Saturday, December 1, 2007

Volta Do Mar - 2005 - 03>98

Volta Do Mar
Recording Date: 1998-2003
Release Date: June 2005
Label: Team AV

Math Rock

"Not to be confused with the Mars Volta (who quite likely took their name from the same Portuguese phrase), Volta do Mar are part of the same Chicago experimental rock scene that's spawned bands as varied as Don Caballero and the Coctails. The tricky instrumental math rock of 03>98 has much more in common with the former, mixed with the polyrhythmic fearlessness of Tortoise. Much of the album, particularly the frenzied "Sports Conquest," is a showcase for drummer Tony Ceraoulo, who will never go for a simple snare hit if there's room for wanton abuse of a splash cymbal. His unapologetic overplaying isn't really a detriment, however, since the rest of the lineup (a pair of bassists and a single guitarist) prefer tasteful rhythmic and melodic development that has as much in common with mid-period King Crimson as it does the hipper names in post-rock. Refined occasionally to the point of bloodless, but with enough musical depth to skate past the occasional dull patches, this is a cerebral but entertaining listen." ~AMG

Dr. John Bonnarroo Revue - 1974 - Aragon Ballroom Dallas Texas


Dr. John Bonnarroo Revue - Aragon Ballroom - Dallas Tx. April 11 1974

Dr. John - piano/vox
Alvin Robinson - guitar
Robert Lee Popwell - bass
James Booker 3rd - organ
James Black - drums

KZEW FM broadcast

01. dj intro and banter 7:47
02. saints go marching jam 3:58
03. iko iko 4:17
04. life 4:08
05. cold cold cold 3:22
06. quitters never win 4:05
07. > let the good times roll 1:48
08. loop garoo 4:17
09. goodnight Irene 4:19
10. qualified 6:07
11. mos scocious 4:12
12. (everybody wanna get rich) rite away 3:40
13. right place wrong time 3:19

Lineage. tape in trade>sony hx pro/audio source eq one>philips cdr 775>EAC>FLAC8>DIME

On the heels of an amazing response to my last Dr. post , here's yet another FM gem. The quality is not as good as the other , with a slight hiss , but it doesn't detract from the overall ENERGY of the performance!!!!! I left in the D.J banter at the beginning , not only for a brief history of the venue , (yes this is DALLAS , not CHICAGO Aragon! Apparantly this was the second show ever at the venue) , but for the sheer comedy of the announcer! The dialogue is priceless. I also listed this as " Funk" because on the whole thats what it is , with a bass line/organ interplay that occasionally is OFF THE CHARTS!!! Who is this Popwell ? This was recorded live from the booth on site , and the sound get's progressively better about 1/4 through. I love this show , hope y'all feel it too...

show number sixtyfive from the zombicrypt.selah!

Kleinschuster-Zawinul Band - 1967 - Austrophon Studio in Wien, Austria


It was the time Zawinul already lived in US and only at Christmas he came back to home to visit few friends and family. This special Redio Session was done during that time for his friends in Vienna. My infos say's that this session was never official released.'s a nice historic document of a great musician+friends (R.I.P.):



Recorded at Austrophon Studio in Wien, Austria/A, 1967-12-21

SOURCE: FM (low generation)>probably Reel to Reel>CD Transfer Phillips CDR 780>trade>AUDIO CD>EAC Secure Modus>Flac Frontend Level 6>Flac

SOUND: A/A+ (listen to mp3 sample)

Erich Kleinschuster tb,
Robert Politzer tp,
Hans Salomon ts,
Joe Zawinul p, el-p,
Rudolf Hansen b,
Erich Bachträgl dr.

