Saturday, December 22, 2007

Fifty Foot Hose - 1968 - Cauldron Plus

"A CD reissue of their rare 1968 LP, with the addition of seven interesting bonus tracks. Cauldron itself is erratic but fascinating. When married to routine blues-rock, the electronic squiggles seem to be covering up the inadequacy of the basic material, and the occasional bleats of pure electronic passages will bore rock-oriented listeners. Yet when combined with lilting-but-disquieting jazz-psychedelic compositions, like the title track and "If Not This Time," tit's genuinely original, similar in feel to the oscillation-toned rock of the United States of America (though the U.S.A.'s one-shot album was more consistent and smoothly produced). The bonus tracks include the four-song home demo that got them their Limelight contract (two of the cuts would be re-recorded on the LP); except for the rambling and indulgent "Desire," these are up to par with what came out officially. Topping things off are both sides of the "Bad Trip" single by Cork Marcheschi's previous group, the Ethix; the willfully inacessible blasts of noise-rock are among the most uncommercial and downright difficult relics of the psychedelic era that ever made it onto vinyl." ~ AMG

Susan Christie - 1970 - Paint a Lady

"The material on this album, heard by few until it was issued on CD in the early 21st century, might have been built up as a little weirder than it is by some of the collectors who've raved about it. While it's not the most uplifting stuff in the world, much of it is haunting but not all that out-there pop-folk. Susan Christie's fairly strong, strident vocals and moody melodies, occasionally embellished by strings, aren't the most uncommercial mixture that could have been concocted, though apparently they were too uncommercial to find release when they were originally recorded. What is unusual — and what sets it most apart from some singers she might bear the vaguest of resemblance to at times, like Melanie, Tim Buckley, Sandy Denny, and Bobbie Gentry — are the unexpectedly forceful distorted guitars, near-hard rock organ, and angular rhythms and mild dissonance used in some of the arrangements. In addition, for an eight-song, half-hour album, it's certainly unpredictable in the wide territory it covers — "No One Can Hear You Cry," unlike anything else on the record, is close to sounding like a fine lost Dionne Warwick outtake, though even that gets set aside from the usual Bacharach/David production by the insertion of off-the-wall exotic tinkles of descending instrumental glissandos. If that's not odd enough in this company, there's also a cut, "When Love Comes," that's not too far off early Marianne Faithfull at her best. In contrast, "Yesterday, Where's My Mind?" is freaky at the outset, with its pummeling, tumbling drum breaks, creepy organ, and trippy ominous whisper-to-a-scream recitation, but even that track settles back into a relatively conventional song after three minutes. "For the Love of a Soldier" is another standout, managing to mix affecting antiwar folk-rock with a funky hard rock chorus quite effectively. Though Christie's not quite a major talent based on these relics, this is nicely dreamy and varied folk-rock for the most part that shows a lot of sadly unfulfilled potential, and if it's more downbeat than the norm for the genre, it's hardly gloomy." ~ AMG

Jr. Walker and the All Stars

Funkadelic - 1975 - Let's Take It To The Stage

"One of Funkadelic's goofiest releases, Let's Take It to the Stage also contains more P-Funk all-time greats as well, making for a grand balance of the serious and silly. Perhaps the silliest is at the end — there's not much else one can call the extended oompah/icing rink start of "Atmosphere." The title track is as much a call to arms as "Free Your Mind and Your Ass Will Follow" is, but with a more direct musical performance and a more open nod to party atmospheres (not to mention the source of one of Andrew Dice Clay's longest-running bits). The targets of the band's good-natured wrath are, in fact, other groups — "Hey, Fool and the Gang! Let's take it to the stage!" There's no mistaking the track that immediately follows makes it even more intense — "Get off Your Ass and Jam" kicks in with one bad-ass drum roll and then scorches the damn place down, from guitar solo to the insanely funky bass from Bootsy Collins. It may only be two and a half minutes long, but it alone makes the album a classic. Hearing Collins' unmistakable tones is usually enough to get anything on the crazy tip, but "Be My Beach" just makes it all the more fun, as does the overall air of silly romance getting nuttier as it goes. "Good to Your Earhole" sets the outrageous mood just right — it's one of the band's tightest monsters of funk, guitars sprawling all over the place even as the heavy-hitting rhythm doesn't let one second of groove get lost. Of course, there's also one totally notorious number to go with it, but "No Head No Backstage Pass" has one of the craziest rhythms on the whole album, not to mention lip-smackingly nutty lines delivered with the appropriate leer." ~ AMG

