Saturday, December 15, 2007

Miles Davis Memorial BBQ 89.35 SBD w/ Zappa, Doors, & Beefheart Alumni October 1st 1991


I was asked to pass this along. Ironic as I usually pass my shows to others to upload. My bandwidth is narrow so be patient please.

Miles Davis Memorial BBQ
Lotek Studio, Mar Vista, CA
October 1st 1991

Source: 1st or 2nd generation soundboard
Lineage: Sony TC-WE8258 cassette deck>Maxell XLII Cassette>Gina20>Sound Forge 7.0 (record/edits)>FLAC Level 8>wav> Soundforge 5: speed correction, tracking > flac lvl7 w/SBA

Line Up:
Arthur Barrow - bass
Bruce Fowler - trombone
Tommy Mars - electric piano, synthesizer
Robert Williams - drums, percussion
Bruce Gary - drums, percussion
Robbie Krieger - guitar (on tracks #2 and 3)

Set list:

1) Miles Davis Memorial Jam [29:17]
2) Milestones [43:54]°°° tf/cut at 16:37
3) Bitches Brew [16:24]

total time 89.35 min

Speed correction notes:
1) MD Mem Jam: 0 to -20cts
2) Milestones side A portion: -20 to -30cts
Milestones side B, first 11 min: -20 to -30cts, the rest -30cts
3) Bitches Brew: -30cts

A D&F production gem

A Tribe Called Quest - Find a Way

Tom Waits - Rain Dogs (Live)

Lee Perry & the Upsetters- (1976)- " Super Ape "

Photo Sharing and Video Hosting at Photobucket

Despite clocking in at a whopping 4 feet eleven inches, Lee Scratch Perry looms head and shoulders over reggae’s history, much like the gorilla on the cover of this album. Not only is Perry regarded as having taken roots dub to new depths, many people (likely including Perry) would assert that he invented it himself. Noted both as an engineer and producer, it was at his Black Ark studios that Bob Marley recorded some of his earliest tracks (which Perry then sold to Trojan Records, allegedly pocketing the cash and effectively derailing his relationship with Marley). Always flamboyant (his attires suggests Sun Ra’s Salvation Army stylee), Perry presided over the Upsetters, a number of whom would come to greater notoriety as Wailers. The Upsetters had performed on Max Romeo’s earlier success, War Ina Babylon (also on Hip-O Select), and Perry, who seemed to inhabit the studio 24/7, felt it was time to unleash his studio band as a performing unit in its own right. Comprised of a half-dozen-strong percussion session, a horn section of similar size, and several vocalists including Prince Jazzbo and Perry himself, the Upsetters took a dark and swampy turn on this album. The congas and bass hold down the bottom end with an almost ominous interplay, and the vocals swirl in and out in a tropical fever state. When they put the album’s motto on the front cover, proclaiming “Dub It Up Blacker Than Dread,” they weren’t fooling. As it states in the opening verse of Zion’s Blood,” I and I shall never fade away.” By making albums such as Super Ape, Lee Perry guaranteed it.


1- Zion Blood
2- Croaking Lizard
3- Black Vest
4- Underground Root
5- Curly Dub
6- Dread Lion
7- Three In One
8- Patience Dub
9- Dub Along
10- Super Ape

Grateful Dead - 1965 to 1967 - Acid Tests


Grateful Dead & Merry Pranksters
The Acid Test Reels

A chronological compilation of the Acid Test recordings listed in
The Grateful Dead Tapers Compendium Volume One.

DISC ONE: Fillmore Acid Test/Sound City Acid Test

The Fillmore Acid Test
Fillmore Auditorium, San Francisco, CA
January 8, 1966
1. Stage Chaos/More Power Rap
2. King Bee
3. I'm A Hog For You Baby
4. Caution: Do Not Step On Tracks >
5. Death Don't Have No Mercy
6. Star Spangled Banner / closing remarks

The Sound City Acid Test
363 6th Street, San Francisco, CA
January 29, 1966
7. Ken Kesey interviewed by Frank Fey
8. Ken Babbs and harmonica
9. Take Two: Ken Kesey
10. Bull
11. Peggy The Pistol
12. One-way Ticket
13. Bells And Fairies
14. Levitation
15. Trip X
16. The End

7-16 The Acid Test: A Sound City Production

DISC TWO: Pico Acid Test /S.F. State U Acid Test (pt.1)

The Pico Acid Test
Danish Center, Los Angeles, CA
March 12, 1966
1. Viola Lee Blues
2. You See A Broken Heart -Commercial Release (Deleted)
3. In The Midnight Hour

The San Francisco State Acid Test
Whatever It Is Festival
San Francisco State University, San Francisco, CA
Stereo Control Room Master (rec. 4:00AM - 6:00AM)
October 2, 1966
4. The Head Has Become Fat Rap
5. A Mexican Story: 25 Bennies
6. A Tarnished Galahad
7. Get It Off The Ground Rap >
8. It's Good To Be God Rap >
9. Nirvana Army Rap >
10. The Butcher Is Back
11. Acid Test Graduation Announcement
12. Send Me To The Moon >Closing Rap

Credits on 10/2/66:
Voices: Ken Kesey and Hugh Romney
Guitar: Ken Kesey
Violin: Dale Kesey
Organ: Jerry Garcia
Engineering: Steve Newman, Ken Kesey, Mountain Girl

DISC THREE: S.F. State U Acid Test (pt. 2)/Graduation Jam

The San Francisco State Acid Test
Whatever It Is Festival
San Francisco State University, San Francisco, CA
October 2, 1966
1. Ken Kesey's dialogue (isolated remix)

Merry Prankster Sound Collage Sequences
October 2, 1966
2. Prankster Music/Sound Collage #1(sequence 1)
3. Kesey Rap > Prankster Music/Sound Collage #2 (sequence 2)
4. Prankster Sound Collage #3 > Prankster Raga(sequence 3)
Prankster Recordings broadcast over the P.A.