1. Introduction EK + Painted desert 9:40
2. Two years ago 8:17
3. Walk tall 4:20
4. Mercy, Mercy, Mercy 5:48
5. Rumpelstilzchen 10:38
6. Du und I 4:42
7. Hippodelphia 5:25
8. Piano medley: a) Butterfly b) My one and only love c) Willow weep for me d) The blue room e) The golden striker 9:02
9. Interview J.Zawinul + E.Kleinschuster 8:41

INFO: Few of the tunes have short Interview fragments with zawinul at the end of the tracks.
All in german...sorry:-(

Total Time: 66.41 min

Painkiller - 1995 - Cat's Cradle, Carrboro, NC


Cat's Cradle, Carrboro, NC
May 7, 1995

Source: CSB mics (battery box, low-end roll-off) clipped on glasses > Denon DTR-80P
Transfer: Master DAT > Tascam DA-20 > M-Audio Audiophile USB > PC > Wavelab 5.0 (fades, normalizing) > CDWave (tracking) > Flac Front End (level 6)

Taped and transferred by mrpember


This is one of my very favorites. I've taped several hundred live shows, and this may be the best audience recording I've ever done. I was just to the right of the left stack, picking up both the PA feed and the stage sound. I think this really highlights how good the little CSB mics can sound with the right placement. There are some level adjustments near the beginning of the first track. Amazing show as well, incredibly intense.


John Zorn: alto sax
Bill Laswell: bass
Mick Harris: drums, vocals

Weather Report - 1973 - Sweetnighter

"Right from the start, a vastly different Weather Report emerges here, one that reflects co-leader Joe Zawinul's developing obsession with the groove. It is the groove that rules this mesmerizing album, leading off with the irresistible 3/4 marathon deceptively tagged as the "Boogie Woogie Waltz" and proceeding through a variety of Latin-grounded hip-shakers. It is a record of discovery for Zawinul, who augments his Rhodes electric piano with a funky wah-wah pedal, unveils the ARP synthesizer as a melodic instrument and sound-effects device, and often coasts along on one chord. The once fiery Wayne Shorter has been tamed, for he now contributes mostly sustained ethereal tunes on soprano sax, his tone sometimes doubled for a pleasing octave effect. The wane of freewheeling ensemble interplay is more than offset by the big increase in rhythmic push; bassist Miroslav Vitous, drummer Eric Gravatt, and percussionist Dom Um Romao are now cogs in one of jazz's great swinging machines." ~ AMG


01. Boogie Woogie Waltz
02. Manolete
03. Adios
04. 125th Street Congress
05. Will
06. Non-Stop Home

Roberto "Fats" Fernandez - La Musica & La Vi

"Años más tarde integró el quinteto del destacado saxofonista Leandro "Gato" Barbieri y el grupo Sanata y Clarificación liderado por el guitarrista Rodolfo Alchourrón. Luego integró las orquestas de Jorge Anders y Bubby Lavechia, entre otros. Con su inconfundible estilo, Fats Fernández compartió escenarios junto a músicos de la talla del trompetista Roy Eldrige, durante una gira en Estados Unidos, pasando por la Orquesta de Ray Charles y los combos latinos de Eddie Palmieri, Ray Barreto y Larry Harlow. En 1991/92 participó en el Festival de Jazz Latino junto a Paquito DRivera, Ray Barreto y Astrud Gilberto, entre otros músicos. En esos años el trompetista tocó en el Village Vanguard compartió el escenario con Joe Lovano y la Mel Lewis Orchestra en la edición 91 y, un año después en el mismo sitio junto a Bradford Marsalis. El músico realizó diversas "Jam-Sessions" con Chick Corea, Randy Brecker y Larry Coryel. Como músico sesionista, Fats Fernández participó en más de 300 grabaciones entre las cuales se destacan, entre otras, los registros realizados junto a Lionel Hampton, Paquito D'Rivera y Michal Urbaniak. Desde 1987 se ha presentado en todas las ediciones de la Anual Brass Conference en la ciudad de Nueva York junto a los trompetistas más destacados en la cual se llevó a cabo homenajes a Shorti Rodgers y Tito Puente.

