense level of control and experimentation on display; for every section with intricately panning gut-punching drums and shimmering horn sounds and scorching guitars there’s another where you can sense a mischievous musical mind at play (e.g. the fuzzed out bass tones at the end of Ilyena or the real inserted recordings from Jerusalem or the sound of a live jack switching between demo and final versions on Askepios). As a filmic analog, picture Kubrick or Fincher working in tandem with Bunuel or Jodorowsky. Actually, similar analogs could be extended to the whole of the album itself. The Volta have acknowledged the immense influence of surrealism and film on their work. In relation just to Jodorowsky, The Bedlam in Goliath manages to evoke the languid madness of Fando y Lis, the infidelity and murder and worship of Santa Sangre, the broad-spectrum religious imagery of Holy Mountain, the sheer guts-on-the-table awe of El Topo.

Throw in the identity confusion head-fuckery of Lynch’s strangest films, Werner Herzog’s sense of obsession, a few dollops of Jonestown: The Life and Death of Peoples Temple, and pinches of The Exorcist and Don’t Look Now and you’re starting to get the right idea. On the lyrical front, you should be warned: This is an unsettling piece of work. You’re welcome to take Cedric’s vocals at surface level— he sounds incredible, his range broader than ever, his energy and emotion undeniable. Or you can begin to translate. Cedric Bixler-Zavala, like fellow musical mavericks Bjork and Ghostface Killah, uses primarily English words but speaks his own lyrical language. If you examine the meaning behind his shrapnel-burst imagery, his obsessions with the grotesque and the profoundly sacred, you begin to realize he’s created a complex associative tapestry that’s designed with spider-web precision. And before you know it you’re trapped. The more you read the story he’s laid out (an intricate meta-fictional narrative reminiscent of Danielewski’s House Of Leaves, involving both the transgressions of the past and the desire of the Goliath parasite to infest the Ouija-using host), the more you research his allusions and the history of the spirit board, the more uncanny connections you are bound to make. You start to recognize a tie between certain vocal effects and messages from the board. You wonder if focusing on this story too much might invite Goliath into your world.

Soon you’re jumping at shadows, shopping for salt and all-white outfits, surrounding yourself with graphs and counting words and letters and looking for codes, creating your own primordial cymatics using the album, feeling phantom tendrils in your bones. You begin to hope that all the positive elements Cedric covertly slid into the songs (a legion of religious references including snippets of Santeria-derived prayers, classic fables, the hidden name of a regal actress he holds in high regard, an underlying reverence for creation/menstruation, vague hints of redemption) really are helping to balance out and maybe even negate the darkness that has infested the album. You’re bound to have questions. What exactly transpired in the tragic triangle? Who was really in control and who were the victims? Was anyone innocent? How did they die and what happened to the bodies? How did they come to rest within the Soothsayer? If they return to our world, what will they do? Those answers (and more) are in there, fused at every level to songs of equal complexity and gravity. And the closer you listen, the further you voyage into The Bedlam in Goliath, the more disquieting and compelling the Volta’s brilliant audiocelluloid epic becomes. This album is the sound of a band playing— magnificently— for its life. And it is a recording of such strange power that I believe the Goliath that haunts them will be forever struck down.

— Jeremy Robert Johnson, October 27th, 2007, Portland, Oregon

The Zayin Division— A Second Stage Burial

I. I am the simian martyr’s bullet-borne deliverance.
II. Ideomotor effect. Forced cryptomnesia. Your shroud returns stale whispers. Ropes tighten at each limb.
III. He half-woke to a wild leopard, to blood-pregnant air, the smell of his courted collapse. Laurel twigs crossed her hidden tools.
IV. The holy glyph floats close, its gray light angles suffuse the bones now dust, flesh now jelly. Every cell shakes loose its viral code. Supernus pacta sunt servanda.
V. Its hands swept through in the crooked mandible, the chemical lobotomy swung blind, the monoxide possessions. All of it annelid territory.
VI. Sandover light shone symbiotic until you saw it swallow-shift. Your retractions granted final grace.
VII. I will not follow your collapsing oblivion.