End of Whatever It Is Festival
October 2, 1966
5. Closing Jam
6. Prankster Electronics

Acid Test Graduation Jam
Winterland, San Francisco, CA
October 31, 1966
7. Jam Session (musicians unknown)
from The World Of Acid film soundtrack

Disc Four: Related Recordings

Neal Cassady & The Warlocks 1965
1. Speed Limit
studio recording/Prankster production tape circa late 1965
Straight Theater, Haight Street, San Francisco, CA July 23, 1967
2. Neal Cassady Raps (backed by The Dead)
recording released as a flexi-disc in the 1st printing of The Dead Book

Acid Tests Production Reel
3. Jerry Garcia commentary with Acid Test audio
710 Haight Street House, San Francisco, CA summer 1967
4. - 6. Jerry Garcia
one hour interview about music, drugs, politics and social changes circa

Disc Five: Supplementary CD#1 [74:04]
The Watts Acid Test February 12, 1966
Youth Opportunities Center, Compton, CA

01. Who Cares Rap (Pigpen, Weir, etc.) [6:08}

The Pico Acid Test March 12, 1966 (EXPANDED VERSION)
Danish Center, Los Angeles, CA

02. Viola Lee Blues [11:54]
03. One Kind Favor [4:19]
04. I Know You Rider [2:41]
05. You See A Broken Heart [3:18]
06. It's A Sin [4:47]
07. Beat It On Down The Line [4:06]
08. Heads Up [6:17]
09. Next Time You See Me [5:04]
10. unknown blues instrumental[8:15] - might be Death Don?t also (Tony Middleton)???
11. Death Don't Have No Mercy [6:03]
12. Midnight Hour [11:06]
The 8th song, previously notated as "unknown instrumental" on Deadlists, is a cover of Freddy King's "Heads Up." The 9th tune, previously listed as "The Same Thing (instrumental)," is definitely NOT that song. Although it is a
standard blues and sounds similar at the beginning, closer listening makes it pretty obvious that it is an entirely different song, title unknown. The Viola Lee Blues on this expanded version is a different version than on the
previous three song version of Pico Acid Test. This is an ongoing mystery, although it should be said that both versions are worth having.

Disc Six: [41:56]
Supplementary CD#2 - San Francisco State Acid Test (alternate version)
"Whatever It Is" Festival October 2, 1966
San Francisco State University, San Francisco, CA
Stereo Control Room Master (rec. 4:00AM - 6:00AM)
Source(s) unknown, this has different lineage, and some different edits to the "intact" version. Specifically some contemorary (Tomorrow show '81?) interviews are spliced in, and the sound collages towards the end are presented in a different sequence.

01. Jerry Garcia intro 0:20
02. A Mexican Story: 25 Bennies 3:41
03. Get It Off The Ground Rap 9:32
04. It's Good To Be God Rap 2:40
05. Nirvana Army Rap 0:52
06. The Butcher Is Back 3:14
07. Acid Test Graduation Announcement 1:29
08. Send Me To The Moon 1:22
09. Jerry Garcia interview 0:40
10. Sound Collage 3:43
11. Ken Kesey Interview 0:22
12. Sound Collage #2 9:58
13. Jerry Garcia Interview 0:19
14. Music / Sound Collage #1 2:14
15. Ken Kesey Interview 0:15
16. Sound Collage 1:15

compilation and package by Alan Bershaw
shn discs by TaW
Note 1: I split the 1h Jerry interview on disc 4 into 3 smaller pieces (a-c).
Note 2: The shn-tracks for audio disc 4 are split between shn-discs 2 and 3!


Radiohead - Nude - Amsterdam

Isle of Wight 1970

Taste - Gambling Blues

Leonard Cohen - Suzanne

Joni Mitchell - Big Yellow Taxi

Miles Davis - Call it Anything

The Who

Jimi Hendrix - Red House

The Doors - The End


Emerson, Lake and Palmer - Rondo

Stevie Ray Vaughan on Night Music

Fareed Haque on Night Music

Red Hot Chili Peppers - Subway To Venus - Live Night Music

Rahsaan Roland Kirk on Night Music

David Sanborn interview and introduction of Sun Ra and his Arkestra on "Night Music" in 1990

Friday, December 14, 2007

The Mars Volta - Wax Simulacra Promo

Nights of Cabiria - Federico Fellini

111 Minutes

"Nights of Cabiria opens with Cabiria (Giulietta Masina) and her boyfriend playfully embracing by the seaside — and then he shoves her into the water and steals her purse. Cabiria is revived by some local boys and runs off by herself, shouting. What follows is a series of similarly humiliating episodes, in which the defiantly positive prostitute Cabiria is hurt, but never broken. She gets picked up by movie star Alberto Lazzati (Amedeo Nazzari, doing a self-parody) and taken to his palatial estate. However, his mistress shows up and Cabiria gets locked in the bathroom all night with the dog. She then joins her fellow prostitutes for a blessing from the Virgin Mary, and ends up getting drunk and wandering into a local show, where the hypnotist invites her to join him on-stage. The audience heckles her, and she toughly reminds them of her independence and that she owns her own house. There she meets Oscar (François Perier), an accountant who romantically pursues her. Despite the warnings of her fellow prostitute friend, Wanda (Franca Marzi), she prepares to sell all her belongings and accept Oscar's proposal of marriage. After being ruthlessly taken advantage of once again, Cabiria walks off alone with a smirk of hope." ~AMGb

Le Notti di Cabiria written and directed by Federico Fellini

Belle de Jour - Luis Buñuel

105 Minutes

"Belle de jour dramatizes the collision between depravity and elegance, one of the favorite themes of director Luis Buñuel. Catherine Deneuve stars as a wealthy but bored newlywed, eager to taste life to the fullest. She seemingly gets her wish early in the film when she is kidnapped, tied to a tree, and gang-raped. It turns out that this is only a daydream, but her subsequent visits to a neighboring brothel, where she offers her services, certainly seem to be real. This illusion/reality dichotomy extends to the final scenes, in which we are offered two possible endings. Thanks to a question of copyright and ownership, Belle de jour disappeared from view shortly after its 1967 release, not even resurfacing on videotape. When it was re-issued theatrically in 1994, many critics placed the perplexing but mesmerizing film on their lists of that year's best films." ~AMGb

Color type: Eastmancolor
Produced by: Paris Films/Rive Films
Written and Directed by Luis Buñuel

Thursday, December 13, 2007

Six Organs of Admittance -- School of the Flower (2006)

Six Organs of Admittance
School of the Flower

School of the Flower stands somewhere between Compathia and For Octavio Paz, a mysterious, beautifully executed series of airy yet mysterious vocal and instrumental songs that put Chasny's elliptical guitar playing front and center (as has become the norm, he also plays organ and sings) and are draped in Chris Corsano's darkly textured percussion and organ work.