Lo busque varias veces en T! y no lo vi posteado, me parecio raro ya que el disco esta subido en un blog, que ya es un clasico tambien en taringa..... asi que avisan de ultima y lo borramos..." ~ kfw @ Taringa

Friday, November 30, 2007

Weather Report - 1974 - Memphis



Live in Memphis/TN, USA, 1974-10-XX

SOURCE: SBD>AUDIO TAPE>CD Transfer Phillips CDR 560>AUDIO CD>EAC Secure Modus>Flac Frontend Level 6>Flac

SOUND: A-- (listen to mp3 sample)

1. American Tango/Manolete 07.28
2. 125th Street Congress 13.48
3. In a Silent Way/Birdland Germ/Dr. Honoris Causa/ 23.13
4. Directions/Boogie Woogie Waltz 21.04

Wayne Shorter (s)
Joe Zawinul (k)
Alphonzo Johnson (b)
Darryl Brown (d)
Dom um Romao (perc)


Van Der Graaf Generator - 1971 - Pawn Hearts

Van Der Graaf Generator - Pawn Hearts

Van Der Graaf Generator's third album, Pawn Hearts was also its second most popular;
at one time this record was a major King Crimson cult item due to the presence of
Robert Fripp on guitar, but Pawn Hearts has more to offer than that. The opening track, "Lemmings," calls to mind early Gentle Giant, with its eerie vocal passages (including harmonies) set up against extended sax, keyboard, and guitar-driven instrumental passages, and also with its weird keyboard and percussion interlude, though this band is also much more contemporary in its focus than Gentle Giant. Peter Hammill vocalizes in a more traditional way on "Man-Erg," against shimmering organ swells and Guy Evans' very expressive drumming, before the song goes off on a tangent by way of David Jackson's saxes and some really weird time signatures —
plus some very pretty acoustic and electric guitar work by Hammill himself and Fripp. The monumental "Plague of Lighthouse Keepers," taking up an entire side of the LP, shows the same kind of innovation that characterized Crimson's first two albums, but without the discipline and restraint needed to make the music
manageable. The punning titles of the individual sections of this piece (which may have been done for the same reason that Crimson gave those little subtitles
to its early extended tracks, to protect the full royalties for the composer)
only add to the confusion. As for the piece itself, it features enough virtuoso posturing by everyone (especially drummer Guy Evans) to fill an Emerson, Lake & Palmer album of the same era, with a little more subtlety and some time wasted between the interludes. The 23-minute conceptual work could easily have been trimmed to, say, 18 or 19 minutes without any major sacrifices, which doesn't mean that what's here is bad, just not as concise as it might've been. But the almost operatic intensity of the singing and the overall performance also carries you past the stretches that don't absolutely need to be here. The band was trying for something midway between King Crimson and Genesis, and came out closer to the former, at least instrumentally. Hammill's vocals are impassioned and involving, almost like an acting performance, similar to Peter Gabriel's singing with Genesis, but the lack of any obviously cohesive ideas in the lyrics makes this more obscure and obtuse than any Genesis release.
- Excerpt taken from


1. Lemmings (Including Cog) (2005 Digital Remaster) 11:39
2. Man-Erg (2005 Digital Remaster) 10:24
3. A Plague Of Lighthouse Keepers (Medley) (2005 Digital Remaster) 23:12
4. Theme One (Original Version) (2005 Digital Remaster) 3:15
5. W (Alternate Take) 5:03
6. Angle Of Incidents 4:48
7. Ponker's Theme 1:28
8. Diminutions

