Saturday, November 17, 2007

Alex Heffes - 2006 - The Last King of Scotland Soundtrack


01. Toko Momo by Wandel
02. Nakawunde by Percussion Discussion Africa
03. Idi’s Story
04. Afro Disco Beat by Tony Allen
05. Save Me E. T. by Mensah & The Tempos Band
06. Grazing in the Grass by Hugh Masekela
07. Ambush
08. Me and Bobby McGee by Angela Kalule
09. Kasongo by Afrigo Band
10. Fever by Jingo
11. The Bonnie Banks O’ Loch Lomond by Nyzonza Singers
12. Bukom Mashie Mashie by Oscar Sulley & The Uhuru Dance Band
13. Press Conference
14. Love Is You by Ofo The Black Company
15. Getting the Evil of Nicolas
16. On the Runway
17. Down Over Lake Victoria
18. Acholi Pot Song by Ndere Dance Troupe
19. Voice of the Forgotten featuring Kawesa

"Composer: Alex Heffes.The soundtrack to the powerful and often chilling movie about a Scottish doctor who is persuaded to work for the Ugandan dictator Idi Amin is full of fascinating anomalies like Africanized versions of Kris Kristofferson's "Me and Bobbie McGee" and the traditional Scottish song "The Bonnie Banks O' Loch Lomond," as well as Nigerian drummer Tony Allen's serpentine "Afro Disco Beat" and the South African trumpeter Hugh Masakela's 1968 hit, "Grazing in the Grass."" ~ Music Outfitter

Dr Octagon - Blue Flowers

Check out a freestlye with Chino XL and Kool Keith here

Anticon Mush Tour

The Mars Volta - L'Via L'Viaquez

Salvador Dali on "What's My Line?"

Rhythm and Blues Revue (1955)

Grateful Dead - 1972 - Dark Star

by Steve Capozzola

"Time Traveling Back to 1972 - Unearthing the Long-Buried Dead

February 2003 - Funny thing about the Grateful Dead. Many of the band's most loyal followers never got the chance to witness the Dead at their peak. Young Deadheads, born in the Seventies, proved to be some of the most ardent fans in the group's history. They followed the band from town to town, camping in parks, and subsisting on coolers packed with soda, bean burritos, and peanut butter sandwiches. Their devotion, though, was inspired by a mellower Grateful Dead than the one that first took flight from Haight-Ashbury. These same fans would, no doubt, have been awed by the experience of the Grateful Dead in their prime.

Fortunately, a group of veteran Deadheads have unearthed and re-edited a long buried time capsule of the Grateful Dead performing at the remarkable zenith of their powers. Canis Major Filmmakers John Norris, Sam Field, and Phil DeGuere have resurrected their 1972 concert film 'Sunshine Daydream' and now offer up a breathtaking trip back in time to the quintessential era of both the Grateful Dead and acid-jamming rock 'n roll. Loosely shot, the 100-minute film captures an incredibly youthful Grateful Dead playing outdoors at a creamery benefit in Veneta, Oregon on a blisteringly hot summer afternoon. In rich, sweaty detail, the film presents a completely unexpected snapshot of the Dead playing with rapt focus in front of a joyous crowd.

'Sunshine Daydream' is something of a missing link. It offers possibly the best testament as to why the Grateful Dead became such an enduring phenomenon. Where Jerry Garcia would later inspire a generation of indulgent jam bands, in '72 he was capable of fearsome, almost metallic leads. Indeed, in the later stages of the film's uninterrupted "Dark Star" jam, the camera captures a close-up of a young Garcia just as he drills a repeating 4-note riff at staggering speed. And where the band could offer sometimes lazy and unfocused shows in the Nineties, here they jump and stomp and dance, sweating profusely on a brutally hot summer's day.

In sitting down to watch 'Sunshine Daydream,' one gets a sense of revisiting history. Because this was an era of unprecedented accessibility, the Canis Major crew were able to station their cameras squarely on the wings of the stage, mere feet from the band. The resulting footage allows the viewer to stand almost shoulder-to-shoulder with a very young Bob Weir, age 25, strumming a cherry-red hollow-body guitar; a bushy-haired Phil Lesh, dressed more like a surfer than a bassist, and belting unexpected harmony vocals; a fuzzily bearded Garcia, age 30, smiling, not a gray hair in sight; and, a tough-looking Bill Kreutzman, sitting squatly on his drum stool, chewing gum and wearing a railroad conductor's cap. Where most Dead fans only witnessed these musicians 20 years later, and from the remote mezzanine deck of a Checkerdome-Enormodome-Superstadium, here suddenly is Garcia's boot tapping on a rusty foot pedal, Phil Lesh leaping in front of Kreutzman during a jazzy drums and bass solo, and Bob Weir stepping timidly to the microphone after a long, haunting jam.

One can only speculate on just how psychedelically engaged Norris, Field, and DeGuere (along with third cameraman Lou Melson, and sound man Charlie Barreca) were as they recordeded the day's proceedings. The concert itself was organized by Ken Kesey and the Merry Pranksters, which helped to ensure a day of genuine acid craziness. But shot with synchronized, handheld cameras, the Canis Major team succeeded in capturing both the blissful playing of the musicians and the general ecstasy of the audience. The camera eye becomes almost a running commentary of the respective filmmakers' interior monologues. A close-up of Garcia's leather boot stepping on a wah-wah pedal jumps suddenly to a Christ-like figure perched precariously on a wooden pole above the stage. The camera tracks the fellow as he dances rabidly above the music, then cuts to two women walking a child behind the stage. A dog runs past them. Suddenly the music changes gears and the camera swings back to the stage, to blonde-haired Phil Lesh at the precise moment he strums a booming chord on his bass. And then the other camera takes over, offering Bob Weir baring his teeth and straining to sing a high note as he chops harsh chords on his guitar. Weir falls backward as Garcia begins to solo and the camera suddenly jumps again to a topless girl dancing nearby in the tall grass.

Such chaotic filming succeeds precisely because of its extemporaneous nature. Almost accidentally, it captures the day's events in whirlwind fashion, fortuitously recording all the peripheral "noise" of the festival. In editing the film, DeGuere, Norris, and Field wisely provided some breathing room, interspersing performance clips with vintage moments of Kesey and the Pranksters. Additional background footage delivers candid shots of the festival's organizers as they try to cope with a water shortage amidst the day's 100-degree heat. The camera pans to crowds of men and women sharing plastic jugs of water. Overdubbed walkie-talkie chatter reveals the stage crew trying to bring in a fire truck to hose down the crowd.
In true Deadhead spirit, the film preserves an event that seem awfully remote in today's world of cable TV, Internet ticketing, and heavily policed gatherings. Early in the movie, an eager crew can be seen building a simple wooden stage. No cops, no security force trolling the grounds. No bags being searched, no one ejected for cigarette smoking. What one witnesses as the movie gets underway is 30,000 folks raving about in a big, sunny meadow while the local band plays on a hastily erected platform. Two flinty piles of amplifiers broadcast loud rock 'n roll out to the countryside. Amidst such casual planning, it seems forgivable that the festival's organizers forgot to incorporate stage lights. Providentially, this lack of concert lighting works to stunning effect later in the film. As the sun sets, and a cool breeze settles on the day's revelry, Garcia can be faintly seen crooning the plaintive "Sing Me Back Home," a mere silhouette of dark hair and beard against the gathering dusk.

Such a pastoral scene, of dogs and babies and children eating ice cream, hearkens back to a bygone era. 'Sunshine Daydream' never lectures, though, never complains that such days have passed. But in its quick cuts to footage of the Merry Pranksters, and their 1964 bus slogan "A vote for Barry [Goldwater] is a vote for fun," one sees the timeless political viability of street theater. And cutting back to the Dead in blazing performance, one is reminded that the most essential American liberty is freedom of expression.

'Sunshine Daydream' will overwhelm many Deadheads and music fans simply by presenting the Grateful Dead when they were oh-so-young. But its soundtrack, including riveting performances of "Bird Song" and "Sing Me Back Home," offers vivid testimony of why the Grateful Dead were so endearing and so enduring. As was said many times, "There is nothing like a Grateful Dead concert."" ~ San Francisco Herald

Johnny Cash - San Quentin

Johnny Cash - Ring of Fire

Bob Dylan, George Harrison, Leon Russell and Ringo Star - 1971 - Concert For Bangladesh - Blowin' In The Wind and Just Like A Woman

Bob Dylan : Concert For Bangladesh : Blowin' In The Wind

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Wattstax - 1973 - Los Angeles Coliseum

"Wattstax is a 1973 documentary film by Mel Stuart that focused on the 1972 Wattstax music festival and the African American community of Watts in Los Angeles. The film was nominated for a Golden Globe for Best Documentary Film in 1974.