—JRJ, October 28th, 2007, Portland, Oregon (First print copy interment)

Monday, November 5, 2007

Dadeuls - Live at Low End Theory - Halloween 2007

playing the song "Fair Weather Friends"
more to come

The Allman Brothers Band - 1972 - Eat A Peach

From Allmusic:

A tribute to the dearly departed Duane, Eat a Peach rambles through two albums, running through a side of new songs, recorded post-Duane, spending a full album on live cuts from the Fillmore East sessions, then offering a round of studio tracks Duane completed before his death. On the first side, they do suggest the mellowness of the Dickey Betts-led Brothers and Sisters, particularly on the lovely "Melissa," and this stands in direct contrast with the monumental live cuts that dominate the album. They're at the best on the punchier covers of "One Way Out" and "Trouble No More," both proof of the group's exceptional talents as a roadhouse blues-rock band, but Duane does get his needed showcase on "Mountain Jam," a sprawling 33-minute jam that may feature a lot of great playing, but is certainly a little hard for anyone outside of diehards to sit through. Apart from that cut, the record showcases the Allmans at their peak, and it's hard not to feel sad as the acoustic guitars of "Little Martha" conclude the record, since this tribute isn't just heartfelt, it offers proof of Duane Allman's immense talents and contribution to the band.

Track Listing

1.Ain't Wastin' Time No More-3:42
2.Les Brers in A Minor-9:07
4.Mountain Jam-33:41
5.One Way Out-4:58
6.Trouble No More-3:44
7.Stand Back-3:27
8.Blue Sky-5:10
9.Little Martha-2:07

Takehisa Kosugi - Catch-Wave

"Takehisa Kosugi is without doubt one of the most important and influential figures of the Japanese avant-garde still performing into the 21st Century. Over the years he has worked with everyone from John Cage to Sonic Youth as well as being an active member of the Fluxus group and starting his own performance units Group Ongaku and the Taj Mahal Travellers. Catch-Wave, originally released in 1975, features on side A "an excerpt from a meta-media solo improvisation" utilizing heavily-processed violin, voice, radio and oscillators (the latter modified via wind and light) to create a massive drone. Side B is "a triple performance by a solo vocalist" where a vocal phrase is taken and electronically modified until it loses any meaning other than as part of the wave form. Limited edition of 300 copies." ~ Second Layer Records

Recorded Date: September 16, 17, 1974


01 Mano-Dharma '74 (26:35)
02 Wave Code #E-1 (22:31)

Sunday, November 4, 2007

Anubi – 1997 - Kai Pilnaties Akis Uzmerks Mirtis

This isn’t exactly a favorable review, but that’s ok.

“I really should stop choosing the CDs I buy by the country a band comes from because this would prevent me from stuff like ANUBI... ANUBI are from Lithuania and without any doubt they walk along paths no band - or maybe some, but only very few - has ever chosen. "Kai Pilnaties Akis Uzmerks Mirtis" is an evidence why not many have done so and that some paths just should not be followed...
Of course ANUBI sound unique but in this case I don't regard this positively except for the fact that they have tried their best to stand out, for what this Lithuanian band offers us here is really hard to listen to.
From the basic idea of Black Metal a mixture of really most simple and most basic Black Metal and Avantgarde, so to speak abstract and abstruse elements of sound, is built, with sudden changes of rhythms, variable but only partly reasonable vocals, along with a bit of saxophone and piano which is played in an absolutely dissonant, almost random way you just can't listen to.
Only the three calm tracks "Kai Pilnaties Akis Uzmerks Mirtis II", "Ir Saule Neteko Savo Puses Veido" and the folky "Folklorine Daina Apie Mirti" are likeable, in my opinion the rest is too weird. Plus, the fact that the lyrics are written in the band's mother tongue doesn't make it easier, either.” ~ The Metal Observer

01. Savo Kelyje
02. Kai Pilnaties Akis Uþmerks Mirtis
03. Mirtis
04. Kai Pilnaties Akis Uþmerks Mirtis II
05. Gyvenimo Kritimà Dovanosim Krankliui
06. Á Naujà Galybæ
07. Ir Saulë Neteko Savo Pusës Veido
08. Ozirio Adventas
09. Folklorinë Daina Apie Mirtá
10. Ið Tuðtumos Á Akmens Tylà
11. Tarp Akmens Ir Veidrodþio