Funkadelic - 1970 - Funkadelic

Funkadelic - Self Titled Debut

Funkadelic's self-titled 1970 debut is one of the group's best early- to mid-'70s albums. Not only is it laden with great songs — "I'll Bet You" and "I Got aThing..." are obvious highlights — but it retains perhaps a greater sense of classic '60s soul and R&B than any successive George Clinton-affiliated album. Recording for the Detroit-based Westbound label, at the time Funkadelic were in the same boat as psychedelic soul groups such as the Temptations, who had just recorded their landmark Cloud Nine album across town at Motown, and other similar groups. Yet no group had managed to effectively balance big, gnarly rock guitars with crooning, heartfelt soul at this point in time quite like Funkadelic. Clinton's songs are essentially conventional soul songs in the spirit of Motown or Stax — steady
rhythms, dense arrangements, choruses of vocals — but with a loud, overdriven,
fuzzy guitar lurking high in the mix. And when Clinton's songs went into their chaotic moments of jamming, there was no mistaking the Hendrix influence.
Furthermore, Clinton's half-quirky, half-trippy ad libs during "Mommy, What's a Funkadelic?" and "What Is Soul" can be mistaken for no one else — they're pure-cut P-Funk. Successive albums portray Funkadelic drifting further toward rock, funk, and eventually disco, especially once Bernie Worrell began playing a larger role in the group. Never again would the band be this attuned to its '60s roots, making self-titled release a revealing and unique record that's certainly not short on significance, clearly marking the crossroads between '60s soul and '70s funk.
-Excerpt taken from

Funkadelic's ground-breaking 1970 debut - remastered from original tapes for the first time in 15 years. Includes everything recorded by the band during the sessions for the first album - the original 7-track album plus 7 bonus tracks from 1969. Includes the radically different single versions of "I'll Bet You" and "Music For Our Mothers", and the non-album B-sides for both those singles - "Music For Our Mother Instrumental" and "Open Your Eyes". Also includes the unreleased Westbound single "Can't Shake It Loose" and "As Good As It Feels", united with this album for the first time. The booklet includes sleeve notes by Funkadelic expert Dean Rudland, giving an in-depth look at the events leading up to the recording of Funkadelic's debut album. Full color reproduction of the original artwork and lots of pictures and contemporary memorabilia. Westbound U.S.
-Excerpt taken from


1. Mommy, What's a Funkadelic? 9:06
2. I'll Bet You 6:13
3. Music For My Mother 5:39
4. I Got a Thing, You Got a Thing, Everybody's Got a Thing 3:56
5. Good Old Music 8:07
6. Qualify and Satisfy 5:17
7. What is Soul 7:44
8. Can't Shake It Loose (1969 Version) 2:31
9. I'll Bet You (1969 Version) 4:13
10. Music For My Mother (1969 Version) 5:20
11. As Good As I Can Feel (1969 Version) 2:34
12. Open Our Eyes (1969 Version) 4:00
13. Quality and Satisfy (45 Version) 3:02
14. Music For My Mother (Instrumental 45 Version)

Genesis - 1973 - Live

Essentially a live best-of with one glaring omission,
Live was issued in America nearly a year after it
reached the Top Ten in England. A well-recorded showcase
of the early group's concert sound, much of what is here
actually works better than the studio versions of the
same songs — "The Musical Box," "The Knife," "Return of the Giant Hogweed,"
and "Watcher of the Skies" are heard in livelier, tighter versions than their excellent originals.
- Excerpt taken from


1 Watcher of the Skies Banks, Collins, Gabriel ... 8:37
Composed by: Banks, Collins, Gabriel, Hackett, Rutherford

2 Get 'Em Out by Friday Banks, Collins, Gabriel ... 9:14
Composed by: Banks, Collins, Gabriel, Hackett, Rutherford

3 The Return of the Giant Hogweed Banks, Collins, Gabriel ... 8:14
Composed by: Banks, Collins, Gabriel, Hackett, Rutherford