The concert was held at the Los Angeles Coliseum on August 20, 1972 and organized by Memphis's Stax Records to commemorate the seventh anniversary of the Watts riots. Wattstax was seen by some as "the Afro-American answer to Woodstock". In order to enable as many members of the black community in L.A. as possible, tickets were sold for only $1.00 each. The Reverend Jesse Jackson gave the invocation, which included his "I Am - Somebody" poem, which was recited in a call and response with the assembled stadium crowd. Interspersed between songs are interviews with Richard Pryor, Ted Lange and others who discuss the black experience in America." ~ Wikipedia

Mordy Ferber, Richard Bona, Dave Liebman and Tony Moreno - 1999 - New York

Fania All-Stars in Africa

Stevie Ray Vaughan - Play It Hard and Floor It!

Bob Dylan - 1965 - Subterranean Homesick Blues

"This is a segment from D. A. Pennebaker's film, Dont Look Back (a documentary on Bob Dylan's tour of England in 1965). In the film, Dylan holds up cue cards for the audience with words from the song on them. While staring at the camera, he flips the cards as the song plays. Interestingly, there are intentional errors throughout the video. For instance, the song's lyrics say "eleven dollar bills," but the poster says "20 dollars". The video takes place in an alley behind The Savoy Hotel in London where poet Allen Ginsberg makes a cameo appearance." ~ JG2000

Celebrating Bird - The Triumph of Charlie Parker

Asmodeus & Bar Kokhba - 2007 - Rome Italy


the audience taped version of asmodeus was already seeded:

here we go with the radio version.

bar kokhba
festival john zorn - complete masada
parco della musica
rome, italy
25. + 26.06.2007

source: hotbird sat > nexus-s > hdd > nero wave editor > flac
(hotbird sat uses MPEG1 Layer 2/192 kbps)

disc 1


marc ribot - g
trevor dunn - b
g. calvin weston - dr

01. unknown title 05:03
02. unknown title 07:58
03. unknown title 02:18
04. unknown title 03:25
05. unknown title 04:13
06. unknown title 03:55
07. unknown title 02:19

disc 2

bar kokhba

marc ribot - g
mark feldman - v
erik friedlander - vc
greg cohen - b
joey baron - dr
cyro baptista - perc

08. unknown title 10:01
09. unknown title 03:26
10. unknown title 03:22
11. unknown title 08:39
12. unknown title 05:54
13. unknown title 02:00
14. unknown title 07:22
15. unknown title 09:34
16. unknown title 06:46

Weather Report - 1973 - Chateauvallon, France


Chateauvallon, France.
Unknown venue.
August 24, 1973

492 Mb
TT 1:24:41

1. Boogie Woogie Waltz
2. 125th Street Congress
3. Sophisticated Lady
4. Early Minor - Directions
5. In A Silent Way - It's About That time
6. Boogie Woogie Waltz - 125th Street Congress

Wayne Shorter (s)
Joe Zawinul (k)
Miroslav Vitous (b)
Don Um Romao (perc)
Greg Errico (d)

got this from EZT in the version listed here:
joined files where possible
cleaned hiss and removed millions of crackling fm noises
restored dynamics and eq


Del tha Funkee Homosapien- 1991 -I Wish My Brother George Was Here

Del tha Funkee Homosapien
I Wish My Brother George Was Here
Release Date: 1991
Label: Asylum
Time: 48:07

Hip Hop

"Del Tha Funkee Homosapien may be the cousin of gangsta rap icon Ice Cube, who was the executive producer on this debut, but it would be hard to imagine two more dissimilar artists. Yet, just as Ice Cube helped popularize and legitimize West Coast gangsta rap with NWA, Del helped lay the foundation for what would become California's thriving underground scene with his seminal debut, I Wish My Brother George Was Here. Predating similarly seminal debuts from like-minded artists like tha Alkaholiks, Souls of Mischief, Freestyle Fellowship, and Pharcyde, Brother George takes the Parliament-Funkadelic-derived G-funk sound popularized by NWA and spins it into exciting new directions, replacing gangsta rap's nihilism with a healthy sense of the absurd. Released while Del was still a teen, Brother George offers a take on city life that's wry and bemused rather than tense and violent, addressing such crucial issues as having to ride the bus ("The Wacky World of Rapid Transit") and shiftless friends ("Sleepin' on My Couch") with a refreshingly assured comic sensibility. Bolstered by a pair of terrific, typically irreverent singles, ("Dr. Bombay" and "Mr. Dobalina"), Brother George imbued the otherwise grim West Coast hip-hop scene with a welcome dose of irreverence, proving that you didn't have to conform to any single image to be taken seriously as a rapper. Although for the most part an endearingly lightweight effort, Brother George does address serious topics on occasion, with "Dark Skin Girls" attacking media and personal perceptions of African-American beauty with a viciousness that borders on blatant sexism. Del has accomplished much since the release of Brother George — the Deltron 3030 album completed his evolution from smart-ass b-boy prodigy to indie rap superhero — but nothing he's done since has quite matched the charm, fun, and sheer exuberance of his stellar debut." ~AMG

Personnel: Del, Opio, Kwame, A-Plus, CM-PX, Damani.
Producers: Boogiemen, Del, Ice Cube


01 What Is A Booty
02 Mistadobalina
03 Wacky World of Rapid Transit, The
04 Pissin' On Your Steps
05 Dark Skin Girls
06 Money For Sex
07 Ahonetwo, Ahonetwo
08 Prelude
09 Dr. Bombay
10 Sunny Meadowz
11 Sleepin' On My Couch
12 Hoodz Come In Dozens
13 Same Ol' Thing
14 Ya Lil Crumbsnatchers

Destricted - 2006

Photo Sharing and Video Hosting at Photobucket

116 Min.
Episode Film

"As helmed by a series of avant-garde performance artists and provocateurs, the seven-episode omnibus picture Destricted both pays homage to classic porn and deconstructs the concepts of obscenity and voyeurism, with a series of extreme tonal variations on the sexual act. The premier episode, artist Matthew Barney's "Hoist" (which is laced with transsexual metaphors) depicts a bizarre mating ritual between a man with a giant cucumber for a penis and a 50-ton deforesting Caterpillar truck. For the second go-round, House Call, notorious still photographer Richard Prince (best known for "re-photographing" the Garry Gross nudes of Brooke Shields) re-shoots to the point of graininess (and re-dubs) images from a "classic" hardcore sequence involving an encounter between a stud (John Saint John) and a chesty woman (Kora Reed), and their kinky games with a thermometer. Commercial veteran Marco Brambilla authored the third episode, "Sync" - a kind of "teaser" - by splicing together thousands of split-second sequences from sex scenes in both hardcore and mainsteam features, and "matching up" the action (creating a sequence with it of the various film segments), from foreplay to climax. Controversial director Larry Clark (Kids, Ken Park, Wassup Rockers!) authored the fourth (and longest, at 38 minutes) segment, entitled "Impaled"; it begins with a series of spontaneous, one-on-one interviews with adolescent boys, where Clark asks them intimate questions about their sexual fantasies and sexual desires, and indicates that he plans to select one to undergo an unsimulated, hardcore sex scene with an actual porno actress. The film then cuts to the "act" itself, which proves ironically mechanical and untitillating for its male participant. Sam Taylor-Wood' "Death Valley" constitutes the fifth segment and offers an extended (voyeuristic) glimpse of a man in the desert who masturbates to ejaculation. The sixth segment, Marina Abramovic's much-acclaimed "Balkan Erotic Epic," provides a riotous parody of ethnic sexual rituals, in which women expose their breasts and "mate" with the ground, and men fertilize gardens with their semen. And Gaspar Noe's closer, "We Fuck Alone," combines the influence of Tamaño Natural and Flicker by depicting copulation between a man and an inflatable sex doll - as filmed beneath an alienating strobe light. As a measure of U.S. society's love-it-or-hate-it conservatism, this picture ran at the 2006 Sundance Film Festival but skipped U.S. arthouse distribution (to say nothing of a mainstream American release). It did, however, receive a European theatrical run." ~AMGb

Friday, November 16, 2007

Raz Mesinai - 2004 - Cyborg Acoustics

Composer, DJ, engineer and producer Raz Mesinai was born in Jerusalem and raised in New York city. His compositions blend electronics, beats and dub effects with acoustic instruments in creating an esoteric musical tapestry filled with new sonorities and a haunting spirituality. Dramatic and mysterious, his third cd for tzadik features a host of downtown luminaries including violin virtuoso mark feldman and saxophone alchemist john zorn in some of the most complex and soulful electro-acoustic music around.