Little Walter - The Essential

"In many ways, this supplants the original single disc, Best of Little Walter, and appends it with 35 more classics of Chicago blues harp genius, although one track from the original 12-song lineup is (perhaps purposely) left off. If you want to start your Walter collection with a nice generous helping of his best, this one runs the entire gamut of his solo career, from the classic 1952 instrumental "Juke" up to the Willie Dixon-penned "Dead Presidents." 46 tracks, one dynamite booklet, nice remastering, a great value for the cash outlay involved and best of all, an album title that truly delivers the goods." ~ AMG


1 Juke Little Walter 2:44
2 Can't Hold Out Much Longer Little Walter 3:01
3 Boogie Little Walter 3:01
4 Blue Midnight [alternate take] Little Walter 3:02
5 Mean Old World Little Walter 2:55
6 Sad Hours Little Walter 3:12
7 Don't Need No Horse Little Walter 3:15
8 Tell Me Mama Little Walter 2:48
9 Off the Wall Little Walter 2:51
10 Quarter to Twelve Little Walter 3:12
11 Blues With a Feeling Little Walter 3:07
12 Too Late Little Walter 2:41
13 Fast Boogie Little Walter 2:52
14 Lights Out Little Walter 2:45
15 Fast Large One Little Walter 2:50
16 You're So Fine Little Walter 3:04
17 Oh Baby Little Walter 2:46
18 I Got to Find My Baby Little Walter 2:48
19 Last Night [First Version] Little Walter 2:54
20 You Better Watch Yourself Little Walter 3:04
21 Mellow Down Easy Dixon 2:43
22 My Babe Little Walter 2:42
23 Roller Coaster Little Walter 2:53
24 Little Girl Little Walter 3:05
25 Hate to See You Go Little Walter 2:17
26 Boom, Boom Out Goes the Lights Lewis 2:51
27 It Ain't Right Little Walter 2:54
28 It's Too Late Brother Little Walter 2:41
29 Just a Feeling Little Walter 2:54
30 Ah'w Baby Little Walter 2:54
31 I've Had My Fun [alternate take] Little Walter 2:13
32 Confessin' the Blues Brown, McShann 3:04
33 Key to the Highway Broonzy, Segar 2:46
34 Walkin' On Little Walter 2:36
35 You Gonna Be Sorry (Someday Baby) [alternate take] Little Walter 307
36 Crazy Mixed up World Dixon 2:01
37 Worried Life Blues Little Walter 2:41
38 Everything's Gonna Be Alright Little Walter 2:50
39 Back Track Little Walter 2:49
40 Blue and Lonesome Little Walter 2:55
41 I Don't Play Little Walter 2:19
42 As Long as I Have You Little Walter 2:39
43 Just Your Fool Little Walter 2:24
44 Up the Line Little Walter 2:07
45 Southern Feeling Little Walter 2:58
46 Dead Presidents Little Walter 2:52

Bob Forrest - 2006 - Modern Folk and Blues: Wednesday

"Featuring original songs as well as reworked versions of some all time classic's, Bob Forrest steps out from behind leading the seminal Los Angeles based punk rock band Thelonious Monster to get a little more personal on this long awaited solo debut. Album features guest appearances by John Frusciante, Flea, Victoria Williams, Zander Schloss (Circle Jerks), Ikie Owens (The Mars Volta) and Chris Vrenna (Former NIN)." ~ Lakeshore Records


01. "Born to Run"
02. "Memphis"
03. "Louisiana 2005"
04. "The Dying Song"
05. "Ooo La La"
06. "Welcome to the Jungle"
07. "Bi-Polar Lovesick Blues"
08. "Rhapsody In Joshua Tree"
09. "Who Killed Kennedy?"
10. "I'm Goin' Republican"
11. "This Land Is Your Land"
12. "Black Empty"
13. "I Melt with You"
14. "Wish You Were Here"

Personnel include: Bob Forrest (vocals); John Frusciante (vocals, guitars); Elijiah Forrest, Victoria Williams (vocals); Zander Schloss, Josh Klinghoffer (guitars); Ikey Owens (keyboards); Randy Gordon (percussion).