4 Musical Box Banks, Collins, Gabriel ... 10:55
Composed by: Banks, Collins, Gabriel, Hackett, Rutherford

5 The Knife Banks, Gabriel, Phillips ... 9:46
Composed by: Banks, Gabriel, Phillips, Rutherford

Wednesday, November 28, 2007

Acid Bath - 1994 - When the Kite String Pops

Acid Bath
When the Kite String Pops
Release Date: 1994
Label: Rotten


"Acid Bath's debut is a malicious and sometimes downright disturbing album that defies easy categorization. They stitch together elements of death metal, '70s hard rock, thrashing hardcore punk and Black Sabbath-esque sludge into multi-sectioned songs that are both intricate and often surprisingly melodic. The production, especially the compressed drums and often-processed vocals, adds an industrial feel that increases the album's menacing vibe. "The Blue" kicks things off with a bluesy swamp metal riff before smoothly winding its way through a maze of tempo and riff change-ups, while the closer, "Cassie Eats Cockroaches," weaves spoken word samples and screaming vocals in and out of complex, Southern-flavored death metal riffing and precision double-bass drumming. Elsewhere, the songs range from full-on assaults ("Cheap Vodka" and "Toubabo Koomi") to creepy ballads, namely the goth-tinged "Scream of the Butterfly" and the largely acoustic "The Bones of Baby Dolls." Vocalist Dax Riggs handles this diverse material well, switching between distorted screams and a melodic croon reminiscent of Jim Morrison or Glen Danzig. His not-for-the-squeamish lyrics address such topics as drug abuse, rape, abortion, death, and self-loathing, but for the most part do so in an artful, vividly poetic manner. While it would have been stronger if a few of the weaker songs had been left off, When the Kite String Pops is still an excellent, diverse metal album that remains unlike much else, even years after it release." ~AMG


01 The Blue
02 Tranquilized
03 Cheap Vodka
04 Finger Paintings of the Insane
05 Jezebel
06 Scream of the Butterfly
07 Dr. Seuss Is Dead
08 Dope Fiend
09 Toubabo Koomi
10 God Machine
11 Morticians Flame
12 What Color Is Death
13 Bones of Baby Dolls
14 Cassie Eats Cockaroaches

Carlos Santana/Wayne Shorter Band - 1988 - Gasteig Philharmonic Hall, Munich, Germany


This is a really amazing show, maybe one the best of this europe tour. I have also a more complete version on another VHS tape, but (about 120 min with 12 tracks) but cannot locate it in all my Video boxes at the moment. If I found this version I will rip the concert on a DVD.
Maybe another one of you will be so kind to seed the DVD video (PAL) version, because as you know my upload speed is limited and not very good for seeding Videos.

But at the moment please enjoy the nice "Audio version" of this show.


Live at Muncher Klaviersommer at Gasteig Philharmonic Hall, Munich, Germany

SOURCE: TV BROADCAST>MASTER VHS tape(1st generation)>AUDIO CD Transfer Phillips CDR 560>AUDIO CD>EAC Secure Modus>Flac Frontend Level 6>Flac

SOUND: A (listen to mp3 sample)

Carlos Santana/Wayne Shorter Band:
Carlos Santana (g/perc/vo),
Wayne Shorter (sax),
Jose "Chepito" Areas (perc),
"Ndugu" Leon Chancler (ds),
Alphonso Johnson (b),
Armando Peraza (perc/vo),
Patrice Rushen (kbd),
Chester Thompson (kbd/vo)

CD 1
1. Wayne II 05.49
2. Incident At Neshabur 19.44
3. Shh 09.20
4. Fireball 2000/Jose "Chepito" Areas/Armando Peraza 12.50
5. Goodness And Mercy 04.44
6. Sanctuary/Super Boogie 13.40

CD 2
1. For Those Who Chant/"Ndugu" Leon Chancler 16.09
2. Mandela 09.24
3. Once It's Gotcha 09.15


Check Out These Amazing Samples:

Sample #1

Sample #2

Various Artists - 2002 - Pachuco Boogie

An awesome collection of swinging, jazz-tinged California Chicano R&B from the height of the postwar "pachuco" scene. Most folks know this as a the music of the "zoot suiters" -- the latino hipsters who pioneered Mexican-American popular culture during the late '40s, and whose outlandish inhibitions met with a white backlash that became known as the "zoot suit riots." It's all fun and games as far as the music was concerned, though -- and this disc is a delight from start to finish. It all began in 1948 with the title track, "Pachuco Boogie," which was recorded as a goof by Don Tosti, a veteran big band bassist whose roots were in the barrio. The song features a super-catchy riff and a slang-filled rap in the barrio lingo known as "calo," a forerunner of contemporary Spanglish. The song was runaway hit in the Southwest, touching off a fad that lasted a couple of years. This collection has some of the best, and rarest, of the pachuco jazz singles. Although the most famous track, Lalo Guererro's crosscultural stoner classic, "Marijuana Boogie," a couple of other Guererro tracks do make the grade, along with a ton of Don Tosti's follow-up singles. This disc is a real find -- chaotic and fun, great music saved from oscurity and lovingly curated by our pals at Arhoolie. --


1. Pachuco Boogie - Cuarteto Don Ramon Sr.
2. Guisa Gacha - Cuarteto Don Ramon Sr.
3. Wine-O-Boogie - Don Ramon Sr. Y Su Orquestra
4. El Tirili - Don Ramon Sr. Y Su Orquestra
5. Pachuco Mambo - Los Chucos
6. Los Pachucos - Las Hermanas Mendoza
7. El Bracero Y La Pachuca - Dueto Taxco
8. Solido Joaquin - Dacita & Her Orquestra
9. Frijole Boogie - Jorge Cordoba
10. Muy Sabroso Blues - Lalo Guerrero Y Sus Cinco Lobos
11. Los Chucos Suaves - Lalo Guerrero Y Sus Cinco Lobos
12. Chicas Patas Boogie - Lalo Guerrero Y Sus Cinco Lobos
13. Buena Vista Swing - Conjunto Alamo
14. El Pachuco Alegre - Los Hermanos Yanez
15. Las Pachuquitas - Conjunto San Antonio Alegre
16. Mi Dolorcito - Conjunto San Antonio Alegre
17. Guisa Guaina - Don Yosti Y Su Trio
18. Pachuco Boogie (2nd recording) - Orquesta Don Ramon
19. Los Blues - Don Yosti Y Su Trio
20. Mambo Del Pachuco - Don Tosti Y Su Conjunto
21. Chicano Boogie - Cuarteto De Ramon Martinez

Tuesday, November 27, 2007

Common Ground: Live Reggae, Funk and Fusion Every Wednesday in Riverside, CA

If you are at least 18, don't miss out on an amazing night of musicians doing what they love, paying tribute to those who got them where they are today.

Jason - Drums
Kevin - Percussion
Adam - Guitar
Drew - Guitar
Tim - Bass

Located at 1725 Spruce Street, Riverside, CA 92501 which is off the 60 freeway and very close to UCR.

For further information on this show, booking for faces and other venues around the city, musical collaborations or any other items of interest pertaining to music in Riverside, please drop a message to the fallowing myspace page:

Sunday, November 25, 2007


"Niacin is Billy Sheehan, John Novello, and Dennis Chambers.

Time to ease the seat back, slide into Niacin, and discover for yourself one of the lost arts of rock's rich history: the Hammond B-3 sound, or more panoramically, the hot and heavy boiler room magic that can erupt out of a classic keyboards, bass and drums three-piece.Already starting with an arcane premise, the results could have been less than spectacular in the hands of lesser legends. But John Novello, Dennis Chambers and bass monster Billy Sheehan ain't lesser anything, having cut their teeth through collective decades of rock, fusion and purist jazz creativity, converging then exploding. Following in the rambunctious, irreverent and raucous tradition of "Niacin", "High Bias", "Live - Blood Sweat and Beers", "Deep" and "Time Crunch"; Niacin now unleash "Organik."" ~ Virtuosos Guitarristas