The full lineup of guest musicians includes : Mark feldman, mark dresser, eyvind kang, ralph farris, tim barnes, okkyung lee, john zorn and shelley hirsch.

1. Ghosts Of The Gulag 1
2. Ghosts Of The Gulag 2
3. Ghosts Of The Gulag 3
4. Ghosts Of The Gulag 4
5. Ghosts Of The Gulag 5
6. Reanimator 1.0
7. Ghosts Of The Gulag - Reprise

If you have a heart you will download this.

The Drift - (rmxs) 12" - 2007

Following the 2005 release of their debut album, 'Noumena', The Drift set out to tour relentlessly in support of the album. Two years later, the band is still on tour, and to keep up we're rolling out a limited edition 12" compiling two side-long remixes from Four Tet and Sybarite. Side A is a nine-minute jazz exploration, launching The Drift's spacious, atmospheric compositions into deserted, zero-gravity territory. Four Tet's remix is a stone cold classic, rich in the virtues of patience and the payoff. Side B, conversely, is a dense, rhythmic reworking of Noumena's most immediately accessible track, "Invisible Cities." Sybarite gets to the point quick, and fleshes out the deliriously funky details over the course of its emphatic 11-minute runtime. This 12" is strictly limited to 1,000 copies. Each copy is housed in a beautiful full-color chipboard jacket, and has been individually assembled by the tireless hands of the Temporary Residence staff.

1. Gardening, Not Architecture (Four Tet Remix)
2. Invisible Cities (Sybarite Remix)

I find it amusing how contradictory the two styles are, you have this organic tape saturated chill-out music contrasted with live electronics and break-beat, a really interesting combo.

Mahavishnu Orchestra - 1972 - Hunter College Auditorium, NYC


I got this off of lossless legs, and have exclusive permission form the taper/seeder to upload here to my DIME family; so many thanks to Jim Moore, and artwork from the same is included in the torrent file.


May 15, 1972
Hunter College Auditorium, NYC, NY, USA
WBAI Spring Benefit

FM Reel Master

FM (simulcast) Reel Master taped by Jerry Moore:
7" 1/4 track stereo Sony PR-150 reel @ 3.75 ips
on a Bell & Howell deck,

transfer 1/07 by Rob Berger:
Sony TC-850>Sony sbm1>CDR>EAC>CD WAVE>FLAC

disc one: 47:18
01: tuning and anouncements
02: Meeting of the Spirits>You Know You Know
03: The Dance of Maya

disc two: 41:04
01: One Word
02: Sanctuary
03: Noonward Race

*never convert to lossy, or mp3; foreverlossless, and trade only, never sell

Thursday, November 15, 2007

The Fania All-Stars

The Fania All-Stars


The flagship act for Fania Records, the Fania All-Stars popularized New York salsa during the 1970s by organizing concerts at larger and larger venues (from the Red Garter in Greenwich Village all the way to Yankee Stadium in the Bronx) that spotlighted not only the label's but the salsa world's biggest stars — Ray Barretto, Willie Colón, Johnny Pacheco, Rubén Blades, Hector Lavoe, Ismael Miranda, Cheo Feliciano, Bobby Cruz, Pete "El Conde" Rodriguez, and special guests like Tito Puente, Celia Cruz, and Eddie Palmieri. LPs by the collective were usually recorded live and featured long jams with plenty of space for solos for each of the salsa heroes on-stage at the time. Though the label management's quest for crossover success led to a few diluted major-label recordings during the late '70s and early '80s, infrequent events featuring the Fania All-Stars remained huge attractions into the late '90s.

Wedged between recordings and appearances by individual group members, the Fania All-Stars played sell-out shows across North America, from Puerto Rico and Panama to Chicago. Then, on August 24, 1973, the salsa wave crested with the group's performance at New York's Yankee Stadium in front of 44,000 fans. In 1974, the group traveled to Zaire and performed before the Rumble in the Jungle, the notorious heavyweight title fight between Muhammad Ali and George Foreman. Another appearance at Yankee Stadium in 1975 was also recorded and (unsurprisingly) released as a pair of albums (Live at Yankee Stadium).

The Fania All-Stars recorded eight studio albums during the 1980s, gradually moving from the overly polished sound of the late '70s to a more organic Latin jazz. In 1994, the group celebrated the 30th anniversary of Fania Records with live dates in San Juan, Miami, and New York. The Fania All-Stars continued to perform occasionally during the rest of the '90s. ~AMG

Check Out Some Sounds Here

Max Roach - 1960 - We Insist! Max Roach's Freedom Now Suite

Photo Sharing and Video Hosting at Photobucket

Max Roach
We Insist! Max Roach's Freedom Now Suite
Recording Date: Sep 1960
Label: Candid


"This is a classic. At a time when the civil rights movement was starting to heat up, drummer Max Roach performed and recorded a seven-part suite dealing with black history (particularly slavery) and racism. "Driva' Man" has a powerful statement by veteran tenor Coleman Hawkins and there is valuable solo space elsewhere for trumpeter Booker Little and trombonist Julian Priester, but it is the overall performance of Abbey Lincoln that is most notable. Formerly a nightclub singer, Lincoln really came into her own under Roach's tutelage and she is a strong force throughout this intense set. On "Tryptich: Prayer/Protest/Peace," Lincoln is heard in duets with the drummer and her wrenching screams of rage are quite memorable. This timeless protest record is a gem." ~AMG


01 Driva Man
02 Freedom Day
03 Triptych: Prayer/Protest/Peace
04 All Africa
05 Tears for Johannesburg

The Musical Gospel According to Ikey Owens

FEEDBACK: 10 Bands from OC/Long Beach You Need to Know
By Dave Segal
Thursday, November 15, 2007 - 3:00 pm

Ikey Owens can be found in the dictionary under the word “ubiquitous.” Probably best known by most for lending keyboard prowess to prog-rock illuminati the Mars Volta (though some of us are old enough to fondly recall Teen Heroes), Owens also plays with Free Moral Agents, Blow Up Blow, Look Daggers and, if the stars are aligned right, Crystal Antlers. Below, the talented musician/producer hips you to 10 local groups essential for healthy aural hygiene.

1] SATISFACTION. It’s rare to see musicians who write amazing songs and also know how to level an audience every time they play. Satisfaction is what I hoped many of my favorite early-’90s power-pop bands would’ve evolved into.

2] CRYSTAL ANTLERS. I play with this band from time to time. One night, we played a packed show at the Prospector for record snobs and garage-music aficionados. The next afternoon, we played a house party in Westminster, and kids in Pennywise shirts were going crazy for them. This band is a lot of good things at once, if you like rock & roll.

3] DOGS OF IRE. I don’t know how you would classify them other than just heavy. But even that doesn’t really do this band justice. They’re complex and aggressive, but they also have some really beautiful, surreal moments. If you see them playing anywhere near you, go!

4] BLANK BLUE. At a really good Blank Blue show, it feels like Stereolab is playing in your head, and Dilla is playing in your chest.

5] ARROW DOWN. I saw this band by accident at the Prospector one night. The whole set seemed to go by in 10 minutes, and I remember the feeling more than the sound. I need to see them again to describe them with any accuracy, which is why I put them on this list.

6] PHILIEANO. I was starting to lose faith in live DJ-based hip-hop, and then I saw Philly at the Vault. Easily one of the best shows I’ve seen all year.

7] CREATE! Crazy improv with a rotating lineup of about 30 different musicians. Create! always features Orlando Greenhill, who is one of the most complete bass players around. And from time to time, he plays in war paint!

8] DUB KINETIC. Rockers unite! This band features Crucial’s Sonic Dread, Jah Horns, and about nine to 10 orphaned children of Culture Beat Records.

9] LOS MYSTERIOSOS. The perfect soundtrack for Alex’s Bar.

