Saturday, December 8, 2007
Rehearsals at Criteria Studios Late, Miami, FL
September 14, 1980
Check Out All The Clips From This Amazing Rehearsal From 1980
September 14, 1980
Check Out All The Clips From This Amazing Rehearsal From 1980
Japanophiles take note quickly - the land of the rising sun has been pilfered once again to create this utterly befuddling oddity of an album. Crafted by French mentalists Daniel Vangarde and Jean Kluger, 'Le Monde Fabuleux De Yamasuki' is a Japanese themed concept album and cuts deeper than a Hattori Hanzo Samurai sword. This is some kind of proto-hiphop breaks music but strangely enough it was coughed out of France in 1971? I don't know what kind of vitamins these guys were popping but they were way out, and even now the psychedelic breaks heavy Franco-Japanese pop sounds utterly on its own in an overcrowded music scene. As usual with Finders Keepers, the original record is rare as hen's teeth and the gang has managed to rope Jean Kluger himself in to remaster the original recordings, so 'Le Monde Fabuleux De Yamasuki' has truly never sounded better. I guess this will instantly appeal to the crate-digging beat freaks among you with its seemingly endless break supply, but it's also a twelve track collection of utterly skewed fuzzed out pop music, with a similarly outré appeal as the wonderful Selda album that appeared a few weeks back. What can I say - we love Finders Keepers and this obscurest gem is yet another killer part of their ever growing catalogue. Heavy! - Bookmat
The incredibly welcome release of a mix originally done for the BBC in March 2003, the two-disc DJ Shadow set Diminishing Returns allows fans (or those lucky enough to find one of the thousand-copy official run) a listen in to Josh Davis' country-wide vinyl-scavenging expeditions of the past ten years. The king of all beat-diggers, Davis reportedly owns the largest collection of rap vinyl on the planet, most of it gleaned from the rotting basements of urban record stores (just check out the =Scratch DVD to get some flavor). The first disc alone is a gold mine for hip-hop fans, featuring 80 minutes of quick-cut tracks (most of them obscure) along Shadow's interests: early West Coast hardcore, along with plenty of straight-ahead Golden Age hip-hop. The second disc, a 40-minute mix, is similar to Brainfreeze and Product Placement, his collaborations with Cut Chemist, although rather than deep funk it's an eclectic selection of obscure psychedelic rock. An unreleased Shadow production, "War Is Hell," is tacked onto the end." (John Bush, All Music Guide).
Half Pint's diminutive stature belies not only his vocal capabilities but also camouflages his huge on-stage presence, often described as no less than explosive and dynamic. Born Lindon Roberts, but affectionately called Pint, he is a product of the West Kingston enclave of Rose Lane, a community which has produced the likes of Bob Marley, Dennis Brown, Peter Tosh, Lee "Scratch" Perry, Toots Hibbert and a host of other international Reggae superstars.
Half Pint began singing in the school choir at All Saints' Primary School. Upon completion of his secondary education in 1976, he made a head-on thrust into Jamaica's music industry. Pint toured the island with various sound systems including Black Scorpio, Jammys, Gemini, Lee's Unlimited and Killimanjaro, earning respect along the way as a talented vocalist and performer. Lindon Roberts was sought by and subsequently worked with top producers such as Errol (John) Marshall; Errol (Myrie) Lewis; Prince (King) Jammy; the rhythm twins, Sly and Robbie; George Phang; Jack Scorpio, Bobby "Digital" Dixon and Mass Hugh to name a few. He also lent his vocal talent to local peers like Garnett Silk, Tony Rebel and The Tamlins among others.
In 1983, Pint's first single, "Sally," was released followed by "Winsome," the virtual anthem of the day. He continued to bombard the local and international Reggae scenes with a slew of hits, including "Mr. Landlord," "Level the Vibes," "Substitute Lover" and the massive chart topper, "Victory." Besides hit singles, Roberts has also managed to deliver an impressive cache of albums, most of which are still in demand worldwide. His colossal fan base is universal and remains consistently dedicated, especially in Europe, Japan, Brazil, and the West Coast of the United States.
Pint's prolific song writing ability was officially recognized with the cover of "Winsome" by world renowned rock group, The Rolling Stones in 1987 and which they renamed "Too Rude"; and by the pop group Sublime's adaptation of "Loving" in 1996. An extremely hard-working artist, this singer has continued to maintain a presence through various tours and guest appearances. He has played to non-traditional audiences at world music festivals including rock concerts and has consistently found new fans with each gig. Roberts' exposure to the big screen has come with the movies The Mighty Quinn (1989), Substitute 2 (1998), and Mookie (1999), all Original Motion Picture Soundtracks. Appearances on major music television channels like MTV, has farther helped to encrypt the respect he enjoys from industry personnel and fans alike, solidifying his reputation as one of reggae's few living legends. In 1998, Half Pint was endowed with one of the greatest honors of his career when he signed with the prestigious BMG Music Publishing Company. To date, he is the only reggae singer to accomplish this feat and has in the process, joined fellow BMG artists including Whitney Houston and other world music giants as a member of the BMG family.
Despite being noticeably absent from the recording studios for most of this decade, Half Pint enjoyed relative success on Legal We Legal (his first studio album within a ten-year period). This was followed by a 15 city US tour with Anthony B. With BMG Music Publishing and Half Pint Music Inc. he was armed and ready to rule the new millennium with a bang!
As a man recognized the world over for his positive contribution to the upliftment of mankind through reggae music, Pint was presented with "The Key to The City of Lauderdale Lakes" by the Mayor of the Florida suburb in 2000. The future looks particularly bright for this artist who has demonstrated that trends are indeed transient. As he sings on his album Closer to You, he will be around for a long time to "Pass it On" with "justice, peace, and unity" through quality lyrics and songs.
Half Pint was featured on Sly & Robbie's 25th Anniversary US Tour along with Tony Rebel and Heineken Startime appearances in December 2004 in Jamaica. His work with the California based band, DubCat has also opened up the doors to a new generation of fans of this great artists' music as well as keeping busy on the road performing to his many fans worldwide. New York based Sotti Records label released a Pint single in 2005, "Wha Ya Wan," a updated remake of his classic 'Winsome' with R&B singer (and former Ruff Ryder) DIA.
