Paul Gross Displacement Hull Surfboard - $500

6'8 PG designed bladed out hull. ridden only once. no damage. like new. goes for 750.00 now only 500.00!!! won't last. a summertime savior. trimming machine yet not too much board. comes with the Pauls "nail" template high aspect volan flex fin.

The Listening Wind

HAWKWIND - Do Re Mi Fa Sol Latido 1972

Despite the success of Silver Machine, their one and only hit in June 1972, Hawkwind refused to flirt with potential pop stardom and the single wasn’t even included on this, their third album five months later. Instead, they trumpeted a collection of “ritualistic space chants, battle hymns and stellar songs of praise”, marking album debuts for Lemmy The Lurch and drummer Simon King. A defining moment in Hawkwind’s iconography thanks to Barney Bubbles’ cover art, Doremi... is also a hefty moment of sonic confirmation, underlined by warped, elephantine 11-minute opener Brainstorm, the brooding Space Is Deep and the spiralling Time We Left This World Today. While the band’s next album, the monolithic live Space Ritual, is often hailed as their definitive statement, Doremi... is a seismic effort that continues to inform the band’s set to this day and, back then, established them further as Ladbroke Grove’s most uncompromising streetwise gang of speed-freaks. -Phil Alexander- album art full size. click image. Side 1 "Brainstorm" (Nik Turner) – 11:33 "Space Is Deep" (Dave Brock) – 5:10 "One Change" (Del Dettmar) – 0:49 Side 2 "Lord of Light" (Brock) – 6:59 "Down Through the Night" (Brock) – 3:04 "Time We Left This World Today" (Brock) – 8:43 "The Watcher" (Ian Kilmister) – 4:00 Bonus tracks on Remasters CD "Urban Guerrilla" (Robert Calvert/Brock) – 3:41 "Brainbox Pollution" (Brock) – 5:42 "Lord of Light" [Single Version Edit] (Brock) – 3:59 "Ejection" (Calvert) – 3:47 Dave Brock – 6 and 12 string acoustic guitar, electric guitar, vocals Nik Turner – saxophone, flute, vocals Lemmy (Ian Kilmister) – bass guitar, acoustic guitar and vocals on "Space Is Deep" and "The Watcher" Dik Mik (Michael Davies) – Synthesizer Del Dettmar – Synthesizer Simon King – drums Additional musicians: Robert Calvert – vocals on "Urban Guerilla" and "Ejection" Paul Rudolph – guitars on "Ejection" taste rock here GET ROCK HERE Title, sleeve and philosophy (wiki) (inner sleeve left side gate fold) The package was put together and titled by graphic artist Barney Bubbles and is a continuation on themes he introduced with In Search of Space carried through and culminating in the Space Ritual. The title refers to the assignment of syllables to steps of the diatonic scale (Do-Re-Mi, etc). It alludes to the music of the spheres which Bubbles expounds upon: "The basic principle for the starship and the space ritual is based on the Pythagorean concept of sound. Briefly, this conceived the Universe to be an immense monochord, with its single string stretched between absolute spirit and at its lowest end - absolute matter. Along this string were positioned the planets of our solar system. Each of these spheres as it rushed through space was believed to sound a certain tone caused by its continuous displacement of the ether. These intervals and harmonies are called 'The Sound Of The Spheres.' The interval between Earth and the fixed stars being the most perfect harmonic interval." * Do - Mars - red * Re - Sun - orange * Mi - Mercury - yellow * Fa - Saturn - green * So - Jupiter - blue * La - Venus - Indigo * Ti - Moon - violet (inner sleeve rt side gate fold) The original cover came in a silver foil sleeve with black print, the front depicting a shield which became an ident for the band, being used on many other album and single covers. The rear cover, inner sleeve and poster depict barbarian-type warriors in futuristic settings. The back cover includes in the legend: The Saga of Doremi Fasol Latido is a collection of ritualistic space chants, battle hymns and stellar songs of praise as used by the family clan of Hawkwind on their epic journey to the fabled land of Thorasin. The legend tells of the Hawklords last and defeated stand against the "tyranny of the corrupt forces for law and evil", but the inner sleeve has redemption in the legend: And in the fullness of time, the prophecy must be fulfilled and the Hawklords shall return to smite the land. And the dark forces shall be scourged, the cities razed and made into parks. Peace shall come to everyone. For is it not written that the sword is key to Heaven and Hell? the poster included. (i really miss these) Lord of Light

Stage 2

suspended due to the 40 grit disc gone rogue from the ramshackle grinder.