The Libertines - 2004 - The Libertines

The Libertines
Release Date: Aug 2004
Label: Rough Trade


"The British press seems eager to add the Libertines to the canon of great British bands as soon as possible. Not just because their music carries on the traditions of previous greats from the Beatles to the Clash, or because of their involvement with already-legendary figures like Alan McGee, Mick Jones, and Geoff Travis, or because their peers in the British music scene just weren't as interesting to cover, but because the band's future always teeters between dazzling and dangerously uncertain. At the very least, they're guaranteed a spot in the history books as one of the most volatile bands ever to come out of the U.K. McGee, who has dealt with such notoriously difficult personalities as Oasis' pugnacious Gallagher brothers and My Bloody Valentine's hyperperfectionistic genius Kevin Shields, has called the Libertines "the most extreme band I've worked with." Co-frontman Pete Doherty's stints in and out of rehab, jail, and the band itself lend the Libertines an unpredictability that's both brilliant and frustrating. The Libertines' self-titled second album — which was released when Doherty was out of the band, awaiting trial after pleading guilty to possession of an offensive weapon, a switchblade he picked up after fleeing rehab in a Buddhist monastery in Thailand — ends up being frustratingly brilliant: it's not a pathetic last gasp from a band crumbling under the weight of its troubles, but it's not entirely a rallying, rousing cry in the face of these problems, either. Yet, considering how shaky Doherty's own existence, much less the Libertines', often seems, it's more than a little remarkable that as much of this album works as it does. Both Doherty and Carl Barat have grown as songwriters since Up the Bracket, and this album's best songs use Doherty's problems and the duo's strained camaraderie as fodder. On "Campaign of Hate," the single "Can't Stand Me Now," and "What Became of the Likely Lads?" they find common ground and sardonic fun in being inelegantly wasted: "Blood runs thick/We're thick as thieves." But most of The Libertines' strongest moments aren't necessarily its catchiest ones; rave-ups like "Narcissist," a putdown of the "professionally trendy," and "Arbeit Macht Frei" fall flat, and "Don't Be Shy" is a draggy mess made more uncomfortable by Doherty's stumbling, burned-out vocals. However, when the Libertines don't pretend that the party is still going on and give in to their collective hangover, the album really takes shape. Interestingly enough, the band's darkest moments shine the brightest, and The Libertines' most ambitious songs seem to have been the easiest for them to pull off. "Last Post on the Bugle," "The Man Who Would Be King," and "The Saga" have a martial intensity and plenty of angry, self-aware lyrics ("You dig my bed/I dig my grave"), but these songs, "Tomblands," and "Road to Ruin" still feel more effortless than the album's stabs at lightheartedness. Ever since their first single, "What a Waster," the Libertines' experience has been about life imitating art imitating life, and The Libertines is an accurate, sometimes uncomfortable reflection of the band at this point: more scattered and unstable than they were on Up the Bracket, but also more ambitious and more interesting. If they can somehow hold themselves together without losing the tension that gives them their spark, the Libertines might prove that the people who called them "the most important band of their generation" weren't being hasty after all." ~AMG


01 Can't Stand Me Now
02 Last Post on the Bugle
03 Don't Be Shy
04 The Man Who Would Be King
05 Music When the Lights Go Out
06 Narcissist
07 The Ha Ha Wall
08 Arbeit Macht Frei
09 Campaign of Hate
10 What Katie Did
11 Tomblands
12 The Saga
13 Road to Ruin
14 What Became of the Likely Lads

Elvin Jones Trio "Live at Tivoli", 1968

This set of 4 tunes, recorded at the Tivoli Theatre in Copenhagen, Denmark in October, 1968, was found buried in the Danish archives for 39 years. It is living proof of just how underrated saxophonist Joe Farrell really was, plus an attest to Elvin Jones' visionary choice of band mates for his trio: It also features the inimitable Jimmy Garrison on bass, and fine soloing by Elvin himself, save for his bass drum creeping away from him from time to time. What drummers had to put up with in those days!
- Davidaron