In all, School of the Flower is another step in a remarkable journey. It is full of emotion yet never sophomoric, it is full of aural poetry and never pretentious, and it is full of that certain mercurial grace that makes each new offering from Six Organs of Admittance something wholly other and an essential listen.

Led Zeppelin - 2007 - O2 Arena, London, England


Led Zeppelin
O2 Arena, London, England
December 10, 2007


I actually thought of this before the upload but forgot in the hurry. Thanks to the person who suggested it in the comments.

Slowburn master torrent #001

DPA 4061 -> Microtracker 24/48, downsampled to 16/44 for CD use

Recorded from section 407, row J

This is not the best recording I have ever made. Not even close. Section 407 is all the way up in line with the ending of the floor. Fortunately I managed to move down from the second to last row which was considerably higher up than row J

Since this show is what it is I assume most can live without perfection for awhile. I'm sure better sources will turn up but this is listenable and will give you a great feel for the show.

d1t01 Intro
d1t02 Good Times Bad Times
d1t03 Ramble On
d1t04 Black Dog
d1t05 In My Time Of Dying
d1t06 For Your Life
d1t07 Trampled Under Foot
d1t08 Nobody's Fault But Mine
d1t09 No Quarter
d2t01 Since I've Been Loving You
d2t02 Dazed And Confused
d2t03 Stairway To Heaven
d2t04 The Song Remains The Same
d2t05 Misty Mountain Hop
d2t06 Kashmir
d2t07 crowd
d2t08 Whole Lotta Love
d2t09 crowd
d2t10 Rock And Roll

I left the crowd in there to give the full experience.

There is a small problem about a minute into the first song. Not sure what happened. It's on the master.

I have downsampled and converted using adobe audition 1.5. No other changes have been made to the master. Please do not upload any remasters of this recording. Thank you.

Enjoy, it was a fantastic show and a fantastic experience being there. Hope you can all at least experience a part of that.

Finally, since this is my first torrent of any kind please be patient if anything goes wrong.

Dedicated to butterking for never giving up on me despite having to listen to several years worth of reasons not to do this.


Since I put this up late last night after a couple of frustrating hours trying to get everything to work there was a few things I missed commenting on. I would also like to adress a few questions raised in the comments to this torrent.

1. Security was lax to say the least. They checked tickets and wristbands and felt through outer pockets but nothing serious. No metaldetectors. Funniest thing all night was a x-ray (airport luggage model) machine standing in the middle of the floor where you picked up your tickets. They made som people put their bags through while there was a 100 feet or more free passage around it where 99% just walked through.

2. There were a few empty seats here and there. Most were probably just people walking around or going to the bathroom but a few were empty all night. That's how we managed to move down about 15 rows from the second to last row under the ceiling.

3. I normally boycott these big shows so I don't know how common it is with big screens in this quality. From where we were sitting it made a huge difference to the show. It was also a well used screen. Obviously different themes and old footage had been selected in advance and it was well executed. The screen was as wide as a European hockey rink plus a few meters. Very big.

4. The opening acts all used Bill Wymans Rhythm Kings as house band. This meant they were all done in about 70 minutes. While that was about 60 min to long for most it was still brief enough for most to live thru.

5. There was not a single t-shirt available after the show. Most were gone before the show. The huge merchandise booth lookied funny with the walls almost empty. Obviously they had sold the shirts pinned to the wall as ads. This must have been the biggest grossing merchandise per visitor ever.

6. I got my ticket through the lottery but not until about 10 days before the show. Was probably among the last that got in.

7. I obviously put alot of thought into taping or not taping. I guess I just figured that with all the attention given to the ticket situation they would have had little time to deal with extra security. I was right about that. My rig is very stealthy as well so it wasn't that hard. I've never been caught in hundreds of taping situations so it would have been bad luck if it had happened this time though.

8. As for the no remasters request. Partly because I think it would be a vaste of time since there must be better version to come. Secondly I will make one myself if nothing else turns up in the next week or so.

9. I should have asked for a 24 hour grace period for Dime. Not that one can do much about it and I'm sure that it's all over the web by now. Please feel free to post this anywhere you want. Please include the taping info. If you post it or see it posted on other sites please let me know where and how many downloads it gets in a pm.

10. I would like to give props again to butterking and the JEMS HQ. Also to calrust for coming up with my nick. I think his suggestion was slowtrade. Have no idea why :-) Finally, although I don't know him personally a special thanks to persic for all the fantastic torrents the last couple of years.


/Mod's edit:
artwork (collected from the first 1200 comments) can be found at :

alternative: (date corrected)

Anyone who is attaching new artwork to the comments or links to artwork in the comments is invited to let the moderators know at with Led Zeppelin O2 artwork link in the subject line. Please include the comment number or the link to the attachments or any external links in your message, thank you.
/End mod's edit

Sun Ra Arkestra Under the Direction of Marshall Allen - 2004 - Chivas Jazz Festival, Sao Paulo, Brasilia


Sun Ra - Arkestra -
Leader: Marshall Allen

Sao Paulo, Brasilia,
Chivas Jazz Festival 2004

Marshall Allen,as,EVI,voc,con
Other unkn.