10] THE ALMIGHTY NECTAR. Simply the finest in hop-hop, dub, or whatever Mike Kearns feels like spinning. No Serato, no iPod, just well-mixed and well-selected records.

For more information on Ikey Owens, visit;

Charles Ives - 4th Symphony

"by Peter Burkholder

Charles Ives (1874-1954) is the very model of an American original. Born in Danbury, Connecticut, he grew up with American music in his ears: marches played by his father's band, Protestant hymns he sang at revivals and played as a church organist, and popular songs of Stephen Foster and Tin Pan Alley, all American as apple pie. He continuously experimented with new compositional devices, using two or more keys at once, new kinds of chords, multiple simultaneous musical strands, quartertones, and other techniques to create music unlike any ever heard. All of these elements are part of his Symphony No. 4 (1910-25).

Missing from this description are Ives's deep links to the European tradition. He revered Bach, Beethoven, and Brahms, and said he aspired to do what Beethoven would have done had he lived into the modern age. Like Beethoven, Ives emulated the prevailing styles of the time in his early works, absorbed a wide variety of influences, and wrote music that became progressively more complex and individual. His later music comes into clearer focus when one knows his first two symphonies, with their strong influences from Schubert, Dvorák, Beethoven, Tchaikovsky, Bach, Brahms, and Wagner. Part of being an American in the late nineteenth and early twentieth centuries was engaging with the European tradition in an original way; part of being original was weaving new variations on old techniques. This heritage is part of the Fourth Symphony as well. Cast as a cyclic, programmatic symphony in the late-Romantic pattern, it is full of American tunes and sounds.

The opening movement alternates bold statements in the orchestra with traces of "Nearer, My God, to Thee" in distant violins and harp and closes with a choir singing "Watchman, Tell Us of the Night." According to Ives, this movement sets forth "the searching questions of 'What?' and 'Why?' which the spirit of man asks of life" and later movements offer "the diverse answers in which existence replies."

The next movement answers with a musical rendition of Nathaniel Hawthorne's tale "The Celestial Rail-Road," in which a man dreams he is offered passage on a railroad to Heaven that is advertised as the easy alternative to the sincere pilgrim's long and arduous trek by foot. Overlapping streams of music and fragments of familiar tunes evoke the strange and often disturbing logic of dreams. Imitations of train sounds alternate with pilgrims' hymns, until the man sees from a distance the pilgrims reaching their goal and discovers to his horror that he is traveling to Hell. He wakes from his dream to the earthly sounds of a marching band, grateful to have learned in time that there are no easy answers to the questions posed in the first movement.

The third movement presents a fugue that uses the hymn "From Greenland's Icy Mountains" with part of "Coronation" as a countersubject. One episode quotes Bach's "Dorian" Fugue, which Ives played as a teenage organist. Lovely as this music is, it represents to Ives "the reaction of life into formalism and ritualism." For him, religious convention is also not a sufficient response to the "searching questions" of the opening movement.

The finale offers a more compelling answer. Fragments of "Nearer, My God, to Thee" appear near the beginning, deep in the string basses and high in the distant choir of violins and harp. This hymn is a constant presence, gradually moving down to the middle register and pulling together from fragments until it is sung by a wordless choir over majestic descending scales. This symbolizes the fulfillment of the yearning, expressed from the beginning of the symphony, to be nearer to God. The effect rivals Beethoven's transcendent late works, in modern and very original American language." ~ American Symphony

Wednesday, November 14, 2007

Biglietto per L'Inferno - 1974 - Biglietto per L'Inferno

Biglietto per L'Inferno
Biglietto per L'Inferno
Release Date: 1974
Distributor: Phantom Import

"Widely regarded among the most influential and important of all early-'70s Italian progressive rock bands, Biglietto per l'Inferno formed in 1972 in the northern town of Lecco. Unfortunately for modern listeners, the band's original reputation was rooted primarily in their live performance, an act whose intensity has been compared to the likes of Jethro Tull and Van Der Graaf Generator, with the twin keyboard attack installing a dimension that mere vinyl — for that is all that remains of the band today — can never recapture. Nevertheless, the group's one album, 1974's Biglietto per l'Inferno, is rightly regarded a masterpiece, while a single coupling "Una Strana Regina" with an otherwise unavailable instrumental version of the album's "Confessione" is highly prized among aficionados. A second Biglietto per l'Inferno single, "Vivi Lotta Pensa"/"L'Arte Sublime di un Giusto," was released late in 1974 as a taster for the band's second album. However, a dispute between the band and record label Trident saw promise swiftly turn to rancor and, by year's end, Biglietto per l'Inferno had split up. The proposed second album, Il Tempo Della Semina, was left on the shelf — tapes circulated on the bootleg market for some years, before Mellow gave it an official release in 1992. Organist Baffo Banfi went on to enjoy a solo career during the late '70s, releasing three albums. Drummer Mauro Gnecchi moved into session work and appears on PFM guitarist Franco Mussida's first solo album." ~AMG


01 Ansia
02 Confessione
03 Una Strana Regina
04 Il Nevare
05 Lamico Suicida
06 Confessione (Strumentale)

Banco del Mutuo Soccorso - 1972 - Darwin!

Banco del Mutuo Soccorso
Release Date: 1972
Label: Dischi

"Darwin! will remain Banco del Mutuo Soccorso's masterpiece. This album, the band's second, is the proud equal of Premiata Forneria Marconi's Per Un Amico and Le Orme's Felona e Sorona in the Italian progressive rock hall of fame. In Darwin!, every promise made by Banco's eponymous debut was realized. Vittorio Nocenzi's writing has flourished into complex songs blending Italian songwriting, bel canto, and progressive rock. The arrival of guitarist Rodolfo Maltese crystallized the band's luxurious sound, all topped by Francesco Di Giacomo's operatic vocals. The majestic "L'Evoluzione" opens the album, providing some of the best moments ever recorded by this band (along with "Canto Nomade per un Prigioniero Politico"). "La Conquista Della Posizione Eretta" ("The Conquest of the Wrong Position") reproduces the same pattern as "Metamorphosi" from the first album: a frenetic instrumental theme, scaled down toward the end to let room for a very emotional verse. "La Danza de Grandi Rettili" is a rare jazzy number. Di Giacomo shines on "750,000 Anni Fa...L'Amore?," a heart-wrenching ballad much closer to Italian pop music than progressive rock. The album comes to an end with "Ed Ora la Domando Tempo al Tempo," a short piece inspired by merry-go-round music. The original version of the album bears a cover with a pocket watch. Never satisfied with the sound quality of the original tapes, the band re-recorded the whole album in 1991 and issued it with blue cover artwork. Purists turned their back on this new version, but it is actually very well performed, even though it has lost the vintage 1970s Italian flavor. The original Darwin! was eventually also reissued on CD." ~AMG


01 L' Evoluzione
02 La Conquista Della Posizione Eretta
03 La Danza Dei Grandi Rettili
04 Cento Mani, Cento Occhi
05 750,000 Anni Fa... L'Amore?
06 Misere Alla Storia
07 Ed Ora Io Domando Tempo Al Tempo (Ed
Egli Mi Risponde: Non Ne Ho!)

Trio of Doom - 1979 - Trio of Doom Live

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Trio of Doom: John McLaughlin, Jaco Pastorius, Tony Williams
Trio of Doom Live
Recording Date: March 1979
Label: Columbia/Legacy


"Certainly the potential of a recording by this trio featuring guitarist John McLaughlin and drummer Tony Williams (both members of Lifetime with organist Larry Young) along with bassist Jaco Pastorius — aka the Trio of Doom — is enormous. This compilation contains a performance of the trio at the Havana Jam in 1979, a U.S. State Department-sponsored cultural tour by a large number of American musicians who played on the same stage as Cuban aces. The band rehearsed and had about 25 minutes on the stage. Five days after leaving Cuba, the band reconvened in a New York City studio and recut most of the tracks. The studio versions (cuts six, seven, and ten) were released on a pair of various-artists compilations from the Cuban concert. McLaughlin felt at the time that the live performances were unusable because of Pastorius' playing. He relates the details in brief in the liner notes by Bill Milkowski. What this means, of course, is that out of ten cuts here, seven have never been released before. That said, the sum total of all the music that the group cut together is a little less than 40 minutes. From this, the opening drum solo by Williams takes up nearly three, and 20 seconds is of an alternate take of the drummer's "Para Oriente." But this is not a dodgy rip simply assembled to make money from the stuff of myth. Well, it is designed to make money from myth, but there is some seriously intense music here." ~AMG