Known (justifiably) as THE place to witness the incredible meeting of the producer and edit engineer aka Kurtis Mantronik and Chep Nunez. Is there anybody left on earth who's not fallen slackjawed upon hearing 'Cold Getting' Dumb' (here also in the hella rare remix version 'Cold Getting Dumb II' - maybe first ever time on CD) - words do no justice :) to these two tracks, a massive influence to plenty of our new school heroes like Autechre and even DJ Shadow, especially both in their earlier adventures in sound. Then there's the ill freestyle title track, uptempo weird electrobreakbeats, hyper rhythmic scratches "crew of the year 1986" - shit don’t get no heavier, tha' boom. Keeping the essentialism in place you have 'Turbo Charged' - utter sick, sparse 808 boom, cowbells, echoic classic with an amazing Just-Ice rap. The classic 12" track 'Put That Record Back On' is another highlight. When Mantronik and Nunez lay it off then it's a defining album in the rapper vs beatbox era and a dawning of the hardcore lyrics in hip hop vibe (make sure your mom's not about when you play 'That Girl Is A Slut'). While you are it search down 'Kool & Deadly' as well, Just's classic hookup with KRS-One. 'Back To The Old School' is a true underrated classic. Essential. - Via Bookmat
Funky 70s prog rock -- and an amazing collection put together by the same folks who gave us Welsh Rare Beat and Folk Is Not A Four Letter Word! The world of 70s European rock has given us some key funky kernels over the years, but we'll be the first to admit that the long-haired, rock-based, album-only, non-English, import-only genre has been pretty tough to dip into from our side of the Atlantic -- which is why we're extra-thankful to have a hip set like this, which sorts through the dross and brings up only the best bits! If your only thoughts of progressive rock tend towards ELP and other 70s supergroups, think again -- because the tracks here are lean, mean, funky, and often have a distinct jazz undercurrent in some part of the instrumentation -- a style that crossed over strongly to the fusion world of the European underground of the 70s, as you'll hear on many of these electric and fusion-inspired tunes! As with other Finders Keepers titles, there's a deeper-than-deep approach here -- one that goes past even the obvious numbers that mainstream listeners from the time will remember -- and just to show that their selection's not accidental, the label's also includes great notes on each band in the set! Titles include "Fugue In D Minor" by Egg, "Coda" by Czerwone Gitary, "Omur Biter Yol Bimez" by 3 Urel, "Toledo" by Martin Kratochvil & Jazz Q, "Breudowyd" by Bran, "Lambaya Puf De" by Baris Manco, "Visitors" by Visitors, and "Merta" by Picchio Dal Pozzo. - Dusty Groove
AS POSTED ON DIME HERE
Glasgow Tramway, Wednesday April 27 2005,
"Wednesday Greeting / Wednesday Farewell "
Sony ECM-717 > MZ-R700 at LP2 > Cool Edit Pro > GoldWave > dBpowerAMP
First set recorded dead centre, two or three rows in front of Stockhausen's mixing console. Second set recorded about two thirds of the way back, towards the right hand side of the hall.
I boosted the sound levels of the introductions, to try and make them more audible. Perhaps I should have left them, as I also boosted the shuffling and snuffling of the audience.
Do listen out for the Glaswegian punter expressing his view of the performance about 29 minutes into Wednesday Farewell.
01 Stockhausen introduction 5.25
02 audience 1.01
03 Wednesday Greeting 52.57
04 Stockhausen introduction 5.18
05 audience 0.54
06 Wednesday Farewell 43.26
07 audience 1.32
From The Sunday Herald:
What’s the frequency, Karlheinz?
FEW would dispute that Karlheinz Stockhausen, over a career that stretches back half a century, is one of the world’s most influential living composers. He destroyed music and refashioned it anew, taking even further the revolutions that Schoenberg and Messiaen (with whom he studied from 1951 to 1953) spearheaded; forget about the past, his music said. It is over. He dismantled boundaries and opened up vast, uncharted new territories.
“It is a Wednesday,” says Stockhausen, dressed in a rumpled white suit, standing on the stage of the Tramway. “I composed a work for every day of the week,” he adds, “a Greeting and a Farewell.” Since it’s Wednesday, then, that’s the day we’re getting. The two pieces comprise one section of the 29-hour long epic series that Stockhausen worked on from 1977 to 2002, Licht, comprising seven distinct parts, one for each day of the week.
He precedes both Wednesday Greeting – a purely electronic piece – and Wednesday Farewell (in which he employs musique concrète techniques) with short speeches on method and on ways of hearing. After that, he retires to the central mixing desk where he manipulates the sound, the lights are switched off – except for the hazy focal point, a golden full moon that sits high and lonely above the stage – and he begins.
What follows his two genial speeches is both dizzying and enveloping. Shrouded by darkness, with only the tiny traffic-light combinations of the mixing desk visible, you enter an almost otherworldly state. The music in Wednesday Greeting comes in three distinct layers; three planes of sound which, thanks to the eight sets of speakers, shift and float around you, occupying different areas and levels of the box-shaped venue. It is music as space itself, music as the air which inhabits a room. Warm, analogue electronic tones waft dreamily from left to right, drifting sleepily through the audience, before being picked apart by spiky, crystallised drops of synthesiser which rise and swirl around you.
What sounds uncannily like a human voice – it may even be saying “sure?” – penetrates the darkness as synthetic drones spin, anticlockwise, around. Familiar pitches of tone (each tied to one of the piece’s three layers of sound) reappear, motifs recur, with each layer achieving occasional resolution. No matter how disparate the stereo shifts and separations – some of which feel as if they are violently wrenching your head back and forth – everything here is internally coherent.
Warm but threatening bass rattles the walls at points, a low-end counterpoint to the chiming, echoing quasi-birdsong migrating across the room. Each sonic axis twists, rotates and cuts through the others as a whirring crescendo is reached. At times, it could be radio chatter from space; fragments found on old frequencies, the sound of long-dead planets.
Wednesday Farewell is less coherent, and rather more abstract. It is, says Stockhausen before it begins, “not serialistic but transrealistic.” It’s a constellation of manipulated samples, an orchestra of found sounds, but it lacks the ethereal oddness of its predecessor, favouring treated loops, heavily ring-modulated voices and choppy, agitated percussive noise over strictly delineated layers. A platform announcement at a train station – maybe Wednesday really is leaving – is followed by rumbling, clattering bass tones and what might be bricks being shunted around. A male voice at the rear of the auditorium shouts, “Come on, this is bollocks!” before being ejected, but somehow, this intrusion is absorbed – it’s another sound for the listener to play with; just something else to contextualise.
Context, here, is all. The musique concrète methodology of Wednesday Farewell by its very nature produces something other worldly, and what matters as much as the sound sources themselves are the relations, the tangible connections, between them: the whole that is fashioned from the disparate source materials.