Chick Corea Elektric Band - 1986 - Chick Corea Elektric Band

"Nine years after the breakup of the final version of Return to Forever, Chick Corea ended a long period of freelance projects by forming his Elektrik Band. This set, the group's initial release, finds Corea meeting up for the first time with the great bassist John Patitucci and drummer Dave Weckl; half of the selections also have either Carlos Rios or Scott Henderson on guitar. Due to the high musicianship, the personalities of the players, and Corea's colorful compositions, the Elektrik Band quickly became one of the top fusion groups of the late '80s." ~ AMG


01. City Gate
02. Rumble
03. Side walk
04. Cool Weasel Boogie
05. Got A Match?
06. Elektric City
07. No Zone
08. King Cockroach
09. India Town
10. All Love
11. Silver Temple

Chick Corea - Keyboards, Synthesizer Programming
Scott Henderson - Guitar
Carlos Rios - Guitar
John Patitucci - Acoustic Bass, Electric Bass
Dave Weckl - Drums

Roy Ayers - 1973 - Coffy

"A blaxploitation masterpiece on par with Curtis Mayfield's Superfly and Isaac Hayes' Shaft, Roy Ayers' soundtrack for the 1973 Pam Grier vehicle Coffy remains one of the most intriguing and evocative film scores of its era or any other. Ayers' signature vibes create atmospheres and textures quite distinct from your average blaxploitation effort, embracing both heavy, tripped-out funk ("Brawling Broads") and vividly nuanced soul-jazz ("Aragon"). The vocal numbers are no less impressive, in particular the rapturous opening cut, "Coffy Is the Color." Richly cinematic grooves, as inventive and cohesive as any of Ayers' vintage Ubiquity LPs. Highly recommended." ~ AMG

"What can I say? This is one of the greatest soul soundtracks ever! In a market that was dominated by the big-selling Shaft and Superfly albums, Roy slipped in this masterful blend of jazzy vibes and wah wah funk that's easily one of the best-composed records of the blacksploitation genre! The album's much more unified than your average funky soundtrack, and each track moves between styles that you'd hear on any of Roy's great albums from the time. There's heavy funk on the track Brawling Broads, cool vibes and electric piano on Aragon, off-beat jazz on Coffy Sauna, and great soul on cuts like Coffy Is The Color and Coffy Baby.
Wonderful all the way through, and another jewel in the already-big crown of the great Roy Ayers! Enjoy it!" ~ OufAr KhAn Blog


01 Coffy Is The Color (2:58)
Vocals - Denise Bridgewater* , Roy Ayers , Wayne Garfield
02 Pricilla's Theme (3:53)
03 King George (2:55)
Vocals - Roy Ayers
04 Aragon (2:52)
05 Coffy Sauna (2:13)
06 King's Last Ride (1:05)
07 Coffy Baby (2:23)
Vocals - Denise Bridgewater*
08 Brawling Broads (2:40)
09 Escape (2:14)
10 Shining Symbol (3:49)
Vocals - Wayne Garfield
11 Exotic Dance (3:14)
12 Making Love (2:45)
13 Vittroni's Theme - King Is Dead (1:58)
14 End Of Sugarman (1:04)