Brown Round

is good eatin'.

The Nighttripper- Dr. John - 1968 - Gris-Gris ****

LINER NOTES FOR DR. JOHN'S GRIS-GRIS By Richie Unterberger When Dr. John's Gris-Gris hit the rock underground in 1968, it wasn't certain whether its master of ceremonies had landed from outer space, or just been dredged out of hibernation from the Louisiana swamps. The blend of druggy deep blues, incantational background vocals, exotic mandolin and banjo trills, ritualistic percussion, interjections of free jazz, and Dr. John's own seductive-yet-menacing growl was like a psychedelic voodoo ceremony invading your living room. You could be forgiven for suspecting it of having been surreptitiously recorded in some afterhours den of black magic, the perpetuators of this misdeed risking life-threatening curses for having exposed these secret soundtracks to the public at large. In fact Gris-Gris was recorded surreptitiously, but not in some New Orleans house of sin. It was laid down in the famed Gold Star Studios in Los Angeles, where Phil Spector had cut many of his classics. It might have never come to pass at all had Dr. John and his co-conspirators not managed to wrangle some free studio time that had been originally earmarked for Sonny & Cher sessions. The resulting album nonetheless sounded as authentically New Orleans as a midnight Mardi Gras stroll though the French Quarter. Given the circumstances, that achievement was just as magical as anything the most powerful voodoo ritual could have wrought. Gris-Gris was the first record credited to Dr. John, and to most listeners he seemed to have dropped out of nowhere with his mystical R&B psychedelia and Mardi Gras Indian costumes. The album, however, was actually the culmination of about 15 years of professional experience, during which Dr. John -- born Mac Rebennack in New Orleans -- had absorbed the wealth of musical influences for which the Crescent City is famed. Gris-Gris's roots reach back well beyond the dawn of the twentieth century, even as the album took in cutting-edge influences such as 1960s progressive jazz, and pushed into territory that no popular musician had ever explored in quite the same fashion. "Gris-Gris" itself is a New Orleans term for voodoo, and the name Dr. John taken from a New Orleans root doctor of the 1840s and 1850s. Also known as John Montaigne and Bayou John, he was busted in the 1840s for practicing voodoo with Pauline Rebennack, who may or may not have been a distant relative of our man Mac. One of Mac's grandfathers sang in a minstrel show, and the latter-day Dr. John adapted one of grandpa's favorite tunes, "Jump Sturdy," into the track on Gris-Gris of the same name. His onstage costumes and feathered headdresses, the source of shock and delight to audiences since the late 1960s, are similarly adapted from those worn by Mardi Gras Indians in New Orleans, famed for the infectious tribal percussive rhythms and chants they perform in local parades. By the mid-1950s Mac Rebennack, still in his mid-teens, was busy gigging around the New Orleans area, absorbing more contemporary influences from jazz, rhythm and blues, gospel, and rock and roll. In the late 1950s and early 1960s the multi-instrumentalist participated in a myriad of New Orleans R&B and rock records as a session musician, songwriter, and producer. After battles with drug problems and the law, he moved to Los Angeles in 1965, joining an expatriate community of top New Orleans session dudes on the Hollywood studio circuit. Rebennack scrounged for survival by playing on L.A. pop and rock sessions, getting much of his work with the help of arranger (and fellow New Orleanian) Harold Battiste. Numerous recordings on which Rebennack played, sometimes as the featured artist, from the decade predating Gris-Gris have surfaced on compilations such as Medical School and Cut Me While I'm Hot . Though of historical interest, and sometimes of considerable musical worth, these enjoyable but journeyman R&B/rock sides gave little indication of the idiosyncratic genius unveiled on Gris-Gris. Ever since coming to L.A., Rebennack had hoped to make a concept album of sorts melding various strains of New Orleans music behind a frontman named Dr. John. Mac actually wanted New Orleans singer Ronnie Barron to be the Dr. John character, but when Barron