Front and Rear

The Meat and Dairy

Love is strange - Mickey and Sylvia (100% usda choice beef) < Buddy Holly - Love is Strange (plain wonder bread) Everly Brothers - Love Is Strange (milk toast with cheese spread) Buck Owens & Susan Raye - Love Is Strange (and some soul retrieved by buck with a roast beef sandwich on a roll.)

Suspicious Slick

I've been seeing this for a while now, usually after the rains which sucks but is understandable. This drainage i believe originates from the gutters of the wealthy homes above the cliff from the coast hwy. However, this was not after a rain and i also think the restaurant directly in front of it is pumping out it's crap too. maybe even connected to the same pipe. not cool.

WALL OF VOODOO-S/T, 12" EP, 1980, USA

It's sorta amazing that no one's thought to post this out of print monster somewhere in the music blogosphere before, but then Wall Of Voodoo have always been a pathetically misunderstood and underrated band, whose early MTV-generated fame gave the impression of a new wave novelty act, which completely belies their origins, their intent and their absolute musical singularity (Ennio Morricone meets Kraftwerk after a trawl through the bowels of L.A.'s synth punk underground). Few realize that before MTV, Ridgeway and co. were a fixture of L.A. art punk fringe, frequently gigging and jamming together with synth punk titans Nervous Gender, and that their monster ace-in-the-hole percussionist Joe Nanini had previously been a member of Black Randy's Metrosquad. This debut EP captures them at a screaming peak of originality, never more so than on their bleak, severe and searing cover of Johnny Cash's Ring Of Fire. Ring Of Fire is surely great yet songs like the passenger and longarm are great too. whole LP GREAT! It WILL LIVE ON! a classic. The six songs included were "Longarm", "The Passenger", "Can't Make Love", "Struggle", "Ring Of Fire" and "Granma's House". get it.(the fileshare may be busy so just come back after a while and try again) via mutant sounds Also; WALL OF VOODOO-RING OF FIRE (REMIX)/THE MORRICONE THEMES (LIVE), 12", 1982 (RECORDED: 1980) + TWO SONGS BY WALL OF VOODOO, 12", 1982, USA More info and get here.

Boo To School. Still Available and trained!

To summarize the"Boo" story; We made a deal with Karma Rescue to trade Boo for a senior "Dude" with the stipulation that she spend 3 weeks in high end pit bull training with the best trainer you can find here called "Blue Dog Ranch". After her training she will be returning to Karma for foster and her training re-enforced by them. As of now, she is listed on Petfinder for adoption while being trained and will be listed even after if not picked up. The idea is, she wants, loves and needs the training and will be just a more attractive dog to proposed homes. David, the head trainer/owner of "Blue Dog" is the best and took her under his wing as he says, "she is a trainer's dream"! She lives in his home with other dogs and under high discipline and love. For info on Boo you may contact Rande at Karma Rescue, Please call 310-512-RUFF (7833) or mail her or contact David at Blue dog 818 729-0550 or mail here.

Anderson Stealth 6'4"

foamed and slightly finned. these super high tech looking craft have passed the r&d from Farbrow to Faen and now on the racks @ Mollusk. i'm just curious what the die hard alaia riders think?

What's Up Tiger Lily?

What's Up Tiger Lily?, a 1966 comedy film, is the first film directed by Woody Allen, who also wrote and appeared in it. Allen took International Secret Police: A Barrel of Gunpowder and International Secret Police: Key of Keys, two in a series of Japanese spy films and overdubbed them with completely original dialogue that had nothing to do with the plot of the original films. By putting in new scenes and rearranging the order of existing scenes, he completely changed the tone of the films from a James Bond clone into a comedy about the search for the world's best egg salad recipe. Louise Lasser, who was married to Allen at the time, served as one of the voice actors for the "new" dialogue soundtrack, as did Mickey Rose, Allen's writing partner on Take The Money and Run and Bananas. During post-production, musical numbers by the band The Lovin' Spoonful were spliced into the movie against Woody Allen's wishes. This helped convince Allen that he should secure creative control for all his future projects. The band released a soundtrack album. my favorite scene.

Golden Dawn and the Exposed Alien

for Anthony.