The composer assembles cities, worlds, a universe from these sounds; like the sculptor who sees not a cube of rock but the figure underneath it, Stockhausen sees not simply a space, but what that space sounds like.
01 May 2005
"The sophomore release from the third and most successful incarnation of Black Uhuru (singers Don Carlos, Erroll "Jay" Wilson, and Rudolph "Garth" Dennis had come before), Red spotlights the singing talents of then rising star Michael Rose, American-born Sandra "Puma" Jones, and original member Derrick "Duckie" Simpson. Backed by the tight and dancehall-era defining Sly & Robbie band, the trio reels off eight high-quality reggae cuts here, including classics like "Youth of Eglington" and "Sponji Reggae." Filled with Rose's astute lyrics, the album provides an engaging blend of steppers rhythms and social commentary. Sly & Robbie's ingenious mix of sophisticated roots reggae and a variety of modern touches (synthesizers, electronic drums) not only brought Black Uhuru widespread fame but, along with Henry "Junjo" Lawes and Prince Jammy's contemporary productions, also helped define the slicked-up last stand of roots rhythms in the first half of the '80s, while foreshadowing reggae's coming digital age. A very enjoyable listen, recommended along with other fine offerings by the band like Chill Out and the Grammy-winning Anthem." ~ AMG
Youth Of Eglington
Puff She Puff
Recording Engineer : Kendall Stubbs & Maxie & Soljie Hamilton
Mixing Engineer : Robbie Shakespeare & Stephen Stanley & Sly Dunbar
Producer : Sly Dunbar & Robbie Shakespeare
Drums : Sly Dunbar
Bass : Robbie Shakespeare
Lead Guitar : Dougie Bryan & Barry Reynolds & Ranchie & Michael Chung
Rhythm Guitar : Ranchie & Michael Chung
Piano : Keith Sterling & Robbie Shakespeare & Robert Lynn
Percussions : Uziah Sticky Thompson
Syndrums : Sly Dunbar
Recording : Channel One (Kingston, JA) & Compass Point (Nassau, Bahamas)
Mixing : Compass Point (Nassau, Bahamas)
Romance & Cigarettes
"Actor and filmmaker John Turturro wrote and directed this emotionally resonant blend of music and drama. Nick Murder (James Gandolfini) is an ironworker who has been married for years to Kitty (Susan Sarandon), who works as a seamstress and is the mother of Nick's three daughters. While Nick loves his wife, his head is turned by Tula (Kate Winslet), a sexy salesgirl at a lingerie shop, and soon they're having a passionate affair. When Kitty finds out about Nick's infidelity, she becomes enraged and kicks him out of the house, forcing him to decide what he really wants out of life and what is most important to him. Along the way, many of the characters in the film periodically turn to their favorite songs to explain and amplify their emotions, lip-synching along with the original recordings. Romance & Cigarettes also stars Steve Buscemi, Mary-Louise Parker, Christopher Walken, Eddie Izzard, and Elaine Stritch." ~AMGb
Written, Produced, and Directed by John Turturro
Produced by GreeneStreet Films/ Icon Productions
Friday, December 7, 2007
DJ Shadow (born Josh Davis) is widely credited as a key figure in developing the experimental instrumental hip-hop style associated with the London-based Mo' Wax label. He worked his way through hip-hop's early years into the heyday of crews like Eric B. & Rakim, Ultramagnetic, and Public Enemy; groups which prominently featured DJs in their ranks. Josh "Shadow" Davis had already been fiddling around with making beats and breaks on a four-track while he was in high school, but it was his move to the NorCal cow-town of Davis to attend university that led to the establishment of his own Solesides label as an outlet for his original tracks. Hooking up with Davis' few b-boys (including eventual Solesides artists Blackalicious and Lyrics Born) through the college radio station, Shadow began releasing the Reconstructed From the Ground Up mix tapes in 1991 and pressed his 17-minute hip-hop symphony "Entropy" in 1993. His tracks spread widely through the DJ-strong hip-hop underground, eventually catching the attention of Mo' Wax. Shadow's first full-length, Endtroducing..., was released in late 1996 to immense critical acclaim in Britain and America. Preemptive Strike, a compilation of early singles, followed in early 1998. Later that year, Shadow produced tracks for the debut album by U.N.K.L.E., a long-time Mo' Wax production team that gained superstar guests including Thom Yorke (of Radiohead), Richard Ashcroft (of the Verve), Mike D (of the Beastie Boys), and others. His next project came in 1999, with the transformation of Solesides into a new label, Quannum Projects. Nearly six years after his debut production album, the proper follow-up, The Private Press, was released in June 2002. The following year Shadow released a mix album, Diminishing Returns and in 2004 he released a live album and DVD, Live! In Tune and on Time. In 2006 he released another long awaited full-length album "The Outsider," which featured rising Bay Area Hyphy rappers including Keak Da Sneak and E-40. "The Outsider" also featured a single with Q-Tip (of A Tribe Called Quest). In September 2007 Shadow released volume 1 of a 3 disc set entitled "The Best of the 4-track Era," a collection of Shadow's earliest recordings, this project is exclusively available through his web store, ShopDjShadow.com. In the midst of all of these solo projects, DJ Shadow collaborated with fellow hip-hop DJ Cut Chemist. Together created a series of mixes that fuse soul, funk, and rock, in the framework of a cohesive concept involving using only 45 rpm records (7 inches). These mixes include Brainfreeze, Product Placement, and The Hard Sell.
(from his myspace)
Renaissance faire drop-outs using the gamut of instruments available (acoustic and electric guitar, autoharp, dulcimer, recorder, violin, cello, keyboards, percussion) creating the feel of Britain in the ISB 60s with Sandy Denny taking the helm vocally and her sister and brother sometimes adding back-up. This is the sound of Espers and it couldn’t be any better. That is to say for the genre that they inhabit and mine for their particular brand of folk the group does an admirable job of stripping it bare of its good ideas, and leaving the bad. “Flowery Noontide” lays down the gauntlet, so to speak, with recorder, guitar and autoharp weaving among one another a jaunty little number that does little more than you’d expect.
In fact, it’s so by-the-numbers that the interest comes when the group gets out of the finger-pick Olympiad (once they’ve warmed up each jump yields diminishing returns) and stretches towards modernity: “Riding”’s drawn out ponderous Sonic Youth guitar solo (eventually duels with itself(!)), “Hearts and Daggers”’ extended freak-out ending and “Byss & Abyss”’ plug in/plug out guitar tones being particular highlights. And, luckily, that’s the rule rather than the exception here. It’s as though “Flowery Noontide” is the soft entering, pulling you towards further experimentation, further examination…and, most importantly, further pleasure. Aside from the penultimate “Daughter”, each song after “Flowery Noontide” has an unsettling moment(s), leaving the listener both interested and put off. To many, especially those looking for a bit more than straight British folk rips this is a good thing: the less Fairport Convention and more Dr. Strangely Strange that they get, the better.