was (fortunately) unavailable, Rebennack took on the Dr. John mantle himself. Harold Battiste, now a major Hollywood name as arranger for Sonny & Cher, got Dr. John some of the duo's studio time for free, and also helped get Mac a deal with Atlantic for an LP. Had Atlantic known what was up it probably would have pulled the plug on the project. However, the album was completed, with help from Battiste (who produced and played clarinet) and numerous side musicians. These included transplanted New Orleans veterans like Jessie Hill (renowned for "Ooh Poo Pah Doo"), Shirley Goodman (half of Shirley & Lee of "Let the Good Times Roll" fame), saxophonist Plas Johnson, and Richard "Didimus" Washington, a percussionist who was particularly skilled at devising Afro-Caribbean rhythms and textures. Two basses were used on some songs, which together with the army of percussionists (eight are credited) created an especially deep and thick rhythm section. The opening track's title, "Gris-Gris Gumbo Ya Ya," was itself an indication of the record's homage to New Orleans eclecticism: the gris-gris voodoo, the gumbo (the regional stew made from numerous ingredients), and "Ya Ya," the title of one of the biggest hits to ever come out of the city (by Lee Dorsey). Rebennack wasted no time in assuming his new identity, immediately declaring "they call me Dr. John, known as the Night Tripper," his half-sung growl a white swamp counterpart to Howlin' Wolf. The snaky rhythms, soulful backup choruses, and ghostly echoing percussion set an eerie mood that if anything got spookier on "Danse Kalinda Ba Doom," its speaking-in-tongues ensemble vocals and middle eastern-by-way-of-New Orleans melodies establishing a quasi-religious ambience that permeated the record. "Mama Roux," by contrast, was deep-fried soul-funk, Gris-Gris 's hit single-that-never-was. It was back to the Bayou jungle, though, for "Danse Fambeaux," with its potion of Mardi Gras Indianesque chants, minstrel strings, impenetrable spell-casting lyrics, and mysterious melody. The album's mischievous musical chairs were never as entrancing as they were on "Croker Courtbullion," with snake-charming flute and chants, Addams Family-styled keyboards (by Dr. John, who played all the keys on Gris-Gris), and free jazzy interplay revealing Rebennack's little-known admiration of musicians such as John Coltrane and Elvin Jones. As if these weren't enough, there were also birdcalls and animal noises that sound like nothing so much as a futuristic mating of Professor Longhair and Martin Denny. "Jump Sturdy" was a relatively brief, and quite infectious, marriage of vaudeville and funk. The closing eight-minute tour de force, "I Walk on Gilded Splinters," would prove the album's most durable song, a creepy voodoo soup that both smoldered with ominous foreboding and simmered with temptations of sensual delights. Atlantic executive Ahmet Ertegun was initially reluctant to release Gris-Gris, exclaiming, according to Dr. John's autobiography Under a Hoodoo Moon, "How can we market this boogaloo crap?" Luckily, he relented, inaugurating an erratic career that saw Dr. John grow into an institution as a walking encyclopedia of New Orleans music. For the most part, his subsequent recordings were far more grounded in blues and R&B, never matching the versatile adventurousness of his debut full-length. Hard to find in its original form as an Atco LP, and only sporadically reissued since, Collectors' Choice Music is proud to make this classic available on CD for the first time in the United States. -- Richie Unterberger Label: ATCO Records Released: 1968 Genre: Blues, Funk / Soul, Jazz, Rock Style: Soul-Jazz, Louisiana Blues, Fusion, Bayou Funk, Ethereal Credits: Artwork By [Album Design] - Marvin Israel Bass - Bob Fraser , Bob West Choir - Ronnie Barron , Shirley Goodman , Tami Lynn Drums - John Boudreaux Percussion - Richard "Didimus" Washington* Photography [Cover & Backliner] - Raphael Producer, Arranged By, Bass, Clarinet, Percussion - Harold Battiste Written-By - Dr. John Creaux* , Harold Battiste (tracks: A2, B1) , Hill* (tracks: A3) Track List: 1. Gris-Gris Gumbo 2. Danse Kalinda Ba Doom 3. Mam Roux 4. Danse Fambeaux 5. Croker Courtbullion 6. Jump Sturdy 7. I Walked On Guided Splinters taste rock here Get the Trippin' Rock here