Message From A Black Man

This soulful vocal trio from Baltimore, USA, formed in 1969 and comprised Billy Herndon (lead), Garnett Jones (tenor) and Gerald ‘Chunky’ Pinkney (baritone). The trio first came to national prominence in 1970 when their socially-conscious single ‘Message From A Black Man’ on A&I Records made the R&B Top 20. They then joined Sylvia Robinson’s(She is credited as the driving force behind two landmark singles in the genre: "The Message" by Grandmaster Flash & the Furious Five, and "Rapper's Delight" by the Sugarhill Gang. She was also part of Mickey and Sylvia's hit "Love is Strange"[my favorite] then later hit with "Pillow Talk") Stang label and recorded some of the most underrated R&B vocal group records of the early 70s; including ‘Please Make The Love Go Away’ in 1970 and their biggest US success ‘I’ll Erase Away The Pain’ a year later. The group also recorded with other Stang artists including Linda Jones and the Moments. It was ‘Girls’, that teamed them with the Moments, and gave them a UK number 3 hit in 1975. The group also had limited success with releases on GSF in 1973 and Harlem International in 1982. click pic for large lp. I Just Can't Lose Your Love Tweedly Dum-Dum She's Gone to Another What's Life to Give (After Giving It All) Fall In Love All Over Just Can't Leave My Baby I'll Erase Away Your Pain Please Make the Love Go Away Souling With the Whatnauts Dance to the Music Message From a Black Man these guys cover some ground. from trippy bitch out guitar a la funkadelic to low rider style , back seat lovin' oldies. this is a must have. highlights are message from a black man and the awesome cover of sly. GET IT> via thanks Sam Sweet

Golden Flight & Black And White

JW. on Andrini 8' making the best out of really crappy surf.

"I Love Journalists"

Lou conducting (in my opinion) thee best rock interview ever. I would say that most press is very stupid(and some not) but damn are not those stuffy English the worst? Bob crucifying the press. Frank. . A misbehaving Patti Smith (and Richard Sohl) with a very serious German host who keeps asking the same question and translates everything she says. Lenny Kaye tries to answer the question in the end.

Little Tubes, Liddle Skittle, Big Dude

The Fun Of Watching Fireworks

A drone-pop quartet hailing from Austin, TX, the American Analog Set evolved from the ashes of Dallas' Electric Company in 1994. After Electric Company's demise, guitarist/vocalist Andrew Kenny, keyboardist Lisa Roschmann, and drummer Mark Smith reunited to cut a number of impromptu four-track recordings that ultimately led to their decision to re-form as a group. The addition of bassist Lee Gillespie followed, and the quartet renamed themselves the American Analog Set before preparing for their first performances. After just their second gig, the band earned a deal with the local label Emperor Jones (a subsidiary of Trance Syndicate, owned by the Butthole Surfers' King Coffey) and issued their debut single, "Diana Slowburner II." Their first full-length effort, the low-key The Fun of Watching Fireworks, followed in 1996. From Our Living Room to Yours, the group's superb sophomore effort, trailed one year later, as did the EP Late One Sunday & the Following Morning, released in conjunction with the Darla label's "Bliss Out" series. The third AmAnSet album, The Golden Band, appeared in 1999. Roschmann's decision to exit the lineup left the group in limbo, but Kenny, Smith, and Gillespie soon refocused with the addition of keyboardist Tom Hoff (keys) and guitarist/vibraphonist Sean Ripple. The acclaimed Know by Heart followed in 2001, as did the singles collection Through the 90s. Kenny moved to New York City in 2002 to begin a Ph.D. program at Columbia, but AmAnSet remained solvent. A tour with Her Space Holiday, as well as a remix EP, Updates, followed in July 2002. 2003's Promise of Love, which continued to meld soft ambient soundscapes to indie rock meter, marked the band's second release for Tiger Style. Hoff was unable to tour in support, requiring the band to add Craig McCaffery before playing shows with Ester Drang and the Album Leaf. Two years later, the American Analog Set signed with Arts & Crafts for Set Free, the band's sixth album. ~ Jason Ankeny, All Music Guide my 2 cents; i have and like "Late One Sunday & the Following Morning- Bliss Out". A 2 song disc of very sparse pure Americana psychedelia. Great instrumental driving music. Not groundbreaking art but who cares! Sounds good. I like what they do. Simple and tasteful. This LP sounds good to me so far so let us see if their format can expand to a full length LP? (personally i like short LPs and short live shows, but long beautiful songs) 1. Diana Slowburner II 2. On My Way 3. Gone To Earth 4. On The Run's Where I'm From 5. Dim Stars (The Boy In My Arms) 6. Trespassers In The Stereo Field 7. Too Tired to Shine II 8. It's Alright GET IT.