01 Drum Improvisation - (previously unreleased, Live)
02 Dark Prince - (previously unreleased, Live)
03 Continuum - (previously unreleased, Live)
04 Para Orient - (previously unreleased, Live)
05 Are You The One, Are You The One? - (previously unreleased, Live)
06 Dark Prince (Studio)
07 Continuum (Studio)
08 Para Oriente - (previously unreleased, Alternate Take One/Studio)
09 Para Oriente - (previously unreleased, Alternate Take Two/Studio)
10 Para Oriente - (Studio)

Tuesday, November 13, 2007

Shiner - 2001 - The Egg

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The Egg
Release Date: Oct 2001
Label: De Soto

"Shiner's The Egg is the sound of a band stretching itself between the opposite poles of melody and complexity, accessibility and nebulousness, and coming up with something entirely original and unheard of in the process. It's a concept album in the best sense of the word: It doesn't have a cheesy central theme per se, like disillusioned robots or mythical dragons, but it feels as if every song fits into one expansive puzzle, like the album already existed, just waiting for its creators to capture it on tape. Kansas City, MO's Shiner has long been at work in the underground rock trenches spreading the word of its angular, math-y post-rock. Since 1993, the band toured the nation tirelessly and put out three acclaimed full-lengths on independent labels, not to mention enduring several lineup changes. The Egg, however, feels like the album they have been waiting to make. For its fourth release, the group has finally solidified to include Allen Epley (vocals, guitar), Paul Malinowski (bass, backing vocals), Jason Gerken (drums), and Josh Newton (guitars, keyboards, noises). The members' talents mesh together so well, it seems impossible that this is their first complete album together. It doesn't hurt that indie super-producer J. Robbins climbed aboard either; his crisp, lucid sound creates a tug of war with Shiner's natural tendencies to go dark and murky. The constant ebb and flow between sonic radiance and shadow permeate the entire disc. The songs themselves bask in an epic splendor, replete with the kind of arrangements that reward repeat listenings. "The Truth About Cows" melds big rock verses with a minor chorus and Gerken's machine gun drumming, while "Surgery" juxtaposes Malinowski's trudging bass thump with swinging guitars and "bop-bop" backing vocals. "Play Dead" is a bouncing pop gem dressed in angular, distorted guitars and inventive, stop-start arrangements. After these three straight-ahead rockers, Shiner jumps off into the deep end with "The Top of the World," one-upping Radiohead in the process. This track serves as a total departure for the band, what with its Björk-esque lullaby chimes, subtle electronic beat, and quivering lead notes that dare the listener to guess whether the sound is a keyboard or a guitar effect. Part of the genius of this record lies in that trick: Often, the guitars and keyboard sounds are indistinguishable, but they always remain in service of the song, so the listener doesn't care. Shiner takes a page from Radiohead with the sonic experimentation on The Egg, but the band members surpass them in that they can bend those experiments into actual songs as opposed to toying with them until they lie limp and formless, à la Amnesiac or Kid A. Tracks like "The Egg" and "Bells and Whistles" build on this concept, combining inventive effects and atmospherics with songs that actually rock. Throughout, Epley's voice assumes a multitude of guises, from bruised and raspy croon to an ascending, downright pretty falsetto. Newest member Newton has proved himself indispensible; his inimitable guitar squawks and blips spice up songs like the discordant "Pills" and the apocalyptic "Spook the Herd." Everything comes together on the album's eight-minute magnum opus, "The Simple Truth." The song begins with a melancholy, downbeat air, punctuated by tightly syncopated, polyrhythmic drums and a lilting bassline but, midway through, it all melts away into an ethereal dreamscape. Epley continues to strum gently while ambient guitar and keyboard noises fade in and out like seagull cries lost in the wind. Malinowski gently nudges the rhythm forward, and finally Gerken breaks out into a skittering drum pattern, pushing the song to a crescendo, until it melts away, back into silence. The Egg may never receive widespread popularity or acclaim the way a Radiohead album might, but it stands as a testament to the limitless possibilities within the seemingly "tired" genre of good ol' rock & roll. This is the type of album you want to keep to yourself but share with everyone you know. As long as bands like Shiner continue to test the limits of themselves and their listeners on albums like The Egg, the people will keep coming." ~AMG

Blonde Redhead - 2004 - Misery Is a Butterfly

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Blonde Redhead
Misery Is a Butterfly
Recording Date: Mar-May 2003
Release Date: Mar 2004
Label: 4AD/Beggars

Experimental Rock

"Densely layered and orchestrated, with swelling strings and keyboards often burying the twin guitars and drums of Kazu Makino and brothers Amedeo and Simone Pace, MISERY has a cinematic quality, as if its songs were art-house shorts." ~CMJ

"These are seductive confections, all blurred strings, magical chimes and tear-stained metaphysics." ~Uncut

"[A] volatile mix with a touch of fidgety elegance." ~EW

Blonde Redhead is: Amedeo Pace (vox, guitar, baritone guitar)
Kazu Makino (vox, guitar, clavinet)
Simone Pace (drums, percussion, programming)
ADDITIONAL PERSONNEL: Eyvind Kang (viola, violin)


01 Elephant Woman
02 Messenger
03 Melody
04 Doll Is Mine
05 Misery Is a Butterfly
06 Falling Man
07 Anticipation
08 Maddening Cloud
09 Magic Mountain
10 Pink Love
11 Equus

Slade - 1974 - Slade in Flame

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Slade in Flame
Release Date: 1974
Label: Warner Bros

Glam Rock

"Slade in Flame is a tough album to judge. It marks the end of Slade's rule over the British charts — the album went to number six (the band's previous four LPs reached number one), but it would be nearly ten years before the band would return to the top of the pops. Made as an accompanying piece to the movie of the same name, Slade in Flame was different than the group's other records. It's an artistic tour de force for a band that was looked on as "just a good time." Although Slade was that, the band had a lot more in its bag of tricks, and this album shows it. Most folks (if not all) were expecting Slade to come out with a Monkees-type movie: lots of slapstick and a funny, lighthearted good time. Instead, the band delivered a much more reality-based film and album. Don't worry, though, because it's still pure Slade. The album stretches the band's stylistic universe to include brass and more keyboards than before. The lyrics are a little more serious than you might expect — the album is about what a bummer it can be to be famous, as well as the all of the advantages (girls). From the opening number, "How Does It Feel," Slade sets a different tone. A piano and vocal intro greets the listener. Of course, by the end of the song the full band is rocking furiously. They don't let up on the classic "Them Kinda Monkeys Can't Swing," which features great drumming by Don Powell. "So Far So Good" is a beautiful rocker, and was covered by Alice Cooper songwriter Mike Bruce on his first solo album. On "OK Yesterday Was Yesterday," Noddy gives his lungs a big-time workout. [The British and American versions of this album differ slightly. The U.S. version added two British A-sides, "Bangin' Man" and "Thanks for the Memories," while deleting a couple of tracks. "Bangin' Man" is definitely one of Slade's best, and worth seeking out on a greatest-hits CD.]" ~AMG


01 How Does It Feel?
02 Them Kinda Monkeys Can't Swing
03 So Far, So Good
04 Summer Song (Wishing You Were Here)
05 O.K. Yesterday Was Yesterday
06 Far Far Away
07 This Girl
08 Lay It Down
09 Heaven Knows
10 Standin' on the Corner

Faraquet - 2000 - The View From This Tower

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The View From This Tower
Recording Date: Feb 2000
Release Date: Nov 2000
Label: Dischord

Math Rock

"Fusing together the musical complication and ingenuity of King Crimson with the ferocity and D.C.-sound of Fugazi, Faraquet have created an album of technical, churning, and passionate frenzies collapsed into melodically pleasing atrophy. After several smaller releases of 7" singles and four songs on a split single with the choppy, quirk-filled Akarso, the band moved to Dischord for the release of their first full-length, The View From This Tower. May be considered one of the best debut releases of 2000." ~AMG


01 Cut Self Not
02 Carefully Planned
03 The Fourth Introduction
04 Song for Friends to Me
05 Conceptual Separation of Self
06 Study Complacency
07 Sea Song
08 The View from this Tower
09 The Missing Piece