So, is this the yang to Stone Breath’s darkened yin? Despite the fact that the instrumentation isn’t as clouded and menacing as that group, the lyrics are seemingly just as troubling, “Byss & Abyss” singing about a “car crash”, “Hearts and Dagggers” being a self-explanatory title and others bathed in too much reverb to make out clearly much of the time. It’s certainly not on the same mystical tip, but creepiness does abound.
Which is probably the only way that the “New Weird America” genre is going to push things forward, so to speak. By looking backward and painting accurate pictures of a certain scene and adding various threads that those masters never bothered to pick up (or weren’t able to), Espers has crafted a unique and beautiful album full of promise and substance—something that isn’t pulled off easily. A recommended listen. ~ Stylus
01. Flowery Noontide
05. Hearts & Daggers
06. Byss & Abyss
08. Travel Mountains
"BERLIN (Reuters) - German composer Karlheinz Stockhausen, one of the world's most influential 20th century composers and renowned for his pioneering work in electronic music, has died aged 79.
German media quoted Stockhausen's former wife Mary Bauermeister as saying he died after a short illness at his home in the western state of North Rhine-Westphalia.
Best known for experiments with electronic music in the 1960s and 70s, Stockhausen, who composed more than 300 individual works, also had a significant impact on avant-garde and classical music.
"Any sound can become music if it is related to other sounds ... Every sound is precious and can become beautiful if I put it at the right place, at the right moment," he once said in an interview.
Early in his career, Stockhausen dabbled in "musique concrete," recording everyday sounds, distorting them electronically and joining them together to form a composition.
From works for solo instruments to large-scale events mixing opera, dance and mime, Stockhausen said he aimed to awaken "a completely new consciousness" in listener and performer.
Born on August 22, 1928, in Burg Modrath, a village near Cologne, Stockhausen said he was badly scarred by his experience of World War Two, in which he was a stretcher-bearer.
In his 20s Stockhausen flirted with jazz, playing the piano to support himself through the Cologne Music School, where he gained a teaching certificate in 1951.
He had already begun to compose, and moved to Paris to study under composers Darius Milhaud and Olivier Messiaen.
His experiments with electronic music took off at the newly-founded West German Radio Studio for New Music in Cologne, where he worked from 1953, later becoming its artistic director.
He found his own ways of assembling sounds to form a composition, developing the ideas of an earlier generation of European composers, like Schoenberg, who composed around a series of sounds instead of developing and repeating a theme.
In early works Stockhausen explored not melody, but the quality and relation of one sound to another. "Gesang der Juenglinge" (1956), staged for five sets of loudspeakers, has been described as a "sonic ballet," where the position of each loudspeaker is crucial for the acoustic images produced.
In a mix of solo and ensemble music, electronic and concrete techniques together with mime, a key work "Licht" was premiered at Milan's La Scala opera house in 1981, marking Stockhausen's increasing stature in conventional classical circles.
(Reporting by Madeline Chambers; editing by Peter Millership)" ~ Reuters Canada
Thursday, December 6, 2007
AS POSTED ON DIME HERE
Going for the One Tour
Pavillon de Paris
December 6, 1977
Contrast clause: this is THE ULTIMATE REMASTER!!! Quality-wise, I doubt you will find ANY 30-year-old recording that can hold a candle to this!
The date 7-7-7 marked the 30th anniversary of the release of Going For The One, reuniting the "Classic Yes Line-up," so I thought it would be fun to seed the shows I have in my collection on or near the dates of their 30th anniversaries. And now we've arrived at the end of the tour, partying with Yes in the City of Light!
Lineage: audience -> audio cd -> Sound Forge -> FLAC
This recording is nothing short of EXCELLENT! There are nuances in the music that you cannot hear in lesser-quality recordings. Synthesizer patches and guitar effects are awesomely clear. You can even appreciate the flanging effect on the voices singing the "counter-lyrics" in "And You And I" (you know, "Coins and crosses..."). This kind of quality is rare in a 30-year-old tape.
I received this recording in a trade in 2002. It may not be the same version that Highland released, and which Lestat used for his recent remaster. From his description of the audio quality of the Highland recording, this is apparently much better!
Relayerman provided a lot of detail about what he did to enhance the recording of the first night in Paris. Since I did some of the audio work on this recording in 2002, I don't have the same detailed records of everything that was done. The original recording ran slow, so the pitch was flat. I corrected the pitch and balanced the stereo channels, each of which had somewhat different frequency response. Before I was all done, I applied Sonic Foundry (now Sony) Acoustic Mirror, which gives the recording a wider stereo field.
There is a patch in the last 90 seconds of Awaken which I think was in the original recording I received in trade. It's not bad, and it's probably from another average quality recording of the same performance. Relayerman says he has two versions of this show, but I have not confirmed with him whether both have this patch. I worked with the pitch and EQ of the patch to help it blend with the rest of the recording.
Overall, this is one of the most satisfying remastering projects I've undertaken, mostly thanks to the quality of the original recording. If I had deliberately saved the best for last, I still would have chosen this recording and this show.
It's been fun sharing these recordings with you, and I hope you get as much out of them as I have. If you have any of the recordings below from the European leg of the tour, as listed on Forgotten Yesterdays, please share them. These are not in my collection:
11/06/77 Glasgow UK Apollo Theatre
11/08/77 Glasgow UK Apollo Theatre (audience audio recording, NOT from video soundtrack)
11/11/77 Oslo NO Ekeberghallen (the copy seeded recently on Dime was corrupted)
11/15/77 Dortmund DE Westfalenhalle
11/20/77 Zurich CH Hallenstadion Zurich
11/24/77 Rotterdam NL Ahoy-Hallen Rotterdam (other than official tracks on YesShows)
11/25/77 Rotterdam NL Ahoy-Hallen Rotterdam
11/26/77 Antwerp BE Antwerpen Sportspaleis
11/27/77 Bremen DE Stadthalle
11/28/77 Berlin DE Deutschlandhalle
11/29/77 Cologne DE Sporthalle
12/04/77 Lyon FR Palais Des Sports
Jon Anderson (Vocals)
Steve Howe (Guitars)
Chris Squire (Bass)
Rick Wakeman (Keyboards)
Alan White (Drums)
I've Seen All Good People
Close To The Edge
Colours Of The Rainbow
Turn Of The Century
And You And I
Aller Pour Celui ;-)
Nous Sommes Du Soleil
Yes 1977-12-06 Paris ***THE ULTIMATE REMASTER*** The end of the GFTO tour of 1977, 30YEARS AGO TODAY! Unsurpassed performance and audio quality. Worth the wait. If you just download one of the shows from this tour, this would be the one to get!
