Saturday, January 5, 2008
01 - Afro Celt Soundsystem - Whirl - Y - Reel 1
02 - Dave Brubeck Quartet - Blue Rondo A La Turk
03 - NRBQ - Captain Lou
04 - Stereolab - Percolator
05 - Blonde Redhead - Falling Man
06 - Duke Ellington - Take The A Train (From Live at Newport)
07 - Miles Davis and John Coltrane - Straight, No Chaser
08 - Certified Bananas - Orange You Glad
09 - Count Basie - Good Morning Blues
10 - Crosby, Stills, Nash & Young - Woodstock
11 - Charles Mingus - Far Wells, Mill Valley
12 - Tower of Power - What Is Hip?
13 - Asha Bhosle & Kisore Kumar - Typewriter, Tip, Tip, Tip
14 - Thelonious Monk - I Mean You
"Santana's fourth album, Caravanserai, finally being reissued and remastered by Columbia Legacy/Sony, is a landmark recording for the band. Originally released in 1972, this album marked a change for the band, as they were moving away from the Latin tinged psychedelic pop rock of their earlier recordings to a more ethereal, jazz fusion based sound. Change also brought about line-up shuffles, as after this album second guitarist Neal Schon and keyboard player/singer Gregg Rolie left the band to form Journey. Famed keyboard virtuoso Tom Coster made his first appearance on this release, and he later spent many years alongside Carlos Santana in various incarnations of the band.
The influence of groups such as Weather Report, Mahavishnu Orchestra, Lifetime, Miles Davis, Larry Coryell's Eleventh House, and John Coltrane are heard all throughout this CD. Latin percussion mixes with swirling organ while Santana and Schon's guitar licks run rampant on each track. While the bands signature melody on "Song of the Wind" still remains a classic, it's the extended breakouts on tunes like "La Fuente Del Ritmo" , complete with an amazing electric piano solo from Coster, and the energetic "Just in Time to See the Sun" that really shine. Drummer Mike Shrieve comes into his own on this albums more jazzy context, and the percussive tandem of Jose "Chepito" Areas, Mingo Lewis, and the legendary Armando Peraza provide the perfect Latin rhythms. "Every Step of the Way" features some wicked guitar work from Schon and Santana, supported by manic percussion and raging organ from Rolie, and stands out as a classic example of Latin jazz fusion.
My advice to you all, don't walk, but run to your local CD shop and indulge yourself in this timeless classic. The remaster job is superb, with every instrument crisp and clear, and you get a nice booklet that goes into the history behind the album. A must have!" ~ Sea of Tranquility
01. Eternal Caravan of Reincarnation
02. Waves Within
03. Look Up (To See What's Coming Down)
04. Just In Time To See The Sun
05. Song of the Wind
06. All the Love of the Universe
07. Future Primitive
08. Stone Flower
09. La Fuente del Ritmo
10. Every Step of the Way
"Under the pseudonym "Alavaz Relxib Cirdec", Bixler-Zavala contributed a 2-song single to the GSL Special 12 Singles Series, released in December 2005. The inversion of his name is very appropriate, seeing as the musical styles shown on his GSL single would be unexpected to an uninformed fan of his more mainstream contributions. Closer to the Dub of De Facto and the ambient experimentation shown in Omar Rodriguez-Lopez records than the prog-rock of The Mars Volta, the two songs Bixler-Zavala has produced under this alias are entirely instrumental, with the exception of samples of speech that can be heard on "Live Private Booths". "Live Private Booths" is a funky Fela Kuti-style jam featuring flute, drums, bass, guitars and samples, while "Sapta-Loka" is a more ambient exploration of eastern-style drones, with subtle, haunting instrumentation." ~ Wikipedia
"Freestyle Fellowship emerged on the L.A. rap scene during the early '90s. Given the chance to hone its skills at a health-food store's open-mic nights, the group quickly earned the attention and respect of the city's hip-hop underground. Their second album, 1993's Inner City Griots, is the only completely collaborative album released during the group's career. Surprisingly, each MC (Mikah Nine, Jupiter, Peace, and Aceyalone) seems fully matured at this early stage. On Inner City Griots, the production is improved to match the group's vibrant, dexterous wordplay. Swapping rhymes with agility and grace, the Fellowship is a rap tag team par excellence. At times, the lyrics are so dense and the delivery so quick that the words are practically indecipherable. Yet the rappers are just as adept at slowing down the pace without losing a bit of their lyrical energy or creativity.
Unrestricted by tired rap themes, the Fellowship strikes at a range of subjects. The abrasive opening one-two of "Blood" and "Bullies of the Block" might throw listeners off guard but as "Everything's Everything" opens, they provide assurances that "It's all right y'all." The guns are dropped and microphones prevail. Inner City Griots (a griot is an African storyteller) takes on Aceyalone's twisted nursery rhyme "Cornbread," the positive vibes of "Inner City Boundaries," the locker-room machismo of "Shammy's" (an inevitable ode to the ladies), and "Way Cool," a tale of serial killing horror. On "Park Bench People," the Freestyle Fellowship even asks whether rap music is big enough to take in a sung rumination on homelessness. With live instrumentation provided by the Underground Railroad (whose members appear throughout the album), the song stretches into a section reminiscent of '70s Stevie Wonder. Like all great groups that preceded it, the Fellowship was simply testing the limits of hip-hop and its own capabilities on this multifaceted collection." ~ AMG
01. Blood/Bullies On The Block
02. Everything's Everything
03. Shammy's/Heat Mizer
04. Six Tray
06. Inner City Boundaries/Bomb Zombies
08. Way Cool
09. Hot Potato
11. Park Bench People
13. Respect Due
14. Pure Thought
They say music speaks to the soul. It speaks in a way that no other medium can. It assists all our emotions and in times of comfort and pain it transcends to something on par with spiritualism. There are many paths to God and the meditative music of Arvo Pärt is, without a doubt, one of them. I had listened to this recording years ago and always loved it, so much so that I constantly would find myself returning. It took on a whole new dimension, though, this past February when I was dealing with my mother's failing battle with terminal brain cancer.
Arvo Pärt is an Estonian composer. Sadly, in a day when all you hear are the same “war horse” compositions and composers played on “classical” radio, few folks are turned on to the cornucopia of sonic delights some of the lesser known 20th Century and modern day composers have bestowed upon us. These modern composers I am referring to fall into the “minimalism” sub-genre. The freedom to create very pure textures that confront the listener on an internal level. There remains the intellectual nature of classical music, but the means to the end become less restricted. Pärt is am ideal example of “internal” music.
1984, the essential record of Tabula Rasa was released on ECM records. The recording features not only the title composition performed by the Lithuanian Chamber Orchestra featuring Gidon Kramer on Violin (for whom Pärt wrote the exquisitely contemplative and hypnotic title work) and Alfred Schnittke on prepared piano, but the equally beautiful composition "Cantus in Memory of Benjamin Britten" and two versions of "Fratres"; a star performance from Keith Jarrett, and Gideon Kremer and its most sublime version for 12 cellos performed by the 12 Cellist of The Berlin Philharmonic.
The compositions are spare, but the space between the sounds are as full of music as the notes themselves. The title cut the allows an inner fullness to resonate through the most fragile, ethereal wisps of tone against the mysterious clanging of prepared piano. The lament of the tubular bells in "Cantus in Memory of Benjamin Britten" is emotionally haunting and seems to descend from the heavens above. "Fratres" is a simple tune. On one hand it sounds like something from the 15th century, yet it clearly is something from the present day.
The Kronos Quartet and others have recorded the works of Arvo Pärt and each is interesting in it’s own right. What sets this recording apart, aside from the dynamic performances, is the warm production of by ECM's Manfred Eicher, which magnificently captures the mystical simplicity of Pärt's sound world.
Right before my mother passed on, she had requested music. Sending my mother music that would serve as the soundtrack to her transition to the other side was an emotional task. I gathered the familiar songs and songs that were favorites of her. I also included Tabula Rasa, a composition she had never heard and quite honestly I wasn’t sure if she would play it on her CD player. The last few weeks, her health declined rapidly, she lost all communicative skills. When word came of her passing, I picked up her belongings and in the CD was Tabula Rasa. She had heard it. She heard the sound of the heart of God. No man of the cloth could have prepared the transition better. Pärt’s music is of the sacred that transcends organized spirituality and enters directly into the soul.
1 Fratres (11:24)
2 Cantus in Memory of Benjamin Britten (5:00)
3 Fratres (11:49)
4 Tabula Rasa (26:26)
Friday, January 4, 2008
AS POSTED ON DIME HERE
The Beatles ACOUSTIC MASTERPIECES THE ESHER DEMOS SBD Flac
(CD 1998 BIRTHDAY RECORDS BR 029)
This is what I consiter one of the most important Beatles Recordings
of all time... I'm sure many of you have it already..
After the Beatles "John, Paul and George returned from India, they
got together, at George's Home to play some of the song's which each
had writen in India. this is the first time these songs had ever been played
to each other,,, So Basicaly, The Lads were just having a good time, jamming
together... This is as close to Un-plugged as you'll ever get...
It ran on this sight for about 8 months, getting over 2000 hits..
then it got Banned,,,seem's someone noted some Tracks had been used
on The Beatles, Anthology 3. Of corse they had been Over dubbed....
I started to wonder which tracks were used. So I read the book which
came with The Beatles, Anthology 3. After a very close look, only 3 tracks
were used from this set...
I checked with the mod's, as of this moment I have permission to reload it,
with the 3 tracks deleated.
So if you want John, Paul and George sitting in your living room, bring
them in, of corse your invited to sing along........
1. Cry Baby Cry
2. Child Of Nature
3. The Continuing Story Of Bungalow Bill
4. I'm So Tired
5. Yer Blues
6. Everybody's Got Something To Hide...
7. What's The New Mary Jane
9. While My Guitar Gently Weeps
11. Sour Milk Sea
12. Not Guilty
13. Piggies "edited out"
16. Rocky Raccoon
17. Back In The USSR
18. Honey Pie "edited out"
19. Mother Natures Son
20. Obla-Di Obla-Da
21. Junk "edited out"
22. Dear Prudence
23. Sexy Sadie
01-Flora Purim - Bahia
02-Albert King - Blues At Sunrise
03-Funkadelic - Better By The Pound
04-Godspeed you Black Emperor - Static
05-Lonnie Smith - Mama Wailer
06-Rahsaan Roland Kirk - The Seeker
07-The Sun Ra Arkestra
08-Lee Perry and The Upsetters - Dread Lion
09-Omar Rodriguez - Coma Pony
10-King Crimson - Pictures Of A City Including 42nd At Treadmill
11-Miles Davis - Rated X
12-Dorothy Ashby - Afro Harping
13-sleeping people - Centipedes Dream
14-eddie hazel - California Dreamin Reprise
15-Battles - Ep C - B + T
16-Muddy Waters - I Just Want To Make Love To You
17-Yabby You - Beware Dub - Freedom
18-The Eternals - High Anxiety
19-Hella - Madonna Approaches R&B Blonde Wreckages
20-Flora Purim - Uri The Wind
AS POSTED ON DIME HERE
City Hall, Kokura, Japan
Miles Davis (tp, org);
Sonny Fortune (ss, as, fl);
Pete Cosey (g, perc);
Reggie Lucas (g);
Michael Henderson (el-b);
Al Foster (d);
James Mtume Foreman (cga, perc)
Funk [Prelude] (part 1) [15:53]
Maiysha (with applause) [13:40]
Right Off [14:23]
For Dave [11:26]
Agharta Prelude (with applause) [17:29]
Thursday, January 3, 2008
"King signed with Stax in 1966 and soon began winning over young white listeners. Six songs wrung out onstage two nights at the Fillmore West in June 196~his first headlining shows for San Franciscan longhairs-pack this album dating from the same year. He paces his attack, building levels and levels of excitement, while his sidemen do their best to hide their unfamiliarity with most of the material. His serrate vocals and homey chats are superfluous." ~ Frank John Hadley
"Live Wire/Blues Power is one of Albert King's definitive albums. Recorded live at the Fillmore Auditorium in 1968, the guitarist is at the top of his form throughout the record — his solos are intense and piercing. The band is fine, but ultimately it's King's show — he makes Herbie Hancock's "Watermelon Man" dirty and funky and wrings out all the emotion from "Blues at Sunrise."" ~ AMG
"Dr. Lonnie Smith's Mama Wailer is one of the quintessential sides issued by Creed Taylor's CTI/Kudu imprint. Out of print for decades on LP, in 2003 it became available again in Japan as a beautifully remastered CD -- as part of King's ambitious reissue project of all things Kudu.
Uncharacteristically, Smith played clavinet as well as organ on this set, and arranged all but one track. The rest of the band was comprised of Billy Cobham, Ron Carter, Chuck Rainey, Grover Washington, Jr., Airto, Jimmy Ponder, George Davis, and others. There are only four cuts on Mama Wailer, the title and "Hola Muneca" were written by Smith, the others are covers of pop tunes from the era: Carole King's "I Feel the Earth Move," and Sly Stone's "Stand" -- the latter takes up all of Side Two. Smith's keyboard playing -- particularly on the clavinet, is dirty, greasy, and way-gone funky. He rides Latin grooves on "Hola Muneca," and his B3 collides with the basses and Cobham's dancing, inverted backbeat groove. This is what Latin soul is all about when it meets jazz. The improvisations are in the pocket, but, at the same time, off the page. Here is where boogaloo and hard bop meet headlong. On the King tune, soul-jazz reigns supreme as the B3 administers groove therapy to the rhythm challenge. Elsewhere, as on "Stand," (arranged by Washington), Smith's overdubbed B3s create a wondrously complex harmonic melody as the band moves in behind the beat. A few minutes in (it's almost 20 minutes in length), the ensemble picks up the tempo, and falls into the groove pocket from which all things are possible improvisationally. Two-and-a-half minutes into the tune, the jam unfolds, a soul-jazz deep funky grit that streams and sweats call-and-response lines from one player to the next. For anyone who's ever had reservations about Washington's ability to cut loose as an improviser, they need only to give this track a listen and then apologize to his ghost. As guitars weave in and around the slinky, deep-groove basslines, Smith and Washington trade fours, and then Ponder turns his guitar into an overdrive machine to match Smith line for line, interweaving and intercutting before the whole mutha lifts off at eight-minutes-thirty-seconds and into a James Brown and His Famous Flames riot of soulful funky badness that nonetheless allows for Washington to solo outside on the edges of an over-amped rhythm section. Whew!" ~ AMG
"Roland Kirk and his band — which, along with his normal companions Howard Johnson on tuba, Dick Griffin on trombone, Ron Burton on piano, and Vernon Martin on bass, added Leroy Jenkins on violin, Alvern Bunn on conga, Sonelius Smith on celeste and piano, and Joe Texidor on various sound objects to the mix — once more indulge his obsession with creating modern day "black classical music." Recorded on one night — Christmas Eve 1969, two days before Johnny Hodges died — this is one of the weirdest records Kirk ever recorded, but it certainly has merit. Beginning with a 17-minute conceptual suite called "The Seeker," this was classical music Kirk style. The fact that his music here careens from vanguard atonalities to deep swinging blues grooves and wide-ranging color orchestrations worthy of Ellington is part of the Kirk paradox: If you hate it, wait a second — it'll change. Other tracks here include a steamy "Satin Doll," a bluesy, mood-driven "Sweet Fire," and an almost obscene "Baby Let Me Shake Your Tree," all played with a host of horns in Kirk's mouth, all playing either ostinato or soloing at the same time, splitting the lobes as he called it, and all of them directing a very tight, wildly celebratory band. Rahsaan was the king of the riff — he could use it until it bit you — and once it did he was off and running someplace else, down on the hard-swinging outer spaceways of his mind and heart." ~ AMG
The cover artwork is called "The 12 Archetypes" or "The 12 Faces Of Humankind". The colour pictures of these 12 faces were painted by an artist called Tammo De Jongh in 1967.
The twelve faces in the picture are as follows:
The Fool (Fire and Water): The laughing man with a wispy beard.
The Actress (Water and Fire): The egyptian girl with long pearl earrings and many pearl necklaces around her neck, she has tears in her eyes.