Oxes - 2002 - Oxxxes


Release Date: May 2002
Label: Monitor

Math Rock

"On Oxxxes, the second album from the Baltimore wireless math rock threesome with no bass player, the band continues their blistering instrumental guitar assault and, unfortunately, still cannot harness the energy of their live performance. "Half Half & Half" builds blistering monuments, hoping to reach the pinnacle of their heroes, Don Caballero, but somehow falls short. "Boss Kitty" brings out Helmet-style riffs as a kitschy call to their obvious early days in metal. What Oxes love is irony and controversy — pummeling the crowd and listener with the most abrasive, semi-twisted music they can muster while simultaneously causing a spectacle. Well, just prior to this release, the band generated a false rejected album cover to stir controversy among the indie elite who have come to expect over-the-top antagonism from the band. It's this type of middlebrow conceptualizing that keeps the band from focusing their minds on the music — but then again, the music might not be their point to begin with." ~AMG


01 Boss Kitty
02 Half Half and Half
03 Kaz Hayashi '01
04 Chyna, Chyna, Chyna
05 Tony Baines
06 Take and Free Miami
07 Bees Won
08 Russia Is Here

Isis - 2002 - Oceanic

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Release Date: Sep 2002
Label: Ipecac

Ambient Metal

"Oceanic is the next logical step for Isis after the ugly, grandiose Celestial, the Aaron Turner-led outfit's second full-length looking simultaneously inward and outward, reaching into the nether regions of outer space while still keeping its feet firmly earthbound. Yes, it's an ambitious record, one that isn't immediately consumed and digested — rather, it consumes and digests the listener with grand and hypnotic waves of sound. Songs blur together as aggressive, post-hardcore guitar riffery trades with lengthy, meditative bouts of electronic exploration, a technique that would result in plodding, pretentious mush in less capable hands. Instead, Oceanic successfully mirrors the dense, unimaginable power of its namesake, combining the minimalist metallic art of Godflesh with the bipolar mood swings and Black Sabbath muscle of West Coast brethren Neurosis. Turner's deathcore growl-shouts serve to puncture the instrumental tension that balloons slowly and painstakingly inflates throughout the album's 63 minutes, with ex-Dirt Merchants singer Maria Christopher occasionally drifting hazily into the arrangements. "Weight," at nearly 11 minutes, doesn't necessarily move as much as it evolves toward its goal, starting with lazy, but purposeful, melodic whale songs before logically concluding with Christopher's repetitive dub vocal and a droning organ suggesting spiritual rebirth. OnlyIsis could get away with writing hardcore hymns about the inevitability of elemental forces and pull it off with such conviction and attention to detail. The album may initially seem to exist in hazy head space, but clarity comes with further submergence, assuming you're willing to lay back and float, letting the water take you into both conscious and subconscious realms. Oceanic is a masterfully complex symphony of majestic noise and melody, an all-consuming trip into the earth and mind that defies genre and, often, description — simply put, a triumph." ~AMG


01 The Beginning and the End
02 The Other
03 False Light
04 Carry
06 Maritime
07 Weight
08 From Sinking
09 Hym

Monday, November 12, 2007

NASA's Audio Recordings of Saturn

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Moogs in outer space! Well, almost. NASA recently published several audio recordings collected during the Cassini-Huygens space probe's exploration of the Saturnian system, and it couldn’t sound more like a theremin-laden soundtrack to a 2001: A Space Odyssey sequel. (And yes we know there’s already a sequel, but we mean a good sequel. Sorry, Roy Scheider. We loved you on SeaQuest DSV.). Saturn is a source of intense radio emissions that are generated along with the auroras of the planet's poles -- similar to Earth's northern and southern lights.

The eerie whistling, epic whooshing and warbling echoes collected by the probe's instruments sound as though they could have been lifted directly from '50s sci-fi classics like Plan 9 From Outer Space or Forbidden Planet.

Here’s a rundown of a few of the spooky recordings, all available for your listening pleasure on the NASA site:

A 2005 flyby of Enceladus, one of Saturn’s moons, captured the sound of powerful ion cyclotron waves (organized fluctuations in the magnetic field), providing data about what ions were present in the atmosphere.
Radar echoes picked up as the probe descended onto Titan increase in pitch and intensity as the satellite neared the Saturnian moon, hinting at the nature and composition of its surface.
Sound samples recorded by Huygen's microphones during that descent were pieced together in a lab to create an audio reproduction of what a traveler would have heard while hurtling through Titan’s atmosphere. ~Wired

Mike Oldfield - 1973 - Tubular Bells

From Allmusic

Mike Oldfield's groundbreaking album Tubular Bells is arguably the finest conglomeration of off-centered instruments concerted together to form a single unique piece. A variety of instruments are combined to create an excitable multitude of rhythms, tones, pitches, and harmonies that all fuse neatly into each other, resulting in an astounding plethora of music. Oldfield plays all the instruments himself, including such oddities as the Farfisa organ, the Lowrey organ, and the flageolet. The familiar eerie opening, made famous by its use in The Exorcist, starts the album off slowly, as each instrument acoustically wriggles its way into the current noise that is heard, until there is a grand unison of eccentric sounds that wildly excites the ears. Throughout the album, the tempos range from soft to intense to utterly surprising, making for some excellent musical culminations. Mandolins and Spanish guitars are joined by grinding organs and keyboards, while oddball bells and cranking noises resound in the distance. In the middle of the album, guest Vivian Stanshall announces each instrument seconds before it is heard, ending with the ominous sounding tubular bells, a truly powerful and dominating instrument. The most interesting and overwhelming aspect of this album is the fact that so many sounds are conjured up yet none go unnoticed, allowing the listener a gradual submergence into each unique portion of the music. Tubular Bells is a divine excursion into the realm of new age music.

Track Listing

1.Part One-25:36
2.Part Two-23:20

Sunday, November 11, 2007

Sebkha-Chott - 2006 - Nagah Mahdi – Opuscrits En 48 Roule

Posted by Lachrymal Cloud

"Sustained by a music oscillating between Frank Zappa and Magma, Mr Bungle and Fantômas, between 70's prog and 21st century's extrem metal, the story - the prank should I better say - of a dictatorship based on Mekanik Metal Disco's vinyls production and the aversion of the mustache. A crazy and resourceful tale, lead by those 8 notorious raving mad haunting the stage and setting fire to the audience with their enormous energy and their scathing, cynical and out of boundaries sense of humour[...]" ~

There are 8 "rolls" on their latest album Nagah Mahdi – Opuscrits En 48 Rouleaux, split into 48 separate tracks.

1. Boum Boum Yüla ! (0:35)
2. Valdez Retro Maldito Seveso (1:43)
3. Ruben With The pippermint (0:25)
4. La Complainte D'Yvette H. (1:44)
5. Alchamie Malhabile (1:11)
6. L'Âge Du Cuivre (1:15)
7. Furtive (0:05)
8. Bossa 'Na Bossa (0:46)
9. Préavis De Grève (0:25)
10. La Procession Des Imbéciles (2:44)
11. Un Autre Chemin Que La Violence ? (2:00)
12. Lâche Cette Cuillère !!! (0:30)
13. La Routine Habituelle (Les Gaugau... Les Gaugau... Les Gaulois !!!) (1:04)
14. Nice Trap (1:33)
15. Café La Main Verte (1:14)
16. Sombre Gloire (1:25)
17. : Wagadey Wagadey Wagadey Wagadey Wagadey Woy Heeeee :Woille Hey (0:23)
18. Pour Quelques Mollards De Plus (1:30)
19. Hymen (2:02)
20. Sensual Lips And Magic Tricks (2:08)
21. Menstrual Fix And Phallic Sticks (0:53)
22. Fils-Phoque Au Gingembre (1:18)
23. Olé ! (1:07)
24. All Blacks (0:39)
25. Mrs Râ Et Amon Aclack Ont Une Fille À Tête De Chat? (0:07)
26. Illusions (1:47)
27. Salle D'Attente - Pasteurisation (1:20)
28. Confrérie De L'Intox (1:58)
29. Choc Post-Opératoire (1:12)
30. Ferme Les Yeux, Tu Vas Tacher Tes Lunettes ! (1:09)
31. J'Ai Éjaculé Une Boîte De Mouchoirs ! (1:03)
32. De Saint Calais À Bétlehem En Trafic (0:42)
33. Le Tupperware De La Mer Morte (1:32)
34. Agrabah (1:03)
35. VaGoDor Deu Sahpun (Introduction Au Rastafarï Vénusien Albinos) (1:53)
36. L'Harmonie Est-Elle Municipale? (Thèse - Antithèse - Synthèse) (1:23)
37. Méchoui (0:35)
38. Mais Qui A Laissé Cramer Le Chameau? (1:13)
39. Voodoo Break (0:45)
40. N'y Va Pas, Tante Mireille ! (0:29)
41. Ode Létale (2:05)
42. Near Death Exercise (1:57)
43. Goat Of Rahahaaz Vs Mustach'Man (1:07)
44. Enlève Ton Pied De Ma Chaussure, Pablo ! (0:12)
45. Soul Coït (12:50)
46. 1'29" À Peine (inspired by John Cage's 4'33") (1:29)
47. Ma Lamborghini Tato (II) (1:02)
48. Le Cirque Des Enfers (Yüla T'Informe) (0:58)

The album is a hodgepodge of all kinds of metal, jazz, contemporary classical, hip-hop, ambiance, electronica, salsa, pop, no-wave, funk, psychedlia, opera, R&B, African dance, Egyptian, folk, chanting, gypsy, circus, ska, Zeuhl, etc.... there's more that I probably don't even know.