328 seeds already and it just got torrented today!
October 27, 1977
"Bob Dylan's first album is a lot like the debut albums by the Beatles and the Rolling Stones — a sterling effort, outclassing most, if not all, of what came before it in the genre, but similarly eclipsed by the artist's own subsequent efforts. The difference was that not very many people heard Bob Dylan on its original release (originals on the early '60s Columbia label are choice collectibles) because it was recorded with a much smaller audience and musical arena in mind. At the time of Bob Dylan's release, the folk revival was rolling, and interpretation was considered more important than original composition by most of that audience. A significant portion of the record is possessed by the style and spirit of Woody Guthrie, whose influence as a singer and guitarist hovers over "Man of Constant Sorrow" and "Pretty Peggy-O," as well as the two originals here, the savagely witty "Talkin' New York" and the poignant "Song to Woody"; and it's also hard to believe that he wasn't aware of Jimmie Rodgers and Roy Acuff when he cut "Freight Train Blues." But on other songs, one can also hear the influences of Bukka White, Blind Lemon Jefferson, Blind Willie Johnson, and Furry Lewis, in the playing and singing, and this is where Dylan departed significantly from most of his contemporaries. Other white folksingers of the era, including his older contemporaries Eric Von Schmidt and Dave Van Ronk, had incorporated blues in their work, but Dylan's presentation was more in your face, resembling in some respects (albeit in a more self-conscious way) the work of John Hammond, Jr., the son of the man who signed Dylan to Columbia Records and produced this album, who was just starting out in his own career at the time this record was made. There's a punk-like aggressiveness to the singing and playing here. His raspy-voiced delivery and guitar style were modeled largely on Guthrie's classic 1940s and early 1950s recordings, but the assertiveness of the bluesmen he admires also comes out, making this one of the most powerful records to come out of the folk revival of which it was a part. Within a year of its release, Dylan, initially in tandem with young folk/protest singers like Peter, Paul & Mary and Phil Ochs, would alter the boundaries of that revival beyond recognition, but this album marked the pinnacle of that earlier phase, before it was overshadowed by this artist's more ambitious subsequent work. In that regard, the two original songs here serve as the bridge between Dylan's stylistic roots, as delineated on this album, and the more powerful and daringly original work that followed. One myth surrounding this album should also be dispelled here — his version of "House of the Rising Sun" here is worthwhile, but the version that was the inspiration for the Animals' recording was the one by Josh White." ~ AMG
1. You're No Good
2. Talkin' New York
3. In My Time Of Dyin'
4. Man Of Constant Sorrow
5. Fixin' To Die
6. Pretty Peggy-O
7. Highway 51
8. Gospel Plow
9. Baby, Let Me Follow You Down
10.House Of The Risin' Sun
11.Freight Train Blues
12.Song To Woody
13.See That My Grave Is Kept Clean
Wednesday, December 5, 2007
Hvarf (disappeared or haven)
1. "Salka" [The name of Georg's stepdaughter], previously unreleased
2. "Hljómalind" (Formerly known as "Rokklagið" ["The Rock Song"]), previously unreleased
3. "Í Gær" (Formerly known as "Lagið Í Gær") ["Yesterday"], previously unreleased
4. "Von" ["Hope"], original version on Von
5. "Hafsól" ["Sea Sun"], same version as on Hoppípolla, original version on Von
1. "Samskeyti" ["Extension"], original version on ( )
2. "Starálfur" ["Staring Elf"], original version on Ágætis byrjun
3. "Vaka" [The name of Orri's daughter], original version on ( )
4. "Ágætis Byrjun" ["An alright start"], original version on Ágætis byrjun
5. "Heysátan" ["The Haystack"], original version on Takk...
6. "Von" ["Hope"], original version on Von
"hvarf-heim' is a double companion record to the film "heima". it has two titles because it is in effect two separate, but complementary, entities, with two front covers and a limited edition run of two discs. open it one way and it's 'hvarf' ("disappeared" or "haven"), a five track electric studio record comprising mainly unreleased rarities from sigur rós's back-pages, none of which is on 'heima'. open it the other way and it's 'heim' ("home"), a six track acoustic record, comprising delicate new unplugged versions of some of sigur rós's best moments, which have never been performed before.
the band were originally asked to deliver a traditional live album to go with the live film, but thinking about it, with sigur rós that wasn't ever going to happen, and what we have here in 'hvarf-heim' is hopefully more stimulating and exciting than some will-this-do? toss-offs of songs they honed to perfection in the studio aeons ago.
'hvarf-heim' features three previously absolutely unreleased electric songs (salka, hljómalind and í gær) and is, anyway, wall-to-wall re-workings.
'hvarf-heim' is released worldwide november 5th / north america november 6th. to find the cheapest places to buy it online, we recommend using froogle.com or froogle.co.uk." ~ sigur-ros.co.uk
Tuesday, December 4, 2007
"Song of the New World represents a point of departure for McCoy Tyner. In previous recordings he had composed and arranged for medium-sized groups with horns. But for this 1973 album he set himself a challenge of considerable complexity, to properly deploy the resources of a big jazz band and, on some tracks, strings and woodwinds. Tyner more than satisfactorily marshalled these large forces, avoiding the pitfalls of either overwhelming his piano or reducing the supporting cast to mere background music. Tyner's approach to orchestration, as to piano playing, is centered in unity, completeness, and uncompromising musicianship." ~ Concord Music Group
01. Afro Blue
02. Little Brother
03. The Divine Love
04. Some Day
05. Song Of The New World
McCoy Tyner, piano
Sonny Fortune, flute, soprano sax, alto sax
Jooney Booth, bass
Alphonse Mouzon, drums
Hubert Laws, piccolo, flute
Virgil Jones, trumpet
Cecil Bridgewater, trumpet
Jon Faddis, trumpet
Garnett Brown, trombone
Dick Griffin, trombone, bass trombone
Kiani Zawadi, euphonium
Julius Watkins, french horn
Willie Ruff, french horn
William Warnick III, french horn
Bob Stewart, tuba
Sonny Morgan, conga
John Blair, violin
Sanford Allen, violin
Winston Collymore, violin
Noel DaCosta, violin
Marie Hence, violin
Julian Barber, viola
Alfred Brown, viola
Ronald Lipscomb, viola
Kermit Moore, cello
Harry Smyles, oboe
AS POSTED ON DIME HERE
Derek Trucks Band
11/27/07 Ebisu Liquid Room, Tokyo, Japan
This is another incredible recording of an incredible performance. The taper was standing in front of Derek Trucks, so he picks up the guitar straight from Derek's amp, rather than the PA system. I presume there are front fills set up, which permit a good balance of vocals and the other instruments. The only thing marring the recording is an enthusiastic screamer...