Le Pew

the dude gassed in the face by.... not a cat.

Everything All the Time

In the year between my father's diagnosis with cancer and his death, I dreaded the telephone. Whenever it rang, I jumped. Picking it up with a trepidant hand, I tried to quickly discern the caller's tone of voice, fearing the worst news. Whether intentionally or not, the line quoted above, from Band of Horses' debut album, Everything All the Time, perfectly evokes that particular anxiety. It's a sad line for any song, but Band of Horses singer Ben Bridwell's delivery isn't mopey or self-absorbed-- there are no intimate acoustic guitars or whispery male vocals accompanying these words. Instead, he belts them over soaring guitars and extroverted chords, all tempered with a stoicism that staves off histrionics. Turning despondency into indie majesty is a major talent of Band of Horses; their music is carefully balanced to evoke specific emotional responses while allowing space for personal projection. More elemental than the lush dream-pop of Bridwell and Mat Brooke's former band Carissa's Wierd (the duo played all the instruments here before fleshing out the band with backing musicians), Band of Horses' sound will be immediately, invitingly familiar to anyone who reads this site regularly. Their guitar-heavy sound and Bridwell's echo-y vocals invite specific comparisons to labelmates the Shins as well as My Morning Jacket, and more general similarities can be noted with forebears such as Neil Young and the Ocean Blue. While apt, these comparisons seem restrictive and reductive, but their limitations can be illuminating. On quieter songs such as "St. Augustine", Bridwell recalls Jim James' reverb-heavy vocals, but he lacks the defining regional drawl; as a result, Band of Horses seem placeless. Where the Shins coil their songs tightly to spring out at the choruses, Bridwell and Brooke's tracks sprawl languorously-- more atmospheric than hooky, but nevertheless too structured and targeted to be considered jammy. Band of Horses' alternately lucid and obscure songwriting remains life-size, even as their guitars swell beyond the everyday. Album centerpiece "The Great Salt Lake" begins with a jangly guitar that suggests early R.E.M., lying low to the ground during the verses until the chorus takes off. They also successfully work that contrast between earthbound and airborne on "The Funeral" and "Monsters", with its rickety banjo carving a rough path for a climactic finale. Of course, if all of Everything strove for such catharsis, the repetition of builds and releases would become tedious and cheap. Wisely, Band of Horses show off a much broader dynamic, peppering the album with rangier numbers like "The First Song" and the churning, catchy "Wicked Gil". "Weed Party", the album's most upbeat track, even begins with what sounds like a spontaneous and genially goofy "yeee-haw!" Still, every element and track on Everything contributes to the album's wistful, twilit atmosphere, from its first cascading guitar chords to its final rueful strums. And instead of closing with the slow crescendo of "Monsters", they go out on a quieter note with "St. Augustine", a gently ebbing tune featuring both Horses singing together, Bridwell's higher-pitched voice anchored by Brooke's low whisper. So the album's not as grim as that introductory quotation would imply; the band's downheartedness is always offset by a sense of hope. As Bridwell sings on "Monsters", "If I am lost it's only for a little while." Though Band of Horses aren't likely to be heralded as trailblazers, they do sound quietly innovative and genuinely refreshing over the course of these 10 sweeping, heart-on-sleeve anthems. Ultimately, the band's most winning trait is its delicate balance of elements-- between gloom and promise, quiet and loud, epic and ordinary, familiar and new, direct and elliptical, artist and listener. Each of these aspects makes the others sound stronger and more complex, making Everything All the Time an album that's easy to get lost in and even easier to love. — Stephen M. Deusner, March 19, 2006 taste the rock here 1. The First Song 2. Wicked Gil 3. Our Swords 4. The Funeral 5. Part One 6. The Great Salt Lake 7. Weed Party 8. I Go to the Barn Because I Like the 9. Monsters 10. St. Augustine GET ROCK HERE highlight= "Monsters"

Stage One

nose by Zildjian tail by Liddle 4' /20"

Horses (1975)

It isn't hard to make the case for Patti Smith as a punk rock progenitor based on her debut album, which anticipated the new wave by a year or so: the simple, crudely played rock & roll, featuring Lenny Kaye's rudimentary guitar work, the anarchic spirit of Smith's vocals, and the emotional and imaginative nature of her lyrics -- all prefigure the coming movement as it evolved on both sides of the Atlantic. Smith is a rock critic's dream, a poet as steeped in '60s garage rock as she is in French Symbolism; "Land" carries on from the Doors' "The End," marking her as a successor to Jim Morrison, while the borrowed choruses of "Gloria" and "Land of a Thousand Dances" are more in tune with the era of sampling than they were in the '70s. Producer John Cale respected Smith's primitivism in a way that later producers did not, and the loose, improvisatory song structures worked with her free verse to create something like a new spoken word/musical art form: Horses was a hybrid, the sound of a post-Beat poet, as she put it, "dancing around to the simple rock & roll song. -allmusic.com via 1. Gloria: In Excelsis Deo; In Excelsis Deo\ Gloria 2. Redondo Beach 3. Birdland 4. Free Money 5. Kimberly 6. Break It Up 7. Land:; Horses\ Land Of A Thousand Dances\ La Mer(de) 8. Elegie 9. My Generation (Bonus Track) GET ROCK HERE my 2 cents; a staple for any true fan of rock music.