"We're Doomed"

The Adventures of Gulliver is a television cartoon produced by Hanna-Barbera Productions, created in 1968. The show is based on the novel Gulliver's Travels. The show originally aired Saturday mornings on ABC-TV between September 14, 1968 and September 5, 1970. 17 episodes were produced, which were syndicated as part of The Banana Splits And Friends Show in the early 1970s. wiki; Gulliver's Travels (1726), officially Travels into Several Remote Nations of the World, in Four Parts. By Lemuel Gulliver, First a Surgeon, and then a Captain of several Ships, is a novel by Irish writer and clergyman Jonathan Swift that is both a satire on human nature and a parody of the "travellers' tales" literary sub-genre. It is Swift's best known full-length work, and a classic of English literature. The book became tremendously popular as soon as it was published. (John Gay said in a 1726 letter to Swift that "it is universally read, from the cabinet council to the nursery" ); since then, it has never been out of print. The book is also required reading for many high school students, including high school Literature Advanced Placement students. via;wiki I loved this book and also the cartoon. As a kid i certainly did not understand the satire yet now it seems brilliant. In the cartoon the one character that always stuck with me was "Glum". He was so funny and his negative silliness still reminds me of living characters today. He actually reminds me of a few people i know. 'Glum' Quotes; "it'll never work!, we'll never make it!, we're doomed!" etc.

Charlotte Gainsbourg - IRM / Live on KCRW

You easily might know Charlotte Gainsbourg as the French actress that most recently was in Antichrist [2009] with William Defoe or the singer/songwriter that had the well received debut record 5:55 [2006] but her new album IRM should definitely gain her more exposure. The record is a complete collaboration with Beck, who not only produces but co-writes, brings in his favorite helpers (father David Campbell, and drummer Joey Waronker), and of course supplies vocals. With Beck's stamp all over this thing, IRM ebbs and flows like a Beck album only driven by the female lead. This support can only go so far, as this is still Gainsbourg's record and given its subject matter you will not be confused. You see, Charlotte suffered a brain hemorrhage after a water-skiing accident in 2007 and IRM (MRI backwards) is the story of her time spent in the hospital. Now - not to worry, Gainsbourg has fully recovered but on this record there are moments of distant isolation that totally sink in with repeat listens and lets you feel her emotions. There are also several tracks of drifting French but what really makes IRM a keeper are songs like the beat heavy "Trick Pony" or the feedback riddled "Greenwich Mean Time" that stand out with their Beck influence, as the two are a perfect pair. The final take on IRM is that the Gainsbourg/Beck duo works well, most of the songs are tightly contained under the three minute mark and no song on the album sounds alike. This all equals an entertaining listen and a singing career for Charlotte Gainsbourg that should gain immediate traction! Disc 1 1 "Master's Hand" 2 "IRM" 3 "Le Chat du Café des Artistes" 4 "In the End" 5 "Heaven Can Wait" 6 "Me and Jane Doe" 7 "Vanities" 8 "Time of the Assassins" 9 "Trick Pony" 10 "Greenwich Mean Time" 11 "Dandelion" 12 "Voyage" 13 "The Collector" Hear the whole LP here. Yesterday morning, Beck and Charlotte Gainsbourg stopped by KCRW, performing live in the studio. Watch/ Listen to the whole show here.