Eddie Hazel - 1977 - Game, Dames and Guitar Thangs

"A hidden gem among the many Parliament/Funkadelic-affiliated albums released during the mid- to late '70s, Eddie Hazel's only official solo album may not sport any perennial classics and may be a bit short on content, yet it became incredibly revered in subsequent years following its quiet release. Part of this album's magnetic allure to P-Funk fans no doubt arises from its rare status as a considerable collector's item capable of fetching substantial prices. There's more to the album than rarity, though. Hazel never really garnered the acclaim he deserved as a pioneering funk-metal guitarist during his time, and this album showcases just how stunning his guitar abilities really were. Each of the six full-length songs on the brief album feature Hazel laying down fiery guitar solos over loose song structures while the rest of his bandmates hold the song together and the Brides of Funkenstein handle a majority of the vocals. The two epic covers of "California Dreamin'" and "I Want You (She's So Heavy)" — clocking in at six-and-a-half and nine-and-a-half minutes, respectively — demonstrate this perhaps better than anything else on the album, as the band spends more time jamming than concerning itself with staying true to the originals. The other songs here are rather traditional late-'70s Parliament/Funkadelic songs written by George Clinton and Bootsy Collins that emphasize yet more of Hazel's manic lead guitar. Though this album doesn't exactly boast great songwriting or stand as a landmark album in the sense of Mothership Connection, it does feature some amazing guitar work on Hazel's part, clearly a vehicle for his soloing. And that in itself makes it great and worth hearing, particularly since the pioneering guitarist seemed to disappear into near oblivion after the Maggot Brain album, leaving fans with little recorded output to appreciate after his untimely demise." ~ AMG


1 California Dreamin'
2 Frantic Moment
3 So Goes the Story
4 I Want You (She's So Heavy)
5 Physical Love
6 What About It?
7 California Dreamin' (Reprise)

Sun Ra Arkestra @ Wilhelmshaven, Germany, Pumpwerk 1988



Sun Ra Arkestra

Wilhelmshaven, Germany,

Michael Ray,tp,voc Martin Banks,tp Tyrone Hill,tb
Marshall Allen,as,fl,EWI,per Pat Patrick,as Eloe Omoe,as,bcl,cl,per
John Gilmore,ts,cl,per Kenny Williams,bs James Jacson,basson,fl,ancient-egyptian-infinity-dr
Owen Brown,vio
Sun Ra-p,synthy,key,voc Bruce Edwards,g Rollo Redford,e-b Earl Buster Smith,dr
June Tyson,voc

CD1: 1. Set: 46:55
1 Mystery 12:44
2 Title 4:22
3 Mood Indigo 6:19
4 Title 3:53
5 East Of The Sun 4:49
6 Title 3:22
7 I Dreamed ... 5:14
8 St. Louis Blues (fade-out) 6:09

CD2: 2. Set: 47:02
9 Title 3:57
10 Title (SR,p-solo) 3:28
11 Title 4:46
12 Title 10:27
13 Title 3:44
14 Title 6:30
15 Title 3:53
16 I Want To Be Happy 7:14

Lineage: aud > cdr trade > flac > dime

Sound Rating: AUD A

* Please note, this is the first time this show has been put into public circulation! New Sun Ra is always a good thing.

Friday, December 21, 2007

The Evens - Cache Is Empty

"The Evens (featuring Ian Mackaye & Amy Farina) Recorded live at Fuse on 9th March 2007 in Sumner-Christchurch-New Zealand."

Fugazi - 2000 - Waiting Room @ Helsinki, Finland


"Flash to the coastal town of Goleta, California, center of all beachfront intrigue for the undergrads at UC Santa Barbara, circa 1994. Five local anti-beach boys lock themselves in a garage with a bunch of instruments, which they use to make strange noises. When they come out they are called iG-88, and they are playing a discordant, experimental brand of hardcore punk that, you can be sure, was unlike anything that had ever hit Goleta before. After recording a five-song demo, The Revolt of the Faceless Humanoids, the band learned of the existence of another iG-88 and became EX-iGNOTA.

After releasing a seven-inch (Lazurus is back to report...sunny skies in heaven), and touring extensively, EX-iGNOTA went home to Goleta to record the songs for their debut full-length, Jammin' on the One. Unfortunately, it turned out to be a posthumous release, as the band broke up before the album came out. Jammin' on the One is a versatile, complex hardcore symphony, full of measured, brooding guitars that set the stage before giving way to volcanic bursts of lyrical energy that inevitably exhaust themselves, leaving behind layers of damaged, busy guitar squiggle. You can hear a number of influences buried in EX-iGNOTA's expansive and diverse sound: Sonic Youth's alternately tuned walls of guitar, Slint's angular, atmospheric guitar interludes, Fugazi's hardcore rage, Clikatat Ikatowi's twisted, furious poetry. It all comes together as something bigger than the sum of EX-iGNOTA's parts. From bang and clatter to shriek and scream to somber reflection, EX-iGNOTA's musical vocabulary covers an incredible range of emotions." ~ Epitonic