The Observer (Air and Earth): A scientist type person with round spectacles pushed up above his brow,mostly bald head with white hair at the sides; his left hand is held up to his chin, he looks thoughtful.
The Old Woman (Earth and Air): A woman with much wrinkled face wrapped up against the cold.
The Warrior (Fire and Earth): A dark and powerful warrior's face in blacks and reds. He wears a steel helmet, broad square face, open mouth with square teeth and a full black beard.
The Slave (Earth and Fire): A black African with large gold earrings and a ring through his/her nose; the lips are full and pink, the eyes half-closed, sultry and sensuous; the expression is warm and friendly.
The Child (Water and Air): a picture of innocence; a girl with delicate sweet smile and butterfly shaped bows at each side in her long golden hair; her eyes are large and watery and she has a delicate sweet smile on her mouth. She wears a gold chain, on the end of which is a small golden key.
The Patriarch (Air and Water): An old philosopher, with a long face and long white hairand long white beard and moustache; white bushy eyebrows; all around are shapes like flowers or snowflakes; the brow is furrowed upwards from the nose in a fan-like fashion.
The Logician (Air and Fire): A scientist or wizard type man with long face, dark hair and long dark beard; he appears to hold a long stick or wand with his right hand and his left is held aloft and surrounded by stars.
The Joker (Fire and Air): Picture in bright reds and yellows is of a smiling twinkle-eyed 'court jester' with gold-stuccoed, triangular hat reminiscent of a matador.
The Enchantress (Water and Earth): A sad girl with watery eyes gazing at the observer; her long dark hair is blown sideways across her face and brow from right to left.
Mother Nature (Earth and Water): Lying asleep in the long grass; their face in silhouette is viewed from the left side and all around are the flowers and butterflies.
Robert Fripp - guitars, mellotron & devices
Peter Sinfield - lyrics
Greg Lake - vocals (except 3)
Mel Collins - flute & saxophones
Michael Giles - drums
Peter Giles - bass
Keith Tippett - piano
Gordon Haskell - lead vocals (3)
1. Peace – A Beginning
2. Pictures of a City
- 2nd at Treadmill
3. Cadence and Cascade
4. In the Wake of Poseidon
- Libra's Theme
5. Peace – A Theme
6. Cat Food
7. The Devil's Triangle
- Merday Morn
- Hand of Sceiron
- Garden of Worm
8. Peace – An End
Tuesday, January 1, 2008
AS POSTED ON THE TRADERS DEN HERE
The Mars Volta
The Echoplex, Los Angeles, CA
Giant Squid Omni Mics > Battery box w/bass roll-off > iRiver H100 w/Rockbox installed
>Split into tracks/normalized/EQed using Cubase LE
>Exported to .wav
>Flac using FLAC Frontend
2. Roulette Dares
3. Viscera Eyes
4. Wax Simulacra
6. Conjugal Burns
10. Cygnus Intro
16. Day of the Baphomets
- I started recording a little closer up, but moved back after the first few songs, until i was right in front of the soundboard (around Goliath). Because of this, the recording gets progressively more balanced and less crowd-noisy.
- First live performances of Conjugal Burns, Agadez, Metatron, Ourobouros, Ilyena, and Aberinkula.
Monday, December 31, 2007
01 - Are you Ready, Baby [02:24]
02 - What Did He Say [06:54]
03 - Hormones in The Headphones [06:46]
04 - Nobody Knows My Name [04:50]
05 - Hero [05:07]
06 - Yinnin' and Yangin'Hey Girl [12:37]
07 - Sacred SilenceThe Jam Man [05:46]
08 - Tappin' and Thumpin' - Medley [05:32]
09 - James Brown!Iron Man.mp3 0:07:47]
01 - Miller Time [10:41]
02 - Good People [07:53]
03 - Imagine This [08:39]
04 - I Dream In Color [04:18]
05 - My Life [04:49]
06 - U Can't Hold No Groove.... [05:24]
07 - Me and My Bass Guitar [04:41]
08 - Pretty Little Lady [04:38]
09 - If You Want Me To StayThank You [09:48]