FALLEN FRUIT

By Alie Ward The Los Angeles Times February 4, 2010 Conceived in 2004 with fellow Silver Lake artists David Burns and Austin Young, Fallen Fruit began as an art project to map fruit growing in public spaces. The message: One person’s overburdened branches and yard waste are another’s lunch. Over the last five years, public interest in the project has spiked as sustainable food sources and frugality have come increasingly into fashion. “Now we seem really pragmatic,” Viegener says with a laugh. “It’s nice.” The collective — which isn’t a nonprofit but rather an ongoing art collaboration — has since held events, including jam-making sessions at galleries, a South American residency to examine fruit farming, and a compelling and cheeky interactive banana exhibit at Los Angeles Contemporary Exhibitions last summer. This year, the collective is tackling LACMA. After Fallen Fruit participated in Machine Project’s 2008 exhibit “A Field Guide to the Los Angeles County Museum of Art,” the group sprouted the idea for Eat LACMA, a nine-month series of events kicking off this weekend with tree adoptions, followed by lectures, tours, artist-curated gardens and food-themed art installations. “All of our projects involve fruit, but Eat LACMA examines food in general,” Viegener says. “The art of the table, the centerpiece, even dinner music; food is a very primal form of culture because it connects us.” “It’s central to everyone’s lives,” adds Michele Urton, LACMA’s assistant curator of contemporary art. Eat LACMA will commence with two tree giveaways this weekend: One at Watts Towers on Saturday and another at LACMA on Sunday. Fallen Fruit will distribute 300 peach, nectarine, apple, tangerine and plum trees to anyone willing to plant them in public space or “on the perimeter.” That term, used often in Fallen Fruit discourse, refers to the edges of property lines, where branches overhang into public space and the excesses can easily and legally be shared by the community. “If everyone planted a fruit tree in a public space, it would change the city,” says Fallen Fruit co-founder Burns. “It would change our relationship to the city; it would change our children’s relationship to it.” This weekend, recipients can sign “adoption” papers pledging to care for their new tree and keep the collective updated. The progress of the tree is tracked, becoming a part of Fallen Fruit’s long-term art project. Eat LACMA continues in March, when several artist-curated gardens will take root on the LACMA campus. Plans include a hanging garden of bitter melons, a Peruvian potato field and a fountain filled with live tilapia, which will be collected and cooked for a fish taco-meets-art function later in the year. Each garden is intended to create a “unique conversation,” Burns says. On June 27, the collective will unveil “The Fruit of LACMA,” an exhibit representing food-related work culled from LACMA’s permanent collection. More than 50 pieces, including decorative art and classical paintings and even Harold E. Edgerton’s iconic “Shooting the Apple” photograph, examine the many complexities of human relationships with food. Fallen Fruit will also debut a multimedia assemblage, for which it will solicit video of strangers dining, described by Burns as “60 seconds, head and shoulders, food in the face.” The user-submitted footage will become a montage of mouthfuls and screened on a loop. They’re hoping to collect submissions from different corners of the globe. Food is everywhere in art, but, Viegener notes, “We never see anyone eating.” Eat LACMA will also include a jam-making session and a summertime event dubbed ” Salsa Salsa,” which delivers a one-two punch of tomato harvesting for pico de gallo, alongside spicy Latin dance instruction. The series concludes in November with “Let Them Eat LACMA,” as food from the various gardens will be put to practical, edible use. “For the final aspect, the public gets to eat the art,” says Fallen Fruit co-founder Young. Fallen Fruit says the aspiration is to draw art lovers, environmentalists and curious foodies who otherwise may not commingle. “What we’re excited about is not just the offshoot conversations about public space and sustainability and carbon footprints,” Burns says. “But it’s also the fact that one of the things we love to do is make jam with people we don’t know.” LACMA/ Fallen Fruit thanks Ryan

Charlie Patton and R. Crumb

Charley Patton is generally regarded as being the father of Delta blues, and some consider him to be the King of Delta blues. He was a major influence on young musicians of the time, most notably a John Lee Hooker and Chester Burnett aka Howlin' Wolf. He was an accomplished guitar player and had a gritty, bellowing voice. His lifestyle was like that of the archetypal pre-war blues man- hard drinking, hard living and many times married (some reports suggest that he had as many as eight wives). He died from heart disease in 1934 a young man of 42. This CD is a sample review drawn from the 7 CD box-set, The World of Charley Patton which was released in 2003. http://www.mediafire.com/?jgzw2tgf4zf This is underground comic book genius R. Crumb's retelling of the life of Delta bluesman Charlie Patton, based on the biography by Stephen Calt and Gayle Dean Wardlow. These scans are provided for educational purposes only under the fair usage exemption of U.S. copyright law in order to promote awareness of country blues. If the copyright owner of this work objects to this posting, I will remove it. Or, to paraphrase Frank Stokes, another country blues singer, if Mr.Crumb don't like it, we ain't gonna have it here. bject> or of course link to the right for convert youtube to M3P>>>>>> via; http://knowyourconjurer.blogspot.com/

Johnny Cash: The Hospice Sessions

By Ann Powers pop music critic >>> February 21, 2010 On 'Ain't No Grave,' it's a vulnerable Johnny Cash, accepting his physical state and making the best of it. Anyone who has lived with the decline of a loved one will feel the raw emotion. Let me tell you a story about my dad and Johnny Cash. Many American music lovers of a certain age could spin out such a connection; Cash is primary among artists who represent the tough psyche of the post-war patriarchal male, his music exposing the connections between empowerment and violence, pride and repression, that defined an ideal still romanticized long after it became dated. Frank Sinatra did it, tux tie loosened, with a Scotch in his hand. Muddy Waters shouted about it in a sharkskin suit before the folkies persuaded him to put on overalls. Cash wore black, keeping everything primal even when he was playing a role or just goofing around. He was the ultimate father figure, King James biblical in proportion, showing how deep a baritone voice and a limited color wheel could go. My father, also named John, was never a Cash fan. His taste ran more to the big bands and sentimental singers like Mario Lanza. But when he died of pancreatic cancer at 82, John T. Powers did so in a way that John R. Cash's late-period music perfectly describes. Exiting this world, the imperfect patriarch of my family was forced to reach for the essence of dignity in a way that both called upon and challenged him as a traditional American man, which is what Cash does on the album that producer Rick Rubin gives us now. Drawing on my experience with my dad, I'd call "American VI: Ain't No Grave," due out Tuesday, Cash's hospice record. The singer lost his battle with diabetes and asthma months after he recorded these songs; during the sessions, his wife and primary support system, June Carter Cash, unexpectedly succumbed after heart surgery. Though he wasn't formally in end-of-life care, it's clear that when he selected and interpreted these 10 songs, he was closing his life's book. Taken as a whole, the six-part American Recordings series offers a striking portrait of an artist confronting physical decline. The word "physical" is important here. Cash's late-coming sobriety and Rubin's ability to get the old showman to take himself seriously again, combined with the singer's natural tendency toward minimalism, produced a remarkable clarity. There might be hokum on these albums -- as the critic Jody Rosen pointed out in a 2006 Slate essay, Cash going Goth with covers of Nine Inch Nails and Depeche Mode was "both great art and shameless kitsch" -- but there is no fat. Adopting Trent Reznor's angst, applying his own writing talents to old folk forms like the murder ballad, or simply praising the God who helped him get through, Cash unadorned every lyric, exposing the dumb phrases as well as the gems. The musicians Rubin enlisted to embellish the work, many of them famous but obviously all hushed by the legend's presence, listened and gave him room. Cash's legend grew exponentially, because while Americans have heard many men in their prime declare themselves tough or wounded or murderous, we've been less open to the voices of the old or the vulnerable. The sound of Cash in decline was a powerful shock that reminded listeners of the breadth of every human life. A strongman in decline At first, it was also something of a show. Like most chronic drug users, Cash had many health struggles, but in 1994 he was in vigorous voice, and you can hear a chuckle behind the spooky tone of his first recordings with Rubin. It's there in the swing he gave the tale of mayhem " Delia's Gone" and in the droll croon he applies to his former son-in-law Nick Lowe's dissection of the id, "The Beast in Me." Holding onto that chuckle was a key part of the remarkable feat Cash and Rubin accomplished over the ensuing decade. Loving the work, Cash recorded all kinds of songs -- funny ones, familiar ones, some he'd recorded before and others he never would have heard if not for his hip younger friends. The material matters; it was a blessing that Rubin kept Cash away from the soft rock of contemporary Nashville, and occasionally, the hipster connection worked magic. But the greater value of the American Recordings emerges through Cash and Rubin's unflinching attention to the details of his slowly failing instrument. Many older singers just sound bad because they're still trying to present themselves as totally masterful. Cash didn't do that. He let in the cracks and the shortness of breath and the flatness. That's when the chuckle comes in, often silent but always pushing against the inherent drama of the songs and the moment. "Oh, well," you can almost hear Cash say, "I'm still singing." The recordings leading to Cash's last sessions, which resulted in both "Ain't No Grave" and the preceding posthumous release "American V: A Hundred Highways," constitute this public display of a man's man coming to terms with his own vulnerability. Those final efforts, however, are different, and "Ain't No Grave" especially captures Cash's final mood. It's more private, not as overtly "heavy," but in its humility and inward-turning spirit it profoundly completes Johnny Cash's gift of a good death. Here's a vivid memory I have from my dad's first days in hospice. We'd just found out that this cancer, one of several serious diseases that plagued him during his last decade, was inoperable. My Uncle Bill, his older brother, brought my Aunt Joyce over for a visit. We settled into my parents' living room and exchanged meaningful pleasantries. My dad sat in his special chair; my mom served hors d'oeuvres. The knowledge that my father was dying took up plenty of space in the room, but for that afternoon, we tried to simply live with that knowledge, incorporating it into the day-to-day. The earliest volumes of the American Recordings remind me of that visit. In both cases -- my family in the living room, Cash and his collaborators in various studios, together or alone -- everyone involved applied great energy to the act of relaxing into the total ambiguity that takes over when death is in the room. There was a sense that public gestures still mattered. That feeling is gone on "Ain't No Grave." Rubin has told interviewers that after he lost June, Cash lost his motivation to live, beyond making music. Think of that: For Cash, at the end, recording the vocals captured here was the reason to fight for life. Yet they're not full of blood and thunder. Partly because of failing strength but also maybe because he no longer felt any need for bluster or any other kind of show, Cash melds with these melodies, not so much interpreting them as letting them support him, gently. There's plenty here for the morbid to mine. Still, Cash refuses to be overly somber. Rubin's production on the title track is ominous, with banjo and foot-stomping from his protégés Scott and Seth Avett to give this old hymn a freak-folk edge, but Cash's vocal has the punch of an old fighter. "Cool Water" is more characteristic; in Cash's hands, the well-known cowboy song of fatal thirst becomes positively soothing. Meeting death head-on "1 Corinthians 15:55," Cash's sole writing contribution, better captures the overall mood of acceptance and even some small joy in the face of insurmountable loss. Based around St. Paul's rhetorical question "O Death, where is thy sting?" it's a waltz that trips lightly along in an old-timey parlor music arrangement. The song pairs beautifully with folk singer Tom Paxton's existential blues, "Can't Help But Wonder Where I'm Bound," which in Cash's wavering but calm voice becomes a mantra of self-acceptance. "Ain't No Grave" is governed by that spirit, the feeling that comes to the dying once they've absorbed the real meaning of the euphemism "making peace with death." You make peace with life, with what you have left. You take whatever tiny pleasure remains. You try to love the ones losing you. At least that's what my dad did, even in the last few weeks of hospice. One song on "Ain't No Grave" made little sense to me until it triggered another memory of his final days. Near the end, he was confined to his bed. Only immediate family came to visit. We had entered a private space in which no one tried to be particularly upbeat, but the mood in the house wasn't heavy. My dad was ready to go, and we were ready to let him. One afternoon I walked into my dad's room, and music was playing. It was an easy-listening record, probably one by Jackie Gleason and his orchestra. Lying semi-conscious, my father lifted his hands like a conductor and waved them. That corny, beautiful sound had gone right into him and carried him somewhere. When I hear Johnny Cash singing "Aloha Oe," the Hawaiian song of goodbye, I see my dad, almost gone but still with us, simultaneously sustained and transported by music. "Aloha Oe" is a song easily pegged to airline commercials and luau-themed patio parties. But as Cash imparts it in a tone that deserves to be called "dulcet," that baggage slips away. "Aloha Oe" becomes as basic as life itself is at the end. Just another lovely melody, there for Johnny Cash to sing, while he still could. ann.powers@latimes.com

The Indian Smiles, He Thinks The Cowboy Is His Friend.

* Taking their name from Maoists Communists figures, Gang of Four is composed of Dave Allen on bass, Hugo Burnham on drums, Andy Gill on guitar, and vocalist Jon King blending Marxists ideologies while mixing a rather sarcastic view of Western culture. Gang of Four's unison is one in which solidarity truly strikes gold, for their pop sensibilities became something avant, and this is the dance, funk excitement post-punk now provokes. * On Entertainment! Jon King's melodic outbursts would end up sounding overbearing if it were artless; however, their whole disgust with indulgences, capitalism, and the politics regarding sex, society and one's own worth is undoubtably revolutionary for post-punk and fitting as it is in the spirit of their time. The opening track "Ether" is King's melodrama of deception as he sings, "Dirt behind the daydream," with Gill's erratic guitar and Burnham's more structured, funk drumming. "Not Great Men" is in competition with The Pop Group, with Allen's role being extremely prominent, in fact, Allen takes lead of many songs on Entertainment! ("Damaged Goods," "I Found That Essence Rare," "Contract," and "5-45"). * While Allen and Burnham tend of be in consonant structure (with "Return The Gift" as their dance song), Gill's presence is much more raw sounding, as his guitar rejects the conventions of solos or even constant rhythm for strange guitar yelps à la Glenn Branca or anything on Trout Mask Replica. * In "At Home He's A Tourist," Gill plays on pauses while engaging in a melodic structure similarly to "I Found That Essence Rare." Gill's most impressive playing (in regards to style, though at times "At Home He's A Tourist" feels rather superior) is on "Anthrax" as it reaches something of a deep gradual drone, almost psychedelic and certainly amazing. As the former gives Entertainment! most of its sound, it is Jon King who gives the album its theorization. * "Natural's Not In It," "Damaged Goods," "Contract," and "Anthrax" all deal with society and the way it reveres pleasure. None of them are love songs, as one views relationships as "a contract in our mutual interest," another detaches oneself from subjectivity ("Sometimes I'm thinking that I love you/ But I know it's only lust"), and one even questions free will in regards to love ("We all have good intentions/ But all with strings attached"). King continues to attack production possibilities and disregards national loyalism on "Guns Before Butter," speaks of dishonest politicians on "I Found That Essence Rare," and "At Home He's A Tourist" he sings about the conflicts society brings upon itself. * He's at his best on "5-45" as he proclaims, "How can I sit and eat my tea with all that blood flowing from the television," and continues to shout, "Guerilla war struggle is a new entertainment!" What is so brilliant about this track is, aside from their critical view of social classes, is how they knowingly add themselves to the indulgent entertainment they so strongly dislike. This is not some sort of intellectual suicide as it is a realization that does not make them question what they've done. Through his expressions, King goes from austere, with Gill being an echo or expansion, to such intensity, almost resembling a sort of rapture. With the post-punk revival movement, Entertainment! is quite possibly the most borrowed from album, and even with such an extensive blueprint for many bands to derive from, nothing ever sounds as striking as this record. Tracklist 1. Ether 2. Natural's Not In It 3. Not Great Men 4. Damaged Goods 5. Return the Gift 6. Guns Before Butter 7. I Found that Essence Rare 8. Glass 9. Contract 10. At Home He's A Tourist 11. 5-45 12. Anthrax 13. Outside the Trains Don't Run on Time (Bonus Tracks) 14. He'd Send in the Army (Bonus Tracks) 15. It's Her Factory (Bonus Tracks) 16. Armalite Rifle (Bonus Tracks) 17. Guns Before Butter (Alternate Version) (Bonus Tracks) 18. Contract (Alternate Version) (Bonus Tracks) 19. Blood Free (Live) (Bonus Tracks) 20. Sweet Jane (Live) (Bonus Tracks) GET; http://www.mediafire.com/?0deydeu0bkg via http://forestroxx.blogspot.com/

Don't Believe The Sheep

influenced by the web and some sheep, i did not even wake to check. these are the days i revel to go forth. when most points to failure, you can find hidden gems.(sometimes) i feel like a sheep as well. beh eh eh.