Mr. Oizo - 2000 - Analog Worms Attack

Mr. Oizo
Analog Worms Attack
Release Date: Feb 22 2000
Label: Mute

Experimental IDM

"The album debut for Quentin Dupieux may not have received worldwide distribution had it not been for its most publicized track, the notorious Levi's advert and crossover hit named "Flat Beat." But it's doubtful Dupieux will turn into a one-hit wonder — and if he does, there's always his directing career — since Analog Worms Attack is an inventive album that somehow marries the experimental side of techno (Cristian Vogel, Laurent Garnier) with the outrageous flair of novelty tracks usually seen on, well, television commercials. Even including "Flat Beat" (which was wisely added only as a bonus track), the highlights are "Monophonic Shit" and "No Day Massacre," two tracks that blend surprisingly deep grooves and oddball effects. It's not so much a sense of humor that Dupieux displays here; it's closer to the playful side of quasi-pop electronica fashioned by Mouse on Mars and Like a Tim. Fans of the trademarked "Flat Beat" sound will find much to love as well ("Smoking Tape" and "Flat 55" are most similar to the hit), making Analog Worms Attack a left-field treat for both pop-culture seekers and genuine music fans." ~AMG


01 Bad Start
02 Monophonic Shit
03 No Day Massacre
04 Smoking Tape
05 Last Night a DJ Killed My Dog
06 The Salad
07 Bobby Can't Dance
08 Analog Worms Attack
09 One Minute Shakin
10 Inside the Kidney Machine
11 Miaaaw
12 Flat 55
13 Feadz On
14 Analog Wormz Sequet
15 Flat Beat [* bonus track]

John Frusciante - 1995 - Niandra Lades and Usually Just a T-Shirt

John Frusciante
Niandra Lades and Usually Just A T-Shirt
Release Date: 1995
Recording Date: N/A
Label: American

Alternative/Experimental Lo-Fi

"Upon leaving the Red Hot Chili Peppers in 1992, guitarist John Frusciante delved into home recording, eventually completing a 12-track album titled Niandra Lades that bore the influence of '60s oddballs like Syd Barrett and Captain Beefheart. Niandra Lades languished on the shelf for a while until it was paired with another 12-track collection of Frusciante's home-taping efforts; this one, titled Usually Just a T-Shirt, concentrated on pleasant psychedelic instrumentals with plenty of backward-guitar effects. While some might find the jump from bizarre vocal numbers to atmospheric instrumentals (and the resultant shift in mood) a bit jarring, the two halves do share certain characteristics. Frusciante's singing voice has a fragile, wispy quality that sits well next to the often delicate second half, and the sparse arrangements of the first half help set the stage for the gossamer guitar work later on. Because the whole project has a definite stream-of-consciousness feel, it does fall prey to underdeveloped ideas at times, but overall, Niandra Lades and Usually Just a T-Shirt is an intriguing and unexpected departure from Frusciante's work with the Chili Peppers." ~AMG


01 As Can Be
02 My Smile Is a Rifle
03 Head (Beach Arab)
04 Big Takeover
05 Curtains
06 Running Away into You
07 Mascara
08 Been Insane
09 Skin Blues
10 Your Pussy's Glued to a Building on Fire
11 Blood on My Neck from Success
12 Ten to Butter Blood Voodoo
13 Untitled #1
14 Untitled #2
15 Untitled #3
16 Untitled #4
17 Untitled #5
18 Untitled #6
19 Untitled #7
20 Untitled #8
21 Untitled #9
22 Untitled #10
23 Untitled #11
24 Untitled #12
25 Untitled #13


Thursday, December 20, 2007

The Mars Volta - 2007 - Berkeley Community Theater

The Mars Volta
Live at the Berkeley Community Theater
Berkeley, CA
March 31, 2007

Taped from the lower balcony.