- Yüla Slipovitch / drums, glockenspiel, big cowbell, vibraslap, shoutings
- Wladimir Ohrelianov II / bass, little cowbell, hip hop, drunk-hunting songs, shoutings, snaps, guitars
- Tzom Trümb / trombone, drunk-hunting songs
- Pr Siphon Trounezöhle / machines, Ratzgado guitar, shoutings
- Hrabe (Black) Sebbath / vocals
- Comtesse Gnania Del Amafia / vocals
- Capt'ain Roses / guitars, shoutings
- Alter Frabrovitch / keyboards, clarinet


- Zornberguette / tap dance
- VaGoDor Deu Sahpun / baritone saxophone
- Labial Aerostick / alto saxophone
- P.A.Squale Del Amafia / soprano saxophone
- Nain Nain / trumpet
- Mustach'Man / vocals
- Julios Lefranc-Gaulois Kaïser / percussions
- Grümse / gromulus
- Genbaku Orchestra / directed improvisation
- Goat of Rahahaaz / vocals
- David Rabillet / cajon
- DJ Guilty / turntables
- Cristobal Del Amafia / trumpet
- Benoît Popol II / keyboards, snaps
- Amaël / black metal vocals

There's no need for me to try to further explain their music, because I can't.

Battles - 2007 - Later! with Jools Holland


Herbie Hancock - 1980 - Mr. Hands

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Herbie Hancock
Mr. Hands
Release Date: 1980
Label: Columbia
Time: 39:45


"Herbie Hancock's lackluster string of electric albums around this period was enhanced by this one shining exception: an incorrigibly eclectic record that flits freely all over the spectrum. Using several different rhythm sections, Herbie Hancock is much more the imaginative hands-on player than at any time since the prime Headhunters period, overdubbing lots of parts from his ever-growing collection of keyboards. He has regained a good deal of his ability to ride in the groove. "Calypso" finds him playing synthesized steel drums and interacting with customary complexity and ebullience with V.S.O.P. mates Tony Williams and Ron Carter. Disco rears its head, but inventively this time on "Just Around the Corner," and in league with JACO PASTORIUS' vibrating, interlacing bass, Hancock gets off some good, updated jazz-funk on "Spiraling Prism" and "4 AM." There is even a reunion of the original Headhunters on a rhythmically tangled remake of "Shiftless Shuffle"; drummer Harvey Mason sounds like a rhythm machine gone bonkers. Easily the outstanding track — and one of Hancock's most haunting meditations — is "Textures," where he plays all of the instruments himself. This would be the last outcropping of electronic delicacy from Hancock for some time, and it was mostly — and unjustly — overlooked when it came out." ~AMG


01 Spiraling Prism
02 Calypso
03 Just Around the Corner
04 4 A.M.
05 Shiftless Shuffle
06 Textures

Bireli Lagrene & Jaco Pastorius - 1986 - Stuttgart Aria

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Bireli Lagrene with Jaco Pastorius
Stuttgart Aria
Recording Date: Mar 1986
Label: Jazzpoint


"At the end of their tour European tour — and the triumphant concert in Rome documented on Heavy 'n Jazz — Jaco Pastorius, guitarist Bireli Lagrene, and percussionist Serge Bringolf decided to leave the continent with at last one studio recording under their belt. The result is Stuttgart Aria. With the addition of three additional musicians — Jan Janke on synths and keyboards, Peter Lubke on drums, and keyboardist Vladislav Sendecki (the keyboardists never played at the same time) — the date went off as a series of formatted tunes with extended improvisations anchoring them to the album. While the styles here vary wildly; they are all rooted deeply in the jazz fusion and R&B worlds. To be fair, the trio of Lagrene, Pastorius, and Bringolf could have executed these songs very well — especially since one of them was "Donna Lee," Pastorius' transcription of the Charlie Parker bebop classic that he recorded on his own first solo album for Columbia. The keyboards seem to get in the way, and sound stilted based against the loose groove created by the pair of string players. And then there's the matter of Pastorius' "singing" on the title track, which is a meld of James Brown funk, high-tech rock, and jazz. It's one long riff; Lagrene gets to riff on forever as Pastorius indulges his weak voice and awful lyrics ("people got to be free/give 'em a shot of R&B"), quoting from Sly Stone and any other tune he can think of. It just comes off as indulgent as hell without any substance other than Lagrene's playing to hold it in place. But there are astonishing moments as well, when Pastorius drives a dub-riddled "Jaco's Reggae" into the stratosphere with a meld of chordal and scalar riffs that never, ever sacrifice the track's rhythm for the sake of improvisation. Lagrene's chunky, knotty chords give it a deeper feel, lending the bottom a wide base. There is also a gorgeous performance of "Teresa" with the single weepiest bassline Pastorius ever recorded. The set ends with a serious lyrical, lush, and moving version of Henry Mancini's "Days of Wine and Roses" that pairs Lagrene and Pastorius together in a silky weave of emotion and musical virtuosity, exchanging harmonics and chromatic melody in a painterly fashion. This disc is far from perfect, and must have been a bit of a drag to even make ever such a high-energy tour, but it's not without merit — especially for serious fans of the two principals." ~AMG


01 American Boy
02 Donna Lee
03 Stuttgart Aria, No. 1
04 Jaco Reggae
05 The Chicken
06 Teresa
07 Stuttgart Aria, No. 2
08 Days of Wine and Roses

Fukk God Let's Create

Fukk God Let's Create is an freely distributable online label featuring abstract electronic music of all kinds, including anything from drone, through glitch, to abstract beats of all kinds.

Linval Thompson - 75/77 - Ride On Dreadlocks

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Linval Thompson
Ride On Dreadlocks 1975-1977
Release date: 2000
Label: Blood & Fire


"As a vocalist, Linval Thompson may not have been the equal of Johnnie Clarke and Cornell Campbell, who, along with Thompson, were favorite singers of the great producer Bunny Lee. But the songs he cut for Lee in the mid-1970s remain some of the most influential of the period — "Ride On Dreadlocks" and "Cool Down Your Temper" still show up frequently on dub compilations and various-artist collections. This album compiles eleven classic Thompson singles with their dub versions in showcase style; most are Bunny Lee productions and feature his signature "flying cymbals" drum sound, but "12 Tribes of Israel," "Jah Jah Is I Guiding Star" and "Can't Stop Natty Dread Again" were produced by Thompson himself (and, interestingly, tend towards a less militant one-drop feel); Thompson would later go on to more fame as a producer than he had achieved as a singer. As always with Blood and Fire releases, the sound quality is superb and the packaging an obvious labor of love." ~AMG

No Country For Old Men - 2007 - Coen Brothers

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Paramount Vantage
Produced by Miramax

"When a Vietnam veteran discovers $2 million while wandering through the aftermath of a Texas drug deal gone horribly awry, his decision to abscond with the cash sets off a violent chain reaction in a stripped-down crime drama from Joel and Ethan Coen. Llewelyn Moss (Josh Brolin) has just stumbled into the find of a lifetime. Upon discovering a bullet-strewn pick-up truck surrounded by the corpses of dead bodyguards, Moss uncovers $2 million in cash and a substantial load of heroin stashed in the back of the vehicle. Later, as an enigmatic killer who determines the fate of his victims with the flip of a coin sets out in pursuit of Moss, the disillusioned Sheriff Bell (Tommy Lee Jones) struggles to contain the rapidly escalating violence that seems to be consuming his once-peaceful Lone Star State town. Woody Harrelson, Javier Bardem, and Kelly McDonald co-star in a distinctly American crime story that explores timeless Biblical themes in a contemporary southwestern setting." ~AMGb

Directed by The Coen Brothers

AstroNation Mixtape Vol. 5

AstroNation Mixtape 5

01. Roland Kirk - A Handful of Fives
02. Sun Ra - Dance of the Living Image
03. Dave Liebmans Lookout Farm - Sam's Float
04. John Coltrane - Ole Coltrane
05. Elvin Jones - Agenda
06. Herbie Hancock and Mwandishi - Ostinato (Suite for Angela)
07. Kenny Burrell - Get happy
08. Max Roach and Clifford Brown - Daahoud
09. Larry Young - Majestic Soul
10. Freddie Hubbard - Fantasty in d

Cannonball Adderly Quintet - 1969 - Liederhalle in Stuttgart


Here is a really smoking show with the young Joe...I love that period and Lineup.
They play all the Hit's and I never saw that show circulated before.

Nice sound, no hiss because it is a Mono reel Tape Transfer.

Cannonball ADDERLEY Quintet

Live at Liederhalle in Stuttgart, 1969 March 20

SOURCE: FM>Reel to Reel Tape Master>CD Copy direct from Master (1st generation)>EAC Secure Modus>Flac Frontend Level 6>Flac>trade

SOUND: A --MONO-- (listen to mp3 sample)

Nat Adderley -co;
Cannonball Adderley -as;
Joe Zawinul -p; keyb
Victor Gaskin -b;
Roy McCurdy -d;

6 WALK TALL 2.30
7 WORK SONG 4.31
10 THE THEME 2.51

Total time: 1h 8.24

Gilberto Gil - 1968 - Gilberto Gil

"Born in Salvador, Gilberto Gil spent his childhood in the countryside of Bahia, where he became interested in the town’s bands and in what he listened to on the radio. At age 9, he moves to Salvador with his sister to finish school, and starts taking accordion lessons. In his youth, he intensifies his music studies and, at age 18, forms the group Os Desafinados. By the end of the 50s, Joao Gilberto turns into a huge influence for Gil, who promptly starts playing guitar. While in college, he had his first contact with contemporary classical music by way of a pioneering group of composers from Bahia, which included Walter Smetak and Hans Joachim Koellreuter. In 1962, Gil records his first solo single ("Povo Petroleiro" and "Coca Coca, Lacerdinha") and meets Caetano Veloso, Maria Bethania and Gal Costa. In the following year, as Tom Ze joins the group, they present the show "Nos, Por Exemplo", in Salvador, launching the four artists’ careers. He soon moves to Sao Paulo, working at Gessy-Lever by day and touring the bars and venues at night. That’s when he meets Chico Buarque, Torquato Neto and Capinam. He starts tasting fame within a TV show called O Fino da Bossa, hosted by singer Elis Regina. That’s where he plays his compositions "Eu Vim da Bahia" and "Louvacao". As success kicks in and Phillips waves him a record deal, he quits his day-job to release his first LP, "Louvacao", in 1967.

Already living in Rio de Janeiro, Gil performs in music festivals promoted by TV stations and hosts his own TV show, Final Rehearsal. Separated from his first wife, he moves in with singer Nana Caymmi, with whom he writes "Bom Dia", and she presents the song during a TV music fest in 1967. In the same festival, he plays "Domingo no Parque", one of the most overwhelming songs in the competition, and, backed up by the Mutantes, he hits second. "Alegria, Alegria", by Caetano Veloso, hits fourth in the same fest, and will form, along with "Domingo no Parque", the embryo of the Tropicalist Movement, largely due to the presence of electric guitars in a song that was not a rock and roll song. In 1968, he releases the LP "Gilberto Gil", giving birth to Tropicalism and placing him and Caetano Veloso as the movement’s leaders. Out to cannibalize foreign cultural values, based upon writer Oswald de Andrade’s ideas, Tropicalism became solid with "Tropicalia or Panis et Ciercenses", a record arranged by maestro Rogerio Duprat, which featured Os Mutantes, Gal Costa, Tom Ze and Nara Leao, besides Gil and Caetano. In 1969 he was arrested by the military dictatorship and released the ironic "Aquele Abraco", one of his most well known songs. He then was exiled in England with Caetano. Gil came back in January 1972, for a concert where he played songs like "Oriente" and "Back in Bahia", from his following album, "Expresso 2222". Since the late 60s, Gilberto Gil has affirmed himself as one of the most creative and influential personas in Brazilian music. Always in tune with whatever new is happening in the world of music, his records have been released in many different countries, and his international career has granted him a Grammy Award for Best World Music Record, in 1998, for the album "Quanta Ao Vivo". In 1972, he revitalized the Brazilian northeastern culture with the record "Expresso 2222"; later, he reviewed the countryside malice with "Refazenda". In 1979, the album "Realce" was a turning point in his career, as he started flirting with reggae and pop music. From that period are the LPs "Luar", "Um Banda Um", "Extra", "Raca Humana", "Dia Dorim, Noite Neon" and "O Eterno Deus Mu Danca". His contemporaneity is noticeable throughout his records, like the trendsetting "MTV/Unplugged"(1994), which helped cast a whole batch of unplugged albums in Brazil. Gil has had many hits along his 35-year career, such as: "Preciso Aprender a So Ser", "Refazenda", "Expresso 2222", "Eu So Quero um Xodo" (Dominguinhos/ Anastacia), "Maracatu Atomico" (Jorge Mautner/ Nelson Jacobina), "Punk da Periferia", "Parabolicamara", "Bananeira" (with Joao Donato), "Divino Maravilhoso" (with Caetano), "Filhos de Gandhi", "Haiti" (with Caetano), "Sitio do Pica-pau Amarelo", "Soy Loco por Ti America" (with Capinam), "Realce", "Toda Menina Baiana", "Drao", "Se Eu Quiser Falar com Deus", "Estrela", among many others. In the 80s he became councilman in Salvador and is currently an activist for the Green Party." ~ All Brazilian Music


01 Frevo rasgado
02 Coragem pra suportar
03 Domingou
04 Marginália II
05 Pega a voga, cabeludo
06 Ele falava nisso todo dia
07 Procissão
08 Luzia Luluza
09 Pé da roseira
10 Domingo no parque
11 Barca grande
12 A coisa mais linda que existe

Sun Ra Arkestra - 1975 - Smiling Dog Saloon

Sun Ra Arkestra
Smiling Dog Saloon


Astro Nation
Love In Outer Space
Theme Of the Stargazers
The Satellights are Spinning
Friendly Galaxy #1
I Am the Brother of the Wind
I, Pharoah
Sophisticated Lady


"In the later half of 1975 and the beginning of 1976, the Arkestra worked frequently in the Midwest: the Smiling Dog Saloon in Cleveland, various venues in Chicago, and colleges. They also played in New York and on the East Coast, including possibly the Left Bank Jazz Society in Baltimore (though this last could have come later). [Abdullah]" ~ Saturn Research

Broadcast on WMMS Cleveland

Jefferson Airplane - 1969 - Family Dog, San Francisco, CA


Jefferson Airplane
Family Dog, San Francisco, CA
Disc 1: Jam, Other Side of This Life, Wooden Ships > JPP McStep B Blues, Crown of Creation, Greasy Heart, Good Shepherd
Disc 2: Fat Angel, Volunteers, Ballad of You and Me and Pooneil, ?,


edit orig txt.

2:52 AM 12/26/2006

Jefferson Airplane
Family Dog at the Great Highway
San Francisco, Ca
6/13/69 (SBD)

Disk 1:
1. Jam
2. Other Side of This Life
3. Wooden Ships >
4. Jam >
5. Jam >
6. Jam.
7. Crown of Creation
8. Greasy Heart
9. Good Sheapard

Disk 2:
1. Fat Angel
2. Volunteers
3. The Ballad of You, Me & Pooneil
4. Eskimo Blue Day
5. House at Pooneil Corners

furthur file set obtained may 05.
sry i cant ident the jams.
checksums generated.

Grace Slick - Vocals
Paul Kantner - Guitar & Vocals
Jorma Kaukonen - Guitar & Vocals
Jack Cassady - Bass
Marty Balin - Vocals
Spence Drydan - Drums