Misty Morning Lumber Jack

Toy Closet in Progress

"toy closet", "porn set", it has many names and with some of the characters that visit, i'm thinking the true name for this cave of sin will be ongoing.

Please Don't Tell Me How The Story Ends-The Publishing Demos 1968-72

Rhodes Scholar. Boxer. Army officer. Helicopter pilot. Janitor. Songwriter. Musician. Actor. Kris Kristofferson has lived a life full enough for several men. He has followed his own uncompromising path, and in doing so, crafted a career and legacy impossible to duplicate. Try to measure the breadth of his achievements, look at the unlikely turns his life has taken, take stock of the boundless confidence and self-belief of a man who refused the idea of a life with limitations, and think of one of his contemporaries who accomplished what he has. Now think of a similar figure today. Blank stares abound. It is through his music, however, that Kristofferson proved himself a man apart. He wrote songs that were covered by the likes of Ray Price (“For the Good Times”), Waylon Jennings (“The Taker”), Bobby Bare (“Come Sundown”), Johnny Cash (“Sunday Morning Coming Down”) and Janis Joplin (“Me and Bobby McGee”). They were all huge hits for the musicians who recorded them. That was no fluke. Few songwriters have his gift for melody and storytelling. But he has proven to be more than a talented songwriter. Kristofferson is a gifted performer in his own right, both as a musician and an actor (he won a Golden Globe for his performance in “A Star Is Born”). It is a designation that is used far too casually, but it would not be hyperbole to call him an icon. For few have lived a life of possibilities realized, and come as close to the embodiment of the Great American Life. -via- * 1. Me and Bobby McGee * 2. Please Don't Tell Me How The Story Ends * 3. Smile At Me Again * 4. The Lady's Not For Sale * 5. Border Lord * 6. Just The Other Side Of Nowhere * 7. Come Sundown * 8. Slow Down * 9. If You Don't Like Hank Williams * 10. Little Girl Lost * 11. Duvalier's Dream * 12. When I Loved Her * 13. Billy Dee * 14. Epitaph (Black and Blue) * 15. Enough For You * 16. Getting By, High, and Strange Listen to the whole damn thing! then BUY!!!! CD $15.00 LP $22.00 With that 60 page color booklet, this is one to own, not download! • Previously unreleased material. • Project undertaken with full approval of Kris Kristofferson. • 60-page full-color CD booklet featuring interviews with Kristofferson and the musicians that were present at the sessions, testimonials from Dennis Hopper and Merle Haggard, full lyrics with notes from Kristofferson, rare photos and hand-written lyric sheets. • Liner notes written by Michael Simmons (MOJO, LA Weekly, Huffington Post). • Double-LP release is on 180-gram vinyl. THANK YOU SAM SWEET! my 2 cents; This is one of the most amazing releases. To have a chronicle of such a huge talent in an early stage of his genius, is something i would have wished for in a dream. in that same dream, a similar LP was in the works with JJ Cale, Al Green and some others i spaced on.

Refresh .... Reload in 5th gear overdrive.

bonzer site is new and improved with an explanation of tried and true center fin placements more contemporary pix new shapes in the works (as well as old file archives coming to be hot rodded becoming one with the foam for a true synergy with the art and new disciples everyday

Mikala Jones from Campbell Brothers Surfboards on Vimeo.

they have some surprises in store for all!!! or just see for your self; http://bonzer5.com/

Aerodynamic Spoiler a La Bojo Y Tomo

Interpretive Belief System

Drummer Doug Scharin (ex-Codeine, Rex, June of '44) inaugurated his new outfit, HIM, with the 12-minute "Chemical Mix," which appeared on WordSound's acclaimed Crooklyn Dub Consortium: Certified Dope, Vol. 1 compilation. Since then, HIM have released a well-received debut album, EGG, and EP, Chill and Peel, on Southern Records, not to mention contributing tracks to Macro-Dub Infection and Certified Dope, Vol 2. This long deleted album was recorded entirely on 4-track, Interpretive Belief System, marks HIM's return to the same dub techniques that informed Lee Perry's '70s experiments. Scharin introduces new flavors into the mix, however, using treated vocals, and live cello and drums over programmed loops. "Heavy rhythm music" is how Scharin describes this latest sonic foray, and HIM does not disappoint with heavy percussive elements and non-traditional "world" beats. Far from the usual elevator music peddled by modern-day prog-rock outfits, Interpretive Belief System , in all its subtlety, is a celebration of sound and rhythm, breathing new life into a world fill of expired sounds and ideas. via 1. Port of Entry [Resistance to the Ugly Spirit Mix] 2. Science of X 3. Twirling Dub 4. Esprit N'A Pas d'Maison 5. Slow Attack 6. Second Chance preview GET full band bio

Forbidden Planet

[BEGIN TRANSMISSION.......saturn's moon Titan, photographed by the Cassini probe........ ........on arrival, a strange shadow appeared yet the host I could not find....... ........had no fear as i was heavily armed......... ........colors were an 'ice blue' with hints of green..... ........ funny water movement spinning like pipes on and on as if machine made....... ........ plans for recreational water activity devised......... .......radio base station for extending mission parameters........END TRANSMISSION...........]

Throbbing Gristle - 20 Jazz Funk Greats (1979)

It's a break in the clouds from Throbbing Gristle's pummeling noise and a first glimpse at the continuing pop influence on the TG/PTV axis, but "20 Jazz Funk Greats" still isn't best described by its title. If there is such a thing as a funky Throbbing Gristle LP, however, this could well be it. "Hot on the Heels of Love," "Hamburger Lady" and "Six Six Sixties" add only occasional bits of distortion between the rigid sequencer lines. "20 Jazz Funk Greats" is the best compromise between TG's early industrial aesthetic and the reams of industrial-dance and dark synth-pop groups that used the album as a stepping stone to crossover appeal. [Source: AMG] Credits: Performer - Chris Carter, Cosey Fanni Tutti, Genesis P-Orridge, Peter Christopherson Notes: Re-release of the original LP from 1979. Tracks 12 and 13 are bonus tracks on CD only. Track Listing: 1. 20 Jazz Funk Greats (2:51) 2. Beachy Head (3:42) 3. Still Walking (4:56) 4. Tanith (2:20) 5. Convincing People (4:54) 6. Exotica (2:53) 7. Hot On The Heels Of Love (4:24) 8. Persuasion (6:36) 9. Walkabout (3:04) 10. What A Day (4:38) 11. Six Six Sixties (2:07) 12. Discipline (Berlin) (10:45) 13. Discipline (Manchester) (8:06 GET/ Download Thanks

Right Tool ...

Howls From The Hills 2001

�Howls From The Hills� continues Xemu�s reissue of Dead Meadow�s early records, with the second album from 2001. The 8 songs are psychedelic blues in all forms, from the narcotic space rock of �One And Old� (nearly 10 minutes of effects and distortion) to �The Breeze Always Blows�, a straight electric blues that would sit nicely next to the Black Keys� work. But Dead Meadow are always knocking you off balance: �Drifting Down Streams� starts the album with three minutes of ambient electronic and percussive noise before mutating into treacle-thick sludge rock, while the lyrics are by turns ominous and fantastic (as in strange: check the ruminative �if I was but a cow that you milked before dawn� on the sick and wheezy �Jusiamere Farm�). The reissue gives a good idea of where some of the credit for the resurgence of the whole psychedelic-rock scene should lie. review by; Country: US Released: 2001 Genre: Rock Style: Stoner Rock Tracklist A1 Drifting Down Streams A2 Dusty Nothing A3 Jusiamere Farm A4 The White Worm B1 The One I Don't Know B2 Everything's Goin' On B3 One And Old B4 The Breeze Always Blows GET Download HERE to preview; http://www.last.fm/music/Dead+Meadow/Howls+From+the+Hills Biography; Dead Meadow's unique marriage of Sabbath riffs, dreamy layers of guitars fuzz bliss, and singer Jason Simon's high-pitched melodic croon have wond over both psychedelic pop/rock and stoner-rock fans alike. Although the band's members met while attending all-ages punk shows in and around Washington D.C.'s punk/indie scene, the trio's sound draws more of their sound from such classic rock legends as Pink Floyd and Black Sabbath. The trio formed in the fall of 1998 out the ashes of local indie rock bands The Impossible Five and Coulour by singer-guitarist Jason Simon, bassist Steve Kille, and drummer Mark Laughlin. The three members set out to fuse their love of early 70's hard rock and 60's psychedelia with their love of fantasy and horror writers J.R.R. Tolkien and H.P. Lovecraft. They released their six-song debut album in 1999 on Fugazi bassist Joe Lally's Tolotta Records and a joint vinyl release on D.C. indie label Planaria Records. Then in 2001 the band released its second and third albums, Howls from The Hills and Dead Meadow, on Tollotta Records. In a reasonably short period the D.C. trio received offers to tour with everyone from local D.C. hipsters The Make-Up to seedy psychedelic rockers Brian Jonestown Massacre; eventually, they landed the opening slot for high profile indie veterans Guided by Voices. The group was also invited to record live for long time cutting edge British radio personality John Peel for BBC Radio One. Got Live If You Want It! arrived in 2002; that year, the band lost Laughlin and found a new drummer in Stephen McCarty. The band moved to Matador for 2003's breakthrough Shivering King and Others. Cory Shane joined the band in time for 2005's Feathers. Their fifth studio album Old Growth followed in 2007. ~ Rick Kutner, All Music Guide http://www.deadmeadow.com/

every 30 minutes.....

Fela Kuti & Afrika 70 - Zombie 1977

Zombie was the most popular and impacting record that Fela Anikulopo Kuti and Africa 70 would record -- it ignited the nation to follow Fela's lead and antagonize the military zombies that had the population by the throat. Fela is direct and humorous in his attack as he barks out commands to the soldiers like: "Attention! Double up! Fall In! Fall out! Fall down! Get ready!" Meanwhile, his choir responds with "Zombie!" in between each statement. Since the groove was so absolutely contagious, it took the nation by storm: People in the street would put on a blank stare and walk with hands affront proclaiming "Zombie!" whenever they would see soldiers. If "Zombie" caught the attention of the populous it also cought the attention of the authority figures -- this would cause devastating personal and professional effects as the Nigerian government came down on him with absolute brute force not long after the release of this record. Also included are "Monkey Banana," a laid-back groove that showcases drummer Tony Allen's mastery of the Afro-beat, and "Everything Scatter," a standard mid-tempo romp. Both songs are forgetful in relation to "Zombie," but this is still an essential disc to own for the title track alone. [Zombie was passed up on the run of domestic two-fers put out by MCA, but the track is available on The Best of Fela Kuti.] ~ Jack LV Isles, All Music Guide 1. Zombie 2. Mister Follow Follow 3. Observation Is No Crime 4. Mistake (Live In Berlin Jazz Festival 1978) GET via

Inside Man

Discipline

When King Crimson leader Robert Fripp decided to assemble a new version of the band in the early '80s, prog rock fans rejoiced, and most new wave fans frowned. But after hearing this new unit's first release, 1981's Discipline, all the elements that made other arty new wave rockers (i.e., Talking Heads, Pere Ubu, the Police, etc.) successful were evident. Combining the futuristic guitar of Adrian Belew with the textured guitar of Fripp doesn't sound like it would work on paper, but the pairing of these two originals worked out magically. Rounding out the quartet was bass wizard Tony Levin and ex-Yes drummer Bill Bruford. Belew's vocals fit the music perfectly, sounding like David Byrne at his most paranoid at times (the funk track "Thela Hun Ginjeet"). Some other highlights include Tony Levin's "stick" (a strange bass-like instrument)-driven opener "Elephant Talk," the atmospheric "The Sheltering Sky," and the heavy rocker "Indiscipline." Many Crimson fans consider this album one of their best, right up there with In the Court of the Crimson King. It's easy to understand why after you hear the inspired performances by this hungry new version of the band. - Greg Prato, All Music Guide 1. Elephant Talk 2. Frame by Frame 3. Matte Kudasai 4. Indiscipline 5. Thela Hun Ginjeet 6. The Sheltering Sky 7. Discipline GET password; wakalaopenaire.blogspot.com via

The Last High Line