Recorded with:
Giant Squid Omni Mics > Battery box w/bass roll-off > iRiver H100 w/Rockbox installed
>Split into tracks, EQed, and normalized using Cubase LE
>Exported to .wav
>Flac using FLAC Frontend

1. Fela Kuti's "Expensive Shit" (pre-show music) + Fistfull of Dollars Intro
2. Rapidfire Tollbooth (Bedlam in Goliath)
3. Roulette Dares
4. Cygnus...Vismund Cygnus
5. Viscera Eyes
6. Idle Tooth ((Wax Simulacra))
7. Drunkship of Lanterns
8. Vermicide
9. Tetragrammaton
10. Meccamputechture
11. Day of the Baphomets

New drummer- Thomas Pridgen- he is LOUD on this recording.
Cedric was a bit sick, so vocals werent exactly top notch.
Overall, amazing energy/performance!

Check out these youtube clips from this performance:

Drunkship pt 1

Drunkship pt 2

Jimmy Smith - 1974 - Paid in Full

organ Jimmy Smith
piano Jimmy Smith *
guitar Ray Crawford
bass Larry Gales
congas & percussion Buck Clarke
drums Donald Dean
producer Jimmy Smith
engineer Jack E. Hunt

side a 1

01. Bro' Pugh *
Jimmy Smith

02. Killing Me Softly With His Song
Norman Ginbel / Charles Fox

side b

01. Paid In Full
Jimmy Smith

02. Can't Get Enough
Jimmy Smith

Wednesday, December 19, 2007

The Mercury Program - 2000 - From the Vapor of Gasoline

The Mercury Program
From the Vapor of Gasoline
Recording Date: Jan-Feb 2000
Release Date: May 2000
Time: 43:25
Label: Tiger Style


"A post-rock album that doesn't sound like Sonic Youth B-sides. Florida-based the Mercury Program tempt their chin-stroking muses by creating a collection of songs that use the seemingly conventional setup of rock clichés (guitar solos, mumbling vocals, etc.), but they also embrace the more free-form patterns of experimental jazz. The good information is that unlike most post-rock contemporaries, the "feedback squalls = artistic" belief is kept at a minimum. The bad information is that it still rarely succeeds. For example, the track listing reads like a series of in-jokes ("Down on Your Old Lung" is a highlight), the loose structures start to chafe, and the whole experiment feels too much in love with itself to connect with an audience. However, even the most antagonistic of listeners would be hard-pressed to dismiss the hovering interest of the album's title track or the engaging murmur of the finale "Highways Like Veins." It's just that, more often than not, the album sounds like cerebral intentions gone awry. Like most American experimentalists, the hope is that the band tends to hone in on their true musical character somewhere down the line. Because as it stands, From the Vapor of Gasoline comes across like music theory students trying to impress their professors." ~AMG


01 The Sea Is in Here
02 Re-Inventing a Challenge for Machines
03 Leaving Capitol City for Good
04 Nazca Lines of Peru
05 Every Particle of the Atmosphere
06 From the Vapor of Gasoline
07 Fastest Way Through the South
08 Down on Your Old Lung
09 The Vortex East
10 Highways Like Veins

Lazy Sunday Instrumentals

1. Flying Lotus - $tunt
2. Lemon Jelly – In the Bath
3. Prefuse 73 – Beaten Thursdays
4. DJ Signify and Blockhead – Nobody’s Smiling 7” (Side B)
5. Hudson Mohawke – Unreleased
6. Hudson Mohawke – Unreleased 2
7. Daedelus – My Beau
8. Thavius Beck – To Make Manifest
9. Thavius Beck – Under Pressure
10. RJD2 – Bus Stop Bitties
11. DJ Food – Well Swung
12. Sixtoo – Boxcutter Emporium pt. 3
13. Ras G – Funny (How Love Can Be…)
14. Georgia Anne Muldrow – Wrong Way
15. The Heliocentrics – Before I Die
16. Flying Lotus – Ankleboybackyard
17. Kid Koala – More Dance Music
18. The Herbaliser – Shorty’s Judgment
19. RZA – State of Grace
20. Lucky Me – Bumper
21. Daddy Kev – By Your Side
22. FLYamSAM – Green Tea Power
23. Sixtoo – Jackals and Vipers and in Envy of Man, pt. 4
24. Free the Robots – Satellite Station
25. Heralds of Change – Spotted