1 [00:00] Talk
2 [00:00] Planet Three
3 [10:36] Talk + Interview MA
4 [12:15] Cosmic Hope
5 [20:00] Happy Is The Day Is Long

Total Time: 23:06

Lineage: tv > dvd trade > dime

Picture / Sound Rating: A

Sys Bitrate: 10080 kb/s VBR
4:3 Format 720 x 480

Wednesday, December 12, 2007

Laddio Bolocko

Portishead - 2007 - All Tomorrow's Parties


All Tomorrow's Parties
Centre Stage
Minehead, UK

Set List:

01) Wicca
02) Hunter
03) Mysterons
04) Mystic
05) Glory Box
06) Numb
07) wandering Star
08) Machine Gun
09) Over
10) Sour times
11) Only You
12) Cowboys
13) Roads
14) Peaches

Source: Schoeps CCM4->MV-100(Mod'd with Thatcorp 1510s)->R-09(48K, 24bit)
Mastering: Q1, L2

Size: 417MB


Second Night of Portishead performing at All Tomorrow's Parties.

This is the better recording, better audience, and in my opinion, the better performance. Both shows had identical set lists. Five new songs were performed (Wicca, Hunter, Mystic, Machine Gun, and Peaches), most having a much stronger rythmic feel than most of their past work. Andy played drums or percussion on all the new songs - none included any turntable.

The performance was absolutely flawless and this is as close to a perfect unauthorized audience recording as I have ever made - in 10 years of rolling shows. Absolutely everything came together - including lots of luck.

New song titles are from a set-list that was thrown into the audience by one of the stage-hands after the show. No set-lists were given out after the first show, but I have confirmed the set-lists are the same.

Standard Disclaimers:

Please don't sell this recording in any way - no cash for blanks, 2:1s, or any other form of "getting paid for your time". Just share it freely.

If you find an error in the recording, track listing, info file, etc., please let me know - gently.

After you've given this a listen please take a moment to rate it and / or comment.

Please support the artists by purchasing their music and attending their live performances.

Floss daily.



Machine Gun

Monday, December 10, 2007

The Eternals - 2007 - Heavy International

The Eternals
Heavy International
Release Date: Feb 2007
Label: Aesthetics


"I’d love to tell you something - anything - about the lyrical content of Heavy International (Aesthetics), but I can’t stop moving to the damn thing. Seriously. I put it on, and I have to dance like a monkey in the living room, or shadowbox, or jump rope.

My suspicion is that the lyrics are only there to allow the vocalists (Damon Locks, for the most part - though we get a generous smattering of backing vocalists throughout the CD) to make a little noise. I’m inclined to call this party music, but it probably depends on how aggro the people you party with are willing to get.

Stuttering dub beats and rubbery, funky bass wiggle and dodge their way into the muscles, tickling them into action. If you haven’t gathered by now, this is BODY music.

Lest you think I’m dismissing The Eternals as a one-trick party band, let me be clear- Locks (vocals/synth), Wayne Montana (bass), and Tim Mulvenna (drums) are accomplished musicians, and the music they make pushes the boundaries of body music to new heights. Heavy International may be too busy, too bizarre, and too mobile to let the words and ideas breathe, but I’d just as soon get my heady insight through sweaty delight." ~Alarm


01 The Mix Is So Bizarre
02 Astra 3B
03 Patch of Blue
04 Beware the Swordbat
05 Remove Ya
06 Feed the Youth (Stage a Coup)
07 Heavy International
08 Crime
09 The Origin of the Heatray
10 Too Many People (Do the Wrong Thing)
11 It Is Later Than You Think, Pts. 1 & 2
12 Scorpion
13 M.O.A.B.

Dan the Automator and DJ Shadow - 1999 - Bombay The Hard Way: Guns, Cars And Sitars [OST]

This 1999 compilation from Motel presents 15 tracks from ultra-obscure Bollywood exploitation films of the 1960s and 1970s and gives them the dance-friendly treatment courtesy of producer Dan the Automator and co-collaborator DJ Shadow.

The results are much as might be expected: Impressive so long as one doesn't care about overmuch about authenticity, with dialogue samples – who is Jay from Delhi, other than some Indian James Bond – extra dance and trip-hop styled beats and sitar overdubs embellishing the originals, the danger of exploiting the exotic thankfully countered by a combination of the effectiveness of the method and the sense that riffs on – for example – Lalo Schifrin's Mission: Impossible theme and The Surfaris' Wipeout were there in the Bollywood sources in any case.

Slightly more problematic, however, are the imaginative retitlings the producers have given their tracks, with names like "The Good, the Bad and the Chutney" "Punjabis, Pimps and Players" and "Fear of a Brown Planet" adding to the difficulty of contextualising the pieces and, perhaps, showing a lack of respect for the culture of the "other".

But, then again, who is really being exploited here – the Indian composers and musicans whose work is being appropriated, or the white western hipster who's probably paying over the odds compared to buying a few tapes of Bollywood music produced by and for the Asian markets?

Mostly though it's the infectious fun of the music, clearly not to be taken too seriously either way, that comes through to make this a winner. - K H Brown (

Sunday, December 9, 2007

Make Believe - 2005 - Shock Of Being

Make Believe
Shock Of Being
Release Date: Sep 2005
Label: Flameshovel/Polyvinyl

Experimental Post-Rock

"Tim Kinsella and co., fresh off of their last tour as Joan of Arc, must've decided the exact opposite: "We're going to play indie rock, but we're not going to play any chords that make any logical sense at all."

Now that doesn't sound like a very hard task until you actually hear what they came up with. Fractured, jumbled, and chaotic, Shock of Being is one of the most creative albums I've heard in a long time. It's also one of the most annoying albums I've heard in years, and one of the most difficult to get into - much less enjoy - that I've ever heard. In fact, I think that Captain Beefheart's Trout Mask Replica is the only other album I've ever heard that's harder to digest than Shock of Being.

Oddly enough, I was exposed to both albums on the same day, so hearing the impossible oddity that is Captain Beefheart immediately before hearing Make Believe actually made Make Believe a step up on the "logical songwriting" meter, and eased my transition into this stunningly clever album.

The guitarwork is 90% of what makes this album so intrinsically screwed up. Sam Zurick takes on the bulk of the 'I won't play any normal chords' implementation, playing bizarre chord progressions while cramming as many notes into the progressions as possible. He eschews full chords almost entirely throughout the course of the album, relying solely on the barrage of notes in his complex and mind-boggling guitarwork. I can't stress enough that he crams notes into places they don't belong.

He doesn't play very loud either - another anti-convention stroke. He wants every single strange note to be heard loud and clear, so even though the guitar tone is mild and the volume doesn't seem to be very high, the guitars take precedence over the highly staccato, hyper-punctuated, and oddly fitting drumwork and the (thankfully) solid and normal bass work.

Bassist Bobby Burg is the only thing really holding this sound together. That's highly ironic because Burg's side-project, indie-pop band Love of Everything, is extremely non-conventional; I would never have expected him to be the even-keeled sound that glues all of Make Believe's parts together into something almost understandable.

Each of these songs is highly unique, as the drums, guitar, and Kinsella's voice seem to have a brawl in each. Kinsella's voice is alternately a smooth tone, a ragged tone, a yell, and a what-the-heck-was-that-noise (on the really enjoyable "Say What You Mean"). It fits the sound perfectly every time, from the tired "Wild Science, Wild Signs" to the furious "One Zero" to eerie, otherworldly "Small Apartment Party Epiphany".

"SayWhat?" is the perfect example of Make Believe's bizarre sound. Starting with a contorted guitar riff that makes me think of a cat being strangled (with all the squeaks, squawks, and screeches, you'll hear it too), the bass comes in playing backup to the odd progression that guitars are cranking out, but thankfully doing it in half notes. The drums are playing straight quarter notes on a tamborine. The rest of the drums are on intermittent toms and oddly punctuating snare. Kinsella eventually comes in, cooing "Say what you meeean as a frog's low croak says froggie / as the weather says the day / day to day day to day day to day day to day", before getting more intense to let forth this bold statement: "I say, "how-eee, yah-oo-oowow-oo / ________/hayee-ee-ee-ay." I kid you not. That is actually printed in the lyrics booklet. That's also exactly what he sings - that underscore part is the part where he makes this 'I'm being grabbed by the throat' noise that really doesn't have an onamatopoiea even possible.

Make Believe has destroyed indie rock and rebuilt it from the ground up. These guys don't have any conventions here; they don't have any rules, and they don't care. "Doing what you want will never pay well," Kinsella moans on "Small Apartment Party Epiphany," and it's true. The guys in Make Believe are doing what they want, and it's so experimental that it's going to appeal to a very small minority of music lovers. But if you're into the experimental stuff, these guys are very talented - they know what they're doing. It may take five or so listens to understand that they do know what they're doing, but they do know." ~DOA


01 Amscaredica
02 His Short Quip When Eddie's Bothered
03 Say What You Mean
04 Small Apartment Party Epiphany
05 Television Cemetary
06 The Storm on Her Birthday
07 Can't Tell Cop from Cab
08 One Zero
09 A Band Room of One's Own
10 Wild Science, Wild Signs
11 Fumio Nambata Had a Farm
12 Momentum Logic
13 Boom! Sounds Like --Hiss-- from Inside It

Stanley Clarke - 1976 - School Days

"Every pro electric-bass player and their mothers wore out the grooves of this record when it first came out, trying to cop Clarke's speedy, thundering, slapped-thumb bass licks. Yet ultimately, it was Clarke's rapidly developing compositional skills that made this album so listenable and so much fun for the rest of us, then and now. The title track not only contributed a killer riff to the bass vocabulary; it is a cunningly organized piece of music with a well-defined structure. Moreover, Clarke follows his calling card with two tunes that are even more memorable — the sauntering ballad "Quiet Afternoon" and an ebullient, Brazilian percussion-laced number with a good string arrangement and a terrific groove, "The Dancer." Clarke also brings out the standup bass for a soulful acoustic dialogue with John McLaughlin on "Desert Song." Evidently enthused by their leader's material, David Sancious (keyboards) and Raymond Gomez (guitars) deliver some of their best solos on records — and with George Duke on hand on one cut, you hear some preliminary flickerings of Clarke's ventures into the commercial sphere. But at this point in time, Clarke was triumphantly proving that it was possible to be both good and commercial at the same time." ~ AMG


1. School Days
2. Quiet Afternoon
3. Dancer, The
4. Desert Song
5. Hot Fun
6. Life Is Just A Game

- Stanley Clarke / Acoustic & Electric Bass, Piccolo Bass, Guitar, Piano, Chimes, Handbells, Humming, Vocals, Keyboards, Gong, Conductor, Percussion
- Raymond Gomez / Guitars (1, 3, 5)
- John McLaughlin / Guitar (4)
- David Sancious / Keyboards, Mini-Moog, Organ
- Gerry Brown / Drums & Percussion (1, 3)
- Steve Gadd / Drums (2, 5)
- Milton Holland / Percussion (3, 4)
- George Duke / Keyboards (6)
- Icarus Johnson / Guitars (6)
- Billy Cobham / Drums, Moog 1500 (6)

Black Ace

"Arhoolie Review

“In the late '30s, a Texan by the name of Babe Karo Lemon Turner released a single called `Black Ace Blues.' A Fort Worth radio station started to use the cut as a theme song and soon Turner assumed the moniker. Long before Jeff Healy piqued the music world's curiosity by playing guitar on his lap, Black Ace was playing a National steel guitar on his lap with a slide. He was one of only a few bluesmen who used this technique, the others being Kokomo Arnold and Black Ace's mentor, Oscar `Buddy' Woods. After only a few recordings in the '30s he remained dormant until Arhoolie Records' Chris Strachwitz ventured to his Fort Worth home in 1960 and brought the obscure bluesman back to the public's ear. Those recordings were originally issued the following year on Black Ace's only LP. With the fortunate advent of compact discs, we now have the pleasure of hearing the slide guitarist again some 30 years later. This disc features both the original sides from the '30s and those waxed in '60 including three never issued before. Except for one song left out from the '60s sessions, this is thus the complete Black Ace. Borrowing as much from Lonnie Johnson as Robert Johnson, Black Ace's style is much more city-like than the latter and less rough around the edges. While it is not as intense as Robert Johnson, it tends to be a little bit more listenable. Of the 70 minutes of music on this disc, almost all of it revolves around women, most of them bad ones. Even the Christmas songs `Christmas Time Blues' and `Santa Claus Blues,' beg not for better times or more money but, you guessed it, for the return of Black Ace's baby.

While his singing is impassioned and brooding, the real treat of Black Ace is his slide guitar playing. His Hawaii-meets-the-Delta playing style is both melodic and passionate, simple yet meaningful. A few instrumental numbers, `Bad Times Stomp,' `Ace's Guitar Blues' and `Ace's Guitar Breakdown,' focus on this aspect and leave questions as to just why this man is not openly enamored by today's guitarists like Ry Cooder and Eric Clapton. With the clear recording of this compact disc, that may change.”

Robert Pete Williams

"From a Prison Cell to the Avant-Garde

The New York Times, Sunday, August 7, 1994


Although Robert Pete Williams died in 1980 at the age of 66, he arguably remains the most avant-garde blues performer ever recorded. No punk rock band has ever matched the jagged, acerbic fury of the riffs Williams played 35 years ago. No rapper has approached his ability to evoke the torment of life in prison or bend language to cast an eerie spell over a chance encounter with a seductive woman. Williams could improvise precise, topical blues numbers with remarkable spontaneity. He had never been recorded when he was discovered in Angola penitentiary in Louisiana, convicted of murder. Like the country blues titan Leadbelly, Williams even sang his way to freedom.

Yet he was no more than a moderate success on the folk-revival circuit in the 1960s, and the very density and originality of his blues must have been part of the reason. His decision to take up the slide guitar was also ill-advised. Today he is a shadowy memory, unknown outside blues circles. The release of Williams's prison recordings in 1959 caused a sensation with an earlier generation of fans. By rights, equal excitement should greet the recent reissue of most of his earliest sides along with more than a dozen unreleased tunes on `I'm as Blue as a Man Can Be' (Arhoolie CD 394) and `When a Man Takes the Blues' (Arhoolie CD 395).

Blues revivals come and go, and the establishment of the House of the Blues chain of nightclubs is one sign the audience for the style is healthy. But too many of today's younger performers walk through the blues with a vocabulary imited to an ever-shrinking series of overused themes and guitar licks. Compared with such performances, Williams's blues comes as a draught of straight whisky after sips of warm soda. In particular, each of the field recordings made by the folklorist Dr. Harry Oster while Williams was still an inmate is gripping testimony. The first shock is the peculiar form of these blues. Williams repeats the first line at the beginning of each verse but boldly disregards the rest of routine blues structure.

Williams grew up just north of Baton Rouge, and like many Delta blues musicians he favors long, spidery phrases spiked with hard beats. And like those of fellow eccentrics Big Joe Williams and John Lee Hooker, his guitar accents twine around the particular cadences of his voice. `This Wild Old Life' from `I'm Blue as a Man Can Be' shows Williams at his most stubbornly independent.

While his singing could have a furry tone at times, here it cuts like a rusty razor as he describes the turmoil of wandering from town to town, homeless and alone. `I'm a poor boy here,' he sings. `Ain't got no place to go/ I've been riding around here a little while now/ In a little old one-horse town/ I don't know no one here, baby/ No one but myself.' The song consists almost entirely of a leaping riff that Williams expands, contracts and tweaks with rhythmic variations. Though structured with care, the performance conveys anxiety bordering on emotional chaos.

In `Please Lord, Help Me on My Way,' the same free-flowing structure, based on a more soothing guitar figure, suggests dignified contemplation: `Lord, when I'm in my cloak of gray/ For myself I don't want no worry.' Williams was as often prayerful as he was panicked. Most of the unreleased songs are Christian supplications, at once calmly reverent and riddled with images of death.

As the guitarist Henry Kaiser points out in his perceptive notes to `I'm as Blue as a Man Can Be,' the sparse chords and webs of rhythm in Williams's playing suggests the work of modern West African guitarists like Ali Farka Toure. Indeed, the tune `When a Man Takes the Blues' could be an English-language excerpt from one of Mr. Toure's albums. And the jangly `Hot Springs Blues,' among others, shows how much Williams inspired oddball white blues rockers like Captain Beefheart.

It is impossible to know why Williams's blues sound so African, but they do not support the old notion, now discredited, that so-called primitive blues were rough and shapeless and evolved into more regular, melodic forms. Williams played more conventional blues arrangements until he was 28, when he decided to alter his style. In 1965, he gave a widely quoted explanation, saying that `the sound of the atmosphere' changed his playing. `It could be from the airplanes or the moaning of automobiles,' he said, but anyway, the wind blew a different music to him that transformed his blues."

Stevie Wonder - 1977 - Looking Back

"Between 1963 and the end of 1971, Stevie Wonder placed 25 songs on Billboard's charts. Twenty-four of those — including such radio staples as "Fingertips - Pt. 2," "Uptight (Everything's Alright)," "I Was Made to Love Her," "For Once in My Life," "My Cherie Amour," and "Signed, Sealed, Delivered, I'm Yours" — appear on Looking Back. Wonder's recordings in the '60s stand apart from most Motown acts partially because he was paired with producers and writers who very rarely worked with the Temptations, Supremes, et al. In the beginning Wonder was often produced by Clarence Paul and/or William Stevenson; during the golden years, Henry Cosby was usually manning the controls. Then in 1970, Wonder started producing himself, beginning with "Signed, Sealed, Delivered." Most of Wonder's singles were written by Wonder himself in tandem with a variety of others, or by Ron Miller. The hits alternated between stomping barn-burners and mid-tempo, understated ballads." ~ AMG

A1 Thank You (For Loving Me All The Way) (2:30)
A2 Contract On Love (2:02)
A3 Fingertips (Part II) (2:52)
A4 Workout Stevie, Workout (2:40)
A5 Castles In The Sand (2:10)
A6 Hey Harmonica Man (2:35)
A7 High Heel Sneakers (2:58)

B1 Uptight (Eveything's Alright) (2:53)
B2 Nothing's Too Good For My Baby (2:38)
B3 Blowin' In The Wind (3:45)
B4 Ain't That Asking For Trouble (2:47)
B5 I'd Cry (2:22)
B6 A Place In The Sun (2:52)
B7 Sylvia (2:33)