NOTE: Info file has incorrect date- should be 11/27/07
Korg MR-1 with Microphone-Madness mic
Taped by Hiroshi Kamata
2. Leavin' Trunk
3. Soul Serenade
4. Blind, Crippled and Crazy
5. Key to The Highway
6. Band Introducing
7. Get Out of My Life
Sit Down Set
8. Preachin' Blues
9. Soul of a Man
10. Get What You Deserve
11. 44 Blues
12. Done Got Over
13. I Know
14. Percussion Solo >
15. Mahjoun >
18. Gonna Move
19. Freddie's Dead
Enjoy the third night in Tokyo!!
Get What You Deserve
Key To The Highway
Monday, December 3, 2007
Down In Albion
Release Date: Dec 2005
Label: Rough Trade
"Throughout his career, Pete Doherty has always been remarkably honest about drawing inspiration from his self-destruction. During his time with the Libertines, his debauchery underscored the band's explosive, teetering-on-the-edge-of-chaos chemistry. But with his post-Libertines group Babyshambles (again, the name is upfront about Doherty's modus operandi), he doesn't just teeter, he jumps right over the edge, and the band's debut album, Down in Albion — which is also heavily inspired by Doherty's drug use and troubles with the law — shows that his music, at the very least, is a hollow shell of what it used to be. The album isn't just shambling, it's a mess. It's clear that no control of any kind was in the Babyshambles camp when Down in Albion was recorded: even more so than on the Libertines' albums, Mick Jones' "production" duties seem to consist of just sticking a few microphones into the fray. The results could be called an unflinching audio portrait of the band, but just because Down in Albion is visceral and personal doesn't make it inherently good. Most of the album's songs are barely beyond the sketch level; some of them, like "A'Rebours" and "32nd of December" are like ragged little urchins, starved of the care and focus it would take to flesh out their promising bones. Most of them, though, just sound wasted, in both senses of the word. Brooding, boring junkie tales like "Pipedown" and "8 Dead Boys," with their stumbling performances and drunk-dialed vocals, are an exasperating mess; even the reggae-tinged rhythms and vocals on "Pentonville" and "Sticks and Stones" fail to inject the album with anything memorable. In fact, the middle section of Down in Albion is so embarrassing that it should be used as a PSA, warning bands not to record while intoxicated. Even within the album's murkiness, however, hints of the promise and intermittent brilliance Doherty had in the Libertines can still be heard. Interestingly, the most theatrical tracks on Down in Albion have the most clarity. "La Belle et la Bête," a duet between Doherty and his infamous ex, Kate Moss, recasts the turmoil of their life together as meta-cabaret; "What Katy Did Next" brings back the character of his Libertines songs for a tongue-in-cheek cautionary tale (you can practically see Doherty's finger waggling as he sings, "if you play with fire, you will get burned"). These tracks are miles better than most of Down in Albion's debauched rockers, although "Fuck Forever"'s choruses are rousing enough that you can almost buy into the nihilistic, romantic notion of Doherty alternately escaping and diving into his pain, and "Loyalty Song" is so good that it sounds like it was channelled from some other album. However, Down in Albion just keeps going and going, loaded with so many half-baked songs that it almost feels like a posthumous collection that was enterprisingly released before Doherty actually died. In some ways, this album — and Doherty's fallout in general — make it easier to understand why Arctic Monkeys became such a huge success in the U.K.; not only do they borrow from Doherty's poetic punk and give it a working-class, everykid spin, they sound like they practice once in a while and they actually show up to their gigs. Down in Albion, however, is unfortunate proof that you can take the rock & roll ethos too far, and that even nonstop drama gets boring pretty quickly." ~AMG
01 La Belle et La Bête
02 Fu*k Forever
04 The 32nd of December
06 Sticks and Stones
08 8 Dead Boys
09 In Love with a Feeling
11 What Katy Did Next
13 Back from the Dead
14 Loyalty Song
15 Up the Morning
16 Merry Go Round
If you have heard the live and studio mixed double lp Live/Evil from Miles Davis, check out this amazing musician Hermeto Pascoal, he is known as the Brazilian Sun Ra!
AS POSTED ON DIME HERE
Hermeto Pascoal e Grupo
Molde International Jazz Festival
Lineage: CD > WAV > FLAC
Source: Sounds like a good audience recording
01 Bandas e Bandeiras
02 Forró da Gota
03 Como Era Bom (Maxixe)
04 Ilza Nova
05 Percussions/Vitor Assis Brasil/Para Gil Evans
01 Vale da Ribeira
03 Piano Solo/Malacungue/Round Midnight/Autumn Leaves
04 Nows the Time (Charlie Parker)
Total running time: 2h:18m:31s
Hermeto Pascoal Piano, Keyboards, Winds, and assorted instruments
Carlos Malta Reeds,Flutes
Jovino Santos Piano, Flutes
Fábio Pascoal Percussion
Marcio Bahia Drums
Seeded on Dime by Bigfootpezão 12/03/2007. Thanks to everyone involved in getting this tape made and shared!
This recording captures the dynamics of the legendary Hermeto Pascoal o Grupo line-up in an astounding performance. The bulk of this particular combo lived almost together during more than a full decade, playing practically 356 days a year. The results speak for themselves. Drummer Marcio Bahia speaks:
"O Grupo rehearsed Monday through Friday, from 2 pm until 8 pm. Everyday, except Saturdays and Sundays. O Grupo worked like this for 12 years. We only took a break December 24–25 and the 31st through New Year’s Day. From December 26 until the 30th we rehearsed and we started again on January 2nd. But everyone wanted to do this, and we did it with love. . . . Every morning, each of us would study our instruments separately, and then in the afternoon there was a collective rehearsal with the whole group. . . . The rehearsals were a very intense education. I would arrive at home at night and go right to sleep. In the beginning I was exhausted at the end of every rehearsal, but after [a while] you got used to it. It was great."