John Lennon And The Plastic Ono Band DVD

John Lennon - John Lennon And The Plastic Ono Band "John Lennon / Plastic Ono Band" was John Lennon's first solo studio album after the break up of The Beatles. Both John & Yoko had been undergoing primal scream therapy in the lead up to the recording of the album and both this and Yoko Ono's companion album ("Yoko Ono / Plastic Ono Band") were deeply influenced by their therapy. This latest addition to Eagle's acclaimed Classic Albums series explores the creation of this groundbreaking album through new interviews, archive footage and detailed analysis of the original multi-track masters. Interviewees include Ringo Starr, Yoko Ono and bass player Klaus Voorman. DVD Rip thanks Sam Sweet.

Boo and The Dude

A Lesson On Chewing "let me tell you a secret"

East Side Promises

Antigua Coffee House Opens in Cypress Park Fifth-generation coffee roaster Yancey Quinones opened Antigua Coffee House on September 8 in Cypress Park, a neighborhood that’s sandwiched between downtown and Highland Park. He owned a coffeehouse by the same name in El Sereno but lost his lease a year ago and relocated. For many years, the space housed an ice cream parlor, and leading up to Antigua, it held a clothing store. Quinones grew up in Cypress Park and went to the ice cream parlor as a kid. He pays respect to his Guatemalan heritage by naming the coffeehouse for one of the country’s prominent coffee growing regions. The logo even features an iconic Mayan character drinking a cup of coffee. Speaking of coffee, Quinones sources the bulk of his coffee from his family’s Guatemalan coffee plantations, which date to 1865. He said his two primary beans are Antigua, which sport a blue-green color and taste like cacao; and Panibaj, a higher elevation, shade-grown coffee with a sweeter taste that grows green and packs blueberry notes. Antigua’s espresso blend includes Brazilian and Guatemalan coffee beans. Quinones roasts all his beans in Boyle Heights and pulls espresso shots on a four-group La Marzocco. You’ll currently find muffins and pastries, and Antigua will soon add simple sandwiches. The interior features plenty of windows, comfortable seating and colorful paintings from well-known Chicano artist Jose Ramirez, who painted a high-profile mural at the entrance of White Memorial Medical Center in Boyle Heights. Open daily from 7 AM - 9 PM. Free WiFi is available. Hours: Sun.-Thurs. 6 a.m.-10 p.m., Fri.-Sat. 6 a.m.-11 p.m. Cuisine: Baked Good, Dessert, Salad, and Sandwich Meals Served: Breakfast, Dinner, and Lunch Price Range: $ (Under $9) Restaurant Style: Bakery and Coffeehouse 6703 N. Figueroa St., Highland Park, CA 90042 Neighborhood: Highland Park

Point Rustic...from 5 to 12

Swell

Swell are an American indie and lo-fi band formed in San Francisco, USA in 1989 by David Freel (guitar/vocals) and drummer Sean Kirkpatrick. Joined by bassist Monte Vallier and second guitarist John Dettman, the band issued their self-titled debut album (1990) and follow-up ‘Well…?’ (1991) on their own Psycho Specific imprint to positive reviews and college radio airplay. Plaudits from musical luminaries such as British DJ John Peel followed, and in the tailwind of the grunge explosion Swell signed a record deal with Warner Brothers offshoot Def American. Their first major-label album ‘41’ (1994) was released to a warm critical reception, but problems with Def American’s finances led to Swell leaving the label with fourth album ‘Too Many Days Without Thinking’ already partly recorded. Tracklist A1 Get High 3:11 A2 A Town 4:56 A3 Sick Half of a Church 3:39 A4 Love You All 4:10 B1 Stop 3:15 B2 Dan, a Son of God 3:43 B3 Ready 3:53 B4 Think About Those Days 4:09 B5 Wooden Hippie Nice 3:56 GET IT; Password – SirensSound.blogspot.com All via The Sirens Sound What's not to love about a 3 piece rock band, catchy simple songs and recorded really well in their own home studio.