C1 Down To Earth (2:48)
C2 Thank You Love (2:50)
C3 Hey Love (2:44)
C4 Travelin' Man (2:54)
C5 Until You Come Back To Me (That's What I'm Gonna Do) (3:06)
C6 I Was Made To Love Her (2:35)
C7 I'm Wondering (2:52)

D1 Shoo Be Doo Be Doo Da Day (2:44)
D2 You Met Your Match (2:36)
D3 I'd Be A Fool Right Now (2:53)
D4 Alfie (2:58)
D5 More Than A Dream (3:20)
D6 For Once In My Life (2:16)

E1 Angie Girl (2:56)
E2 My Cherie Amour (2:54)
E3 Don't Know Why I Love You (2:43)
E4 If I Ruled The World (3:31)
E5 Yester-Me, Yester-You, Yesterday (2:57)
E6 Never Had A Dream Come True (2:59)
E7 Signed, Sealed, Delivered (2:46)

F1 Heaven Help Us All (2:59)
F2 I Gotta Have A Song (2:32)
F3 Never Dreamed You'd Leave In Summer (2:56)
F4 If You Really Love Me (2:53)
F5 Something Out Of The Blue (2:58)
F6 Do Yourself A Favour (5:58)

Rush - 1985 - Power Windows


01 - The Big Money
02 - Grand Designs
03 - Manhattan Project
04 - Marathon
05 - Territories
06 - Middletown Dreams
07 - Emotion Detector
08 - Mystic Rhythms

Frank Zappa - 1974 - Roxy & Elsewhere

"After his affair with jazz fusion (Waka/Jawaka and The Grand Wazoo, both released in 1972), Frank Zappa came back in late 1973 with an album of simple rock songs, Over-Nite Sensation. But the temptation for more challenging material was not long to resurface and, after a transitional LP (Apostrophe, early 1974), he unleashed a double LP (reissued on one CD) of his most complex music, creating a bridge between his comedy rock stylings and Canterbury-style progressive rock. Three-quarters of the album was recorded live at the Roxy in Hollywood and extensively overdubbed in the studio later. Only three tracks ("Dummy Up," "Son of Orange County," and "More Trouble Every Day"), taken from other concerts, are 100 percent live. The band is comprised of George Duke (keyboards), Tom Fowler (bass), Ruth Underwood (percussion), Bruce Fowler (trombone), Walt Fowler (trumpet), Napoleon Murphy Brock (vocals), and Chester Thompson (drums) — drummer Ralph Humphrey, keyboardist Don Preston, and guitarist Jeff Simmons appear on the non-Roxy material. The sequence "Echidna's Arf (Of You)"/"Don't You Ever Wash That Thing?" stands as Zappa's most difficult rock music and provides quite a showcase for Underwood. Other highlights include "Penguin in Bondage" and "Cheepnis," a horror movie tribute. All the pieces were premiere recordings, except for "More Trouble Every Day" and "Son of Orange County," a revamped, slowed down "Orange County Lumber Truck"/"Oh No." Compared to the man's previous live recordings (Fillmore East, June 1971, Just Another Band From L.A.), this one sounds fantastic, finally providing an accurate image of the musicians' virtuosity. For fans of Zappa's intricate material like "RDNZL," "The Black Page," or "Inca Roads," this album is a must-have." ~ AMG

All selections composed by Frank Zappa and performed by Frank Zappa & the Mothers, except "Dummy Up" composed by Brock, Simmons, and Zappa. All tracks recorded at the Roxy, except "Son of Orange County", "More Trouble Every Day" and parts of "Penguin in Bondage".

"Penguin in Bondage" – 6:48
"Pygmy Twylyte" – 2:13
"Dummy Up" – 6:02
"Village of the Sun" – 4:17
"Echidna's Arf (Of You)" – 3:52
"Don't You Ever Wash That Thing?" – 9:40
"Cheepnis" – 6:33
"Son of Orange County" – 5:53
"More Trouble Every Day" – 6:00
"Be-Bop Tango (Of the Old Jazzmen's Church)" – 16:41

Sting - 1985 - The Dream of the Blue Turtles

"With the Police on hiatus, Sting had choices galore for ways to make his inevitable solo album. The most obvious was to become the world's bestqualified Police imitator; what he did instead smacks of brilliantly enlightened self-interest.

Der Stingle chose to form a new band with young jazz hotshots from Weather Report (drummer Omar Hakim) and the Miles Davis group (bassist Darryl Jones), plus saxophonist Branford Marsalis and keyboardist Kenny Kirkland. These aren't the usual sleepy gang of veteran sidemen; they never bothered to learn pop-jazz clichés, but they know their Jimi Hendrix, Chic, Herbie Hancock and Led Zeppelin, along with their Duke Ellington.

Unlike Joni Mitchell, another Big Blond Star who attempted this kind of jazzification, Sting can swing. You can hear how much fun he's having, and how much goosing he gets from the band, in the remake of the Police's "Shadows in the Rain." The spooky, dubwise reggae tune from Zenyatta Mondatta now steams along like a workout by soul-jazz organist Jimmy Smith. Kirkland pumps out organ chords over Hakim's stomp, while Sting and Marsalis dodge each others' syncopations around the bass line.

But except for "Shadows," the bluesy "Consider Me Gone" and an instrumental, "Blue Turtles," that grafts progressive 1960s jazz onto a Weather Reporty march, The Dream of the Blue Turtles is a pop record above all. It's only a jam session between the lines, where Marsalis answers Sting's voice with slyly ubiquitous fanfares and curlicues and epigrams.

Sting still writes short, modal melody lines, and sometimes he plays around with the Police's quiet marches (à la "King of Pain") and Afro-Anglo-Caribbean rhythms – to do anything else would be like changing his fingerprints. But if you listen to the way verses and phrases end, there are new twists, surprising extended chords by way of Steely Dan, Weather Report and Ellington. Although Sting is working with world-class improvisers, many of his new band's arrangements are more structured than tracks by the Police. That amazing trio could juggle rhythm and lead roles like nobody's business, while a quintet that tried the same openness would find itself in chaos. The new band is also punchier than the Police, because Kirkland's keyboards – especially the organ – reinforce the rhythm, and the Hakim-Jones team packs a mighty wallop.

Solo albums are traditionally variety shows and statements of purpose, and The Dream of the Blue Turtles is a little of both. Sting delves into neovaudeville with "Moon over Bourbon Street" and serioso classical hymnology with "Russians," a disarmament song. He also comments on the British miners' strike ("We Work the Black Seam"), on lost generations ("Children's Crusade") and on matters philosophical and epistemological ("Love Is the Seventh Wave" and "If You Love Somebody Set Them Free").

When I saw the band in concert (as you should when it tours this summer), its musical exuberance was contagious: I kept losing track of the lyrics in the brainy kicks of the music. On record, things are a little more sober – and, to my taste, too earnest.

It was easy to see it coming. Sting has been driven to tears by world problems since the Police's third-world tour. Yet I'd suspect that the rest of the band edited his pronouncements for commercial zoning; without them, he does tend to go on about "All the bloodshed all the anger/All the weapons all the greed/All the armies all the missiles/All the symbols of our fear," as he does on "Love Is the Seventh Wave."

"Children's Crusade" makes a rather tenuous connection between soldiers in World War I and young drug users. "We Work the Black Seam" – with a winding melody that suggests climbing and descending and with a rhythm track like the clang of picks – extrapolates from neat denunciations of Thatcherism ("We matter more than pounds and pence/Your economic theory makes no sense") and nuclear power ("Bury the waste in a great big hole") to goofy stuff about the universe. Sting acts worried about carbon 14, which must be easier to rhyme than plutonium.

I'm all for political songs, and there's no better vehicle for them than a megastar album. Yet Sting sabotages his own good intentions when he gets preachy or spacey or sanctimonious. "If You Love Somebody Set Them Free" is a postgrammatical, T-shirt sentiment and a denunciation of possessiveness that would be a lot more convincing issued by someone other than a millionaire. If Sting really believes that we can be happy with less, he can send me $500,000, care of this magazine.

So dump the lyric sheet and enjoy the tunes: the transparency of "We Work the Black Seam," the way "Children's Crusade" slowly spirals to its climax, the Caribbean lilt of "Love Is the Seventh Wave," the impassioned singing on "If You Love Somebody Set Them Free" and the delicate-to-martial dynamics of "Fortress around Your Heart," which evokes Pete Townshend and Steely Dan, along with the Police. Sting the musician has more to say than Sting the deep thinker – especially when he's paced, and pushed, by extraordinary young musicians. (RS 452-453)

JON PARELES" ~ Rolling Stone


All songs written by Sting except as noted:

"If You Love Somebody Set Them Free" – 4:14
"Love Is the Seventh Wave" – 3:30
"Russians" (Prokofiev, Sting) – 3:57
"Children's Crusade" – 5:00
"Shadows in the Rain" – 4:56
"We Work the Black Seam" – 5:40
"Consider Me Gone" – 4:21
"The Dream of the Blue Turtles" – 1:15
"Moon over Bourbon Street" – 3:59
"Fortress Around Your Heart" – 4:48

Sting – vocals, guitar, double bass
Omar Hakim – drums
Darryl Jones – bass guitar
Kenny Kirkland – keyboards
Branford Marsalis – saxophones
Dollette McDonald - backing vocals
Janice Pendarvis - backing vocals

Yes - 1974 - Relayer

"Yes had fallen out of critical favor with Tales From Topographic Oceans, a two-record set of four songs that reviewers found indulgent. But they had not fallen out of the Top Ten, and so they had little incentive to curb their musical ambitiousness. Relayer, released 11 months after Tales, was a single-disc, two-song album, its music organized into suites that alternated abrasive, rhythmically dense instrumental sections featuring solos for the various instruments with delicate vocal and choral sections featuring poetic lyrics devoted to spiritual imagery. Such compositions seemed intended to provide an interesting musical landscape over which the listener might travel, and enough Yes fans did that to make Relayer a Top Ten, gold-selling hit, though critics continued to complain about the lack of concise, coherent song structures." ~ AMG

1. Gates Of Delirium (22:55)
2. Sound Chaser (9:25)
3. To Be Over (9:08)

Bonus Tracks
4. Soon (single edit) (4:18)
5. Sound Chaser (single edit) (3:13)
6. The Gates of Delirium (studio run-through) (21:16)

Johnny & The Hurricanes - 1960 - Stormsville

"During the late fifties Johnny Paris started one of the most succesfull instrumental groups ever. Early members included Dave Yorko (guitar), Paul Tesluk (hammond organ), Butch Mattice (bass) and Tony Kaye (drums), soon to be replaced by former Royaltones drummer, Bill Savich. Over a couple of years several superb instrumentals were recorded, often rocked up versions of well known songs. "Red River Rock" was a world-wide millionseller in 1959, and the same formula paid off for for their subsequent singles on the Warwick and Big Top labels. Many of them turned out to be great two-siders. Three albums were released and their popularity in Europe was striking, especially in countries like Sweden, France, Germany and Great Britain. Around 1963, the invasion of UK artists in 1963 prevented more success for Johnny and the Hurricanes. The orginal members of the group had left, and Johnny had to build a new line-up: Billy Marsh (guitar), Edward Wagenfeald (hammond organ), Robert Ignatouski (bass) and Jimmy Paris (drums). The move to a new label, Mala, did not help. The booklet within the Atila CD tells us, that in 1995 Johnny and the Hurricanes were still touring and doing their gigs! Fortunately their unique sound has been preserved on many vinyl records and in recent years several great CD's have become available." ~


Reveille Rock
Milk Shake
Rocking "T"
The Hungry Eye
Hot Fudge
Time Bomb
Corn Bread
The Hep Canary

King Crimson Central Park New York 6-25-73

Ravi Shankar on the Dick Cavett Show

The Mars Volta - 2003 - The Metro, Chicago