Caution, this one is red hot! Samples available.
Poré-Poré, aka Renam
Ilza Nova, Zapponic theme
Label: Drag City
Such is the evocativeness of Espers' second album that I feel as if I should write about my experiences listening to it while picnicking in the King's Woods, prancing across the greensward, or sipping mulled cider behind castle walls. But it's 2006, and I've mostly listened to it in my cubicle at work. Besides, despite the strong whiff of Ye Olde Renaissance Faire coming from II during initial plays, Espers' genius lies in making music that feels both archaic and timeless simultaneously.
There's also an overwhelmingly melancholy, valedictory feel to II. Naturally enough “Dead King” and “Dead Queen” are songs for a wake, but so is “Cruel Storm,” and even “Widow's Weed” and “Children of Stone” are immensely foreboding despite the sweet harmonizing of Baird and Greg Weeks on the latter. Only “Mansfield and Cyclops” escapes the funeral air of the rest of the album (and that serves more as a pause between two of the more intense songs here than anything else).
- Stylus Magazine
1. Dead Queen (8:13)
2. Widow's Weed (6:51)
3. Cruel Storm (5:17)
4. Children of Stone (8:53)
5. Mansfield and Cyclops (5:57)
6. Dead King (8:02)
7. Moon Occults the Sun (6:47)
Sunday, December 2, 2007
The Treasure of the Sierra Madre
Directed by John Huston
Run Time: 126 minutes
"John Huston's 1948 treasure-hunt classic begins as drifter Fred C. Dobbs (Humphrey Bogart), down and out in Tampico, Mexico, impulsively spends his last bit of dough on a lottery ticket. Later on, Dobbs and fellow indigent Curtin (Tim Holt) seek shelter in a cheap flophouse and meet Howard (Walter Huston), a toothless, garrulous old coot who regales them with stories about prospecting for gold. Forcibly collecting their pay from their shifty boss, Dobbs and Curtin combine this money with Dobbs's unexpected windfall from a lottery ticket and, together with Howard, buy the tools for a prospecting expedition. Dobbs has pledged that anything they dig up will be split three ways, but Howard, who's heard that song before, doesn't quite swallow this. As the gold is mined and measured, Dobbs grows increasingly paranoid and distrustful, and the men gradually turn against each other on the way toward a bitterly ironic conclusion. The Treasure of the Sierra Madre is a superior morality play and one of the best movie treatments of the corrosiveness of greed. Huston keeps a typically light and entertaining touch despite the strong theme, for which he won Oscars for both Director and Screenplay, as well as a supporting award for his father Walter, making Walter, John, and Anjelica Huston the only three generations of one family all to win Oscars." ~AMGb
Produced & Released by Warner Brothers
If you are one of those people who love everything about music -- experimental, jazz, electronica, downtempo, bossanova, hip hop, soul, rock, psychedelic and more -- Free the Robots may just be your new favorite indie band.
Few bands do panoramic electronic soundscapes as these guys do, scratched with ethereal voices and eerie noises. More ordinary instruments are included, but add to the strange atmosphere rather than grounding it -- razor-sharp percussion, mellow organ, and subtle, swelling strings.
Their sound is difficult to define, experimental jazz/hip hop smoothed with techno groves that would make you think of Aphex Twin or Kraftwork, then covered with a thin membrane of Pink Floyd. My favorite song was Moonchild Revisited, a mellow, dreamy, surreal and subliminal offering accompanied by vocals that reminded me strongly of Thom Yorke. The classic jazz piano in JazzHOLE Revisited had me tapping my feet and kept conjuring images of 1940's gangsters in bright yellow zoot suits.
I played Free the Robots for other members of the iMP staff. Some loved it. Some didn't get it. But there's one undeniable thing -- these chilly, eerie songs are marvelously complex. In a musical world where anything that has a guitar can be called "rock," it's difficult to find music that is really creative. It's even harder to find a band that is willing to take risks, and expand their art. But those things can be found in Free the Robots. Whether listeners think it's a wild success or a pretentious failure, it has to be admitted that it takes guts to try out something this different.
by: FenderGirl (imp.com)
"Shining white light through a prism creates the entire visible electromagnetic spectrum, wavelengths that span 380 to 780 nm (roughly). Often times, high school students study this in science class, but a rainbow serves as a more popular symbol for this spectrum. In history, the rainbow has stood for peace, diversity, Buddhism, homosexuality, and hope. To put Radiohead inside a rainbow hardly makes sense with this historical background, but then again, since when has Radiohead conformed to social norms? Who else could title a song “2+2=5” and have it make complete sense? Love or hate, in the past fourteen years, the members of Radiohead stand in their own world far removed from the condition of the music industry while still causing self-proclaimed pop culture gurus name the current generation the “Radiohead Generation.” In six full-length albums, they conformed, pioneered, and finally decided to pursue personal ambitions no matter what anyone else thought. Their sounds ranged from radio rock to quirky electronica and everywhere in between. Given that, the color spectrum makes much more sense. In Rainbows proves the band’s realization that their career has spanned a full rainbow, an entire color palette of tones and voices, and they are still adding new colors fourteen years later.
For the last four years, the world waited for Radiohead’s elusive seventh album, some eagerly and some grudgingly. All news on the band, given either by them or by third party sources, came bizarre, schizophrenic, and cynical. Many predicted In Rainbows to be the result of a band finally going off the deep end. Then, in perfect Radiohead style, they nonchalantly announced the completion of the album and the release date, ten days after this initial statement. Furthermore, the consumer could pay whatever they wanted for a download of the album, which actually only gives half of the album. The full album, with a set price, will not come until December through a pre-order in the site and will go in record stores in early 2008. Regardless, the download provides 42 minutes and 34 seconds of everything the music world expected and did not expect all at the same time. The band played every song on the download live at one point or another other than “Faust Arp”, and they range from the OK Computer era to songs debuted on their 2006 tour. The studio recording of “Nude” is a long time coming after ten years of toying around with the song on tours. Meanwhile, “Videotape” recalls the best aspects of Amnesiac and “House of Cards” takes the watery atmosphere of Kid A and centers it around guitar.
Despite the amalgamation of styles, a technique employed on Hail to the Thief as well, In Rainbows sounds surprisingly focused, as the album possesses its own distinctive qualities. The opening seconds of “15 Step” give way to the first of these aspects in its extreme form. The electronic drums groove in 5/4, yet it feels oddly danceable. This dance-inspired, groovy drumming style finds its way on much of the album, including “Jigsaw Falling into Place” and “Weird Fishes/Arpeggi.” If any superlative is to be given to the album, Phil Selway has his best album here. Still, not every song follows this dance atmosphere; in fact, the entire middle of the album goes somewhere completely different. “All I Need” through “Reckoner” all utilize strings for climatic effect. “Faust Arp” revolves around the orchestral sound with only an acoustic guitar backing it, epitomizing the sparseness that haunts most of Radiohead’s music. While the contrast between the groovy and orchestral sounds seems vast, the placing of these songs on the album tie everything together, opening the album energetically and slowly transitioning to the strings, by placing a good drum beat behind the initial strings in “All I Need.”
Along with album flow, other structural bonds tie In Rainbows into a complete album. First and most obviously, Thom Yorke remains a constant throughout each song. His unmistakable voice that no one can imitate (no matter how hard Matt Bellamy tries) floats throughout the album in his typical schizophrenic wails, although his lyrical topics seem more “normal” than usual. “House of Cards” begins with “I don't wanna be your friend/I just wanna be your lover” while “All I Need” centers around the chorus of “You are all I need/You are all I need/I'm in the middle of a picture/Lying in the leaves.” Regardless, his voice provides the eerie icing on the cake that makes this album stand out as a Radiohead album more than anything else. Secondly, the guitars take an extremely prominent role on the album, the most important since OK Computer. From the distorted, lo-fi production of “Bodysnatchers” to the wall-of-sound arpeggios in “Weird Fishes/Arpeggi”, the guitars on this album not only make the main instrumental material but they vary more than any other album from the band. With the guitars continually playing and Thom always providing that voice brinking on the edge of insanity, Radiohead proves their identity once again." ~ Sputnik Music
01. "15 Step" – 3:57
02. "Bodysnatchers" – 4:02
03. "Nude" – 4:15
04. "Weird Fishes/Arpeggi" – 5:18
05. "All I Need" – 3:48
06. "Faust Arp" – 2:09
07. "Reckoner" – 4:50
08. "House of Cards" – 5:28
09. "Jigsaw Falling into Place" – 4:09
10. "Videotape" – 4:39
The discbox release of the album includes a second disc, which contains eight additional tracks, along with digital photographs and artwork:
01. "MK 1"
02. "Down Is the New Up"
03. "Go Slowly"
04. "MK 2"
05. "Last Flowers"
06. "Up on the Ladder"
07. "Bangers and Mash"
08. "4 Minute Warning"
AS POSTED ON DIME HERE
This torrent is for a Blag Flag show I was late getting in to because I was stuck at work and it was also shut dowmn by the local police. Not the best quality but I'm sure somebody will like it for what it is. The samples are Black Flag songs that I can't put a title to so your feedback is appreciated!
Black Flag 1986-02-06 Vic & Bill's Knoxville TN USA
Sony WM-W800 w/supplied stereo condenser mic > Scotch BX 90 >
Sony STR-DE945 > Pioneer PDR-555RW > CDR >EAC > Flac
Taped by Jerry B aka "The Govner"
DO NOT CONVERT TO LOSSY FORMAT!!!!!!
"The album's title is derived from the Kung Fu film Eight-Diagram Pole Fighter. The Clan, which has not released an album since 2001's Iron Flag, signed a one-album deal with Steve Rifkind's SRC Records in December 2006. The group's four previous albums were all released on Rifkind's now-defunct Loud Records.
On Sunday, August 5, 2007, at the Virgin Festival in Baltimore, RZA announced that the new release date for the album will be November 13, 2007, noting that this is the third anniversary of the death of Ol' Dirty Bastard. However, the date has now been pushed back to December 11, 2007.
In a released statement, group leader RZA commented on the need for the Clan's return:
“ This is the perfect time for us to come back; the stars are aligned. It's like when we first started with Steve. We put out real hip-hop at a time when it was turning into pop or R&B. We brought the focus back to the music in its rawest form, without studio polish or radio hooks.... People want something that gives them an adrenaline rush. We're here to supply that fix. How could hip-hop be dead if Wu-Tang is forever? We're here to revive the spirit and the economics and bring in a wave of energy that has lately dissipated.”
Cappadonna mentioned at the public premiere of Wu: The Story of the Wu-Tang in NYC some new news regarding the album. He said that the Clan already recorded about 40 to 50 songs, but that the new album will only have about 14 tracks. Loud.com have released a free 8 Diagrams mixtape containing exclusive and unreleased tracks. The mixtape includes new 8 Diagrams songs "Thug World", "Life Changes", "Stick Me For My Riches" and "Weak Spot"" ~ Wikipedia
02 Take It Back
03 Get Them Out Ya Way Pa
04 Rushing Elephants
05 Unpredictable feat. Dexter Wiggle
06 The Heart Gently Weeps feat. Erykah Badu, Dhani, Harrison & John Frusciante
07 Wolves feat. George Clinton
08 Gun Will Go feat. Sunny Valentine
10 Stick Me For My Riches
11 Starter feat. Sunny Valentine & Tashmahogany
13 Weak Spot
14 Life Changes
15 Tar Pit
16 16th Chamber O.D.B. Special
"8 Diagrams will feature all eight living members: RZA, GZA, Inspectah Deck, Raekwon, U-God, Ghostface Killah, Method Man and Masta Killa. The album will feature previously recorded material from Ol' Dirty Bastard, the ninth member, as well as a tribute track titled "Life Changes."
In a recent article from Nme.com, it was stated that the album will feature production from Easy Mo Bee, Marley Marl, Q-Tip, DJ Scratch and Nile Rodgers. This is the first Wu album to feature production not at least co-produced by RZA. George Clinton, of P-Funk; Dhani Harrison; John Frusciante; and Shavo Odadjian, bassist of System of a Down will be on the album as well. It is unknown what Q-tip's production contribution is on the leaked verion.
This will also be the Wu's first collaboration since the passing of original member Ol' Dirty Bastard, who died in 2004. "We still miss him every day," GZA added. "It's like you lost an arm or a leg; you feel incomplete. You can still walk or do other things, but you're limited to a certain degree." With the RZA adding, "He was a very special person, like a very rare diamond. You know, it's like you wake up one day and they're saying, 'There are no diamonds in the world anymore, just cubic zirconia...'"
The back of the pre-album mixtape states that the album will feature "the entire Wu-Tang Clan (including Cappadonna and Streetlife)", implying they are the closest peripheral members now that ODB has died.
Ghostface Killah's appearance on the album was uncertain, considering his recent success and the fact that he will be releasing a solo album The Big Doe Rehab one week prior to 8 Diagrams. He is on the album." ~ Wikipedia