Tuesday, December 18, 2007

Phases of the Moon: Traditional Chinese Music

Phases of the Moon collects traditional and contemporary Chinese compositions, including "Moon on High," "Dance of the Yao People," "Purple Bamboo Music," and "Spring on a Moonlit River." A graceful, meditative collection, and a good overview of past and present music from China. ~ AMG

01. The Moon Mirrored in the Pool
02. The Moon on High
03. Days of Emancipation
04. Dance of the Yao People
05. Peking Opera Melody: Flowing Water
06. Tashwayi
07. Spring on the Pamir Plateau
08. Purple Bamboo Melody
09. Dancing in the Moonlight
10. Song of the Herdsmen
11. Spring on the Moonlit River

Monday, December 17, 2007

Sun City Girls - 1990 - Torch of the Mystics

Torch of the Mystics represents the pinnacle of the first phase of the Sun City Girls. A concise, pinwheeling album that captures the band's pure commitment to emotional transcendence through music, the 11 songs here fly off into the netherworld of ethnic avant-garage rock with startling clarity. The band had never fully explored the Middle Eastern tones accumulating in their brains as they did on this 1990 masterpiece, nor had they been as clearly and smartly recorded as they are here: guitarist Rick Bishop's tone slices, drummer Charlie Gocher is wider than he has ever been, and bassist Alan Bishop rumbles with an ominous ferocity. Songs like the pile-driving "Esoterica of Abyssynia" sound like your radio has leapt into a dreamy foreign astral plane of its own volition. "Space Prophet Dogon" is a dance of the seven veils as played by the freaked-out Mothers of Invention, while "Radar 1941" crash-lands in the middle of Egyptian Top 40 as imagined by "Count Five." Every track contains a shimmering melodic phrase or haunting undertone that the Girls mine like pure manna, and the occasional bursts of delirious chanting still summon goosebumps on the listener's skin. Every argument made for the greatness of the Sun City Girls has its roots in this platter, and if you have never understood what the fuss is all about or if you ever needed something to convince you of their (deservedly) sterling underground reputation, this is the original testament. ~ AMG

01. Blue Mambo
02. Tarmac
03. Esoterica Of Abyssynia
04. Space Prophet Dogon
05. Shining Path, The
06. Flower, The
07. Cafe Batik
08. Radar 1941
09. Papa Legba
10. Vinegar Stroke, The
11. Burial In The Sky

Cadillac Jones - 2005 - The Big Takedown

Cadillac Jones - The Big Takedown

From Home Grown Music:

Cadillac Jones rolled onto the Atlanta music scene in 1999 and began drop-shifting heavy funk grooves across the city. From East Atlanta's Village Lounge, to Smith's Olde bar, to the Star bar, to Lenny's, to the Clairmont Lounge last Halloween, to the International Artists Guild and all the way up to the Stella Blue Theatre in Ashville, NC, Cadillac Jones has slammed into every gig with exceptionally powerful, hip shaking beats.

Track List

1.Intro 0:25
2.Narq 5:24
3.Hottub 5:29
4.Tarzan 4:54
5.14th Street Hustle 4:54
6.Speakeasy 2:12
7.East Coast Eddie 6:07
8.Blackbyrds' Theme 3:56
9.The Mac 7:52
10.Casin' The Joint 5:14
11.Ike's Regret 0:47
12.Barbados 5:48
13.Power 5:14
14.Return of the Narq 2:57

Cadillac Jones - 2003 - Junk In The Trunk

Cadillac Jones - Junk in the Trunk

From Home Grown Music:

Cadillac Jones is shifting into overdrive and careening through the Atlanta music scene, with side swiping neo-funk grooves, pelvic pounding rhythms and Hot Tub chic melodies made for modern loving. Standing on the shoulders of giants like Herbie Hancock, James Brown, Charlie Parker, and Grant Green, taking deep breathes of innovators like John Scofield, Charlie Hunter and Karl Denson, Cadillac Jones' sound is one part jazz, two parts funk and three sheets to the wind. When they're bad, they're better.

Track List

1.Tilt 4:53
2.Upper Decker 3:38
3.Sammy Sosa 6:44
4.Galaxy Galore 4:18
5.Friend Or Foe? 8:38
6.Yahtzee Champ 3:35
7.Giant Steps* 5:13
8.Concourse '73 5:40
9.Janine Is Fat 4:46
10.Your Mama 6:47
11.Adults Making Love 7:19
12.Anthesis 10:18

*John Coltrane Cover

Stanley Clarke, Al DiMeola and Jean Luc Ponty as The Rite Of Strings

Al di Meola, Jean-Luc Ponty & Stanley Clarke. Rite of Strings Nov 24 2007 Belo Horizonte, MG, Brasil

Indigo part 1

Indigo part 2 - Song to John part 1

Song to John - part 2 conclusion

Memory canyon

Al's solo set

Jean-Luc's solo set

Stanley's solo set


Mediterranean Sundance

Encore: Song to John Reprise


Rite Of Strings
August 14 1995
Lewiston NY

Sony D3 Pro Cassette>Soundforge>wav>flac

Stanley Clarke Al DiMeola Jean Luc Ponty

recorded by: Chunga NY

CD 1
1 Song To John
2 Indigo
3 Memory Canyon
4 La Cancion De Sofia
5 Jean Luc Ponty solo
6 Al DiMeola solo
7 Stanley Clarke solo

CD 2
1 Morocco
2 Change Of Life
3 Chilean Pipe Song
4 Renaissance
5 ?Untitled Encore?

Do not encode to MP3,please distribute freely AS/IS

Over The Counter Culture Vol. 1

Over The Counter Culture Vol. 1

01. Eroc - Noderland
02. Erkin Koray - Mesafeler
03. 3 Urel - Omur Biter Yol Bimez
04. The Gris Gris - Cuerpos Haran Amor Extrano
05. Dennis Olivieri - I Cry In The Morning
06. The Gaslamp Killer - A Duet
07. Susan Christie - Paint A Lady
08. Apryl Fool - Tomorrow's Child
09. Fifty Foot Hose - Rose
10. Bonnie Dobson - Bird Of Space
11. Selda - Utan Utan
12. Orient Express - Cobra Fever
13. Doris - You Never Come Closer
14. Jyotitindra Moitra & Ustad Ali Akbar Khan - Title Music
15. Erkin Koray - Estarabim
16. Selda - Adaletin Bumu Dünya
17. Yasseen Mohamed - Ndege kaa Ufikiri

Sunday, December 16, 2007

Les Savy Fav @ The El Rey Theater, Los Angeles December 15th, 2007


Les Savy Fav

December 15th, 2007

The El Rey Theater, Los Angeles

Audience Camera
Sony Cyber-shot DSC-W1

Format: MPEG-1
Codec: MPEG-1
Resoulution: 640x480
Bit Rate: 2854 kbps
Aspect: 4:3
Frame Rate: 25


Notes: 3 separate files include the entire show. I stopped and restarted after the first song to zoom in a bit. I stopped once more during the encore break.

Any help with the setlist would be appreciated.

Maceo Parker - Shake Everything You Got

Einstürzende Neubauten - Perpetuum Mobile (2004)

Einstürzende Neubauten
Perpetuum Mobile
[Mute; 2004]

There was a time when Blixa Bargeld and his band were the spree killers rampaging through malls on busy Saturdays, all searing anger, deafening noise and violent flash. The visceral power of their first decade of work is undeniable-- they had christened themselves Einsturzende Neubauten (German for "collapsing new buildings") and they made music to match the moniker, employing scrap metal and dental equipment to give it the necessary sturm-und-drang. After releasing a series of lackluster albums in 1990s which lost the immediacy of their prime work, the band made an impressive rebound with 2000's Silence Is Sexy, and they've all but perfected the more restrained approach begun on that album with Perpetuum Mobile: Where once they embodied bursts of malevolent violence, they're now something more akin to a different kind of murderer: the long-term, reclusive serial killer, whose neighbors find to be the quietest, most polite person on the block, but who has secretly buried 48 bodies in the woods behind his house.

- Pitchfork

Lyrics in German and English: