5/30/10

Gulf Oil Leaks Could Gush for Years

Christine Dell'Amore National Geographic News Published May 13, 2010 If efforts fail to cap the leaking Deepwater Horizon wellhead in the Gulf of Mexico (map), oil could gush for years—poisoning coastal habitats for decades, experts say. Last week the joint federal-industry task force charged with managing the spill tried unsuccessfully to lower a 93-ton containment dome (pictures) over one of three ruptures in the rig's downed pipe. Crystals of methane hydrates in the freezing depths clogged an opening on the box, preventing it from funneling the spouting oil up to a waiting ship. Yesterday a smaller dome was laid on the seafloor near the faulty well, and officials will attempt to install the structure later this week. But such recovery operations have never been done before in the extreme deep-sea environment around the wellhead, noted Matthew Simmons, retired chair of the energy-industry investment banking firm Simmons & Company International. For instance, at the depth of the gushing wellhead—5,000 feet (about 1,500 meters)—containment technologies have to withstand extremely high pressures. Also, slant drilling—a technique used to relieve pressure near the leak—is difficult at these depths, because the relief well has to tap into the original pipe, a tiny target at about 7 inches (18 centimeters) wide, Simmons noted. "We don't have any idea how to stop this," Simmons said of the Gulf leak. Some of the proposed strategies—such as temporarily plugging the leaking pipe with a jet of golf balls and other material—are a "joke," he added. "We really are in unprecedented waters." If the oil can't be stopped, the underground reservoir may continue bleeding until it's dry, Simmons suggested. The most recent estimates are that the leaking wellhead has been spewing 5,000 barrels (210,000 gallons, or 795,000 liters) of oil a day. And the oil is still flowing robustly, which suggests that the reserve "would take years to deplete," said David Rensink, incoming president of the American Association of Petroleum Geologists. "You're talking about a reservoir that could have tens of millions of barrels in it." At that rate, it's possible the Gulf oil spill's damage to the environment will have lingering effects akin to those of the largest oil spill in history, which happened in Saudi Arabia in 1991, said Miles Hayes, co-founder of the science-and-technology consulting firm Research Planning, Inc., based in South Carolina. During the Gulf War, the Iraqi military intentionally spilled up to 336 million gallons (about 1.3 billion liters) of oil into the Persian Gulf (map) to slow U.S. troop advances, according to the U.S. National Oceanic and Atmospheric Administration. Hayes was part of a team that later studied the environmental impacts of the spill, which impacted about 500 miles (800 kilometers) of Saudi Arabian coastline. The scientists discovered a "tremendous" amount of oiled sediment remained on the Saudi coast 12 years after the spill—about 3 million cubic feet (856,000 cubic meters). (See "Exxon Valdez Anniversary: 20 Years Later, Oil Remains.") Perhaps most sobering for the marsh-covered U.S. Gulf Coast, the 2003 report found that the Saudi oil spill was most toxic to the region's marshes and mud flats. Up to 89 percent of the Saudi marshes and 71 percent of the mud flats had not bounced back after 12 years, the team discovered. (See pictures of freshwater plants and animals.) "It was amazing to stand there and look across what used to be a salt marsh and it was all dead—not even a live crab," Hayes said. Saudi and U.S. Gulf Coast marshes aren't exactly the same—Saudi marshes sit in saltier waters, and the Middle Eastern climate is more arid, for example. "But to some extent they serve the same ecological function, which is extremely important," he said. As the nurseries for much of the sea life in the Gulf of Mexico, coastal marshes are vital to the ecosystem and the U.S. seafood industry. It's also much harder to remove oil from coastal marshes, since some management techniques—such as controlled burns—are more challenging in those environments, said Texas Tech University ecotoxicologist Ron Kendall. "Once it gets in there, we're not getting it out," he said. Depth isn't the only factor that can stymie attempts to plug an oil leak. The 1979 Ixtoc oil spill, also in the Gulf of Mexico, took nine months to cap. During that time the well spewed 140 million gallons (530 million liters) of oil—and the Ixtoc well was only about 160 feet (49 meters) deep, noted retired energy investment banker Simmons. Efforts to contain the Ixtoc leak were complicated by poor visibility in the water and debris from the wrecked rig on the seafloor. Also, the high pressure of oil in the well ruptured valves in the blowout preventer, a device designed to automatically cap an out-of-control-well. Recovery workers had to drill relief wells nearby before divers could cap the leak. In general, Simmons added, officials scrambling to cap the Deepwater Horizon well should be working just as hard to protect the shorelines in what could become a protracted event. "We have to hope for the best," he said, "but plan for the worst."

5/28/10

The Headless Hullsman

Gang Of Four- Peel Sessions '79-'81

In later years, some bandmembers claimed that the best Gang of Four album of all was, in fact, this collection of three separate sessions from 1979 and 1981. It's little surprise why -- recorded with brisk, blunt immediacy, Peel Sessions is both a showcase for the band's sheer power and amazing transformation of funk and punk for its own virulent ends, with all three sessions featuring the full original lineup. Good production from Bob Sargeant, who produced all tracks except the last three, helps immensely, while there's no track repetition at all. A gripping version of "I Found That Essence Rare" begins the collection, Andy Gill's guitar slashing like a vicious weapon and Jon King's vocals getting even more wired and intense as the song continues. As for the Dave Allen/Hugo Burnham rhythm section, it sounds like it could beat down walls. From there, Peel Sessions serves up one highlight after another. Also from the first session, "Return the Gift" builds to a powerful climax, King's plaintive call "Please send me evenings and weekends" echoing into the distance, while "At Home's He's a Tourist" is stripped-down aggression at its finest. On the second session, "Natural's Not in It" is the standout, featuring some of Burnham's best drumming ever, while Gill's clipped riff gets a deservedly strong performance. King's singing sends everything over the top, while his work on "Ether" is equally strong, balanced between collapsing quaver, simmering outrage, and smooth passion (consider his delivery of the final "white noise in a white room" in the midsong break). His occasional melodica, as heard on "Not Great Men," adds to the performances nicely. As for the last session, the murky, dislocated performance of "History's Bunk" makes for a fascinating, weird listen, while "To Hell With Poverty" tops things off with some brutal disco. via Tracklist: 1) I Found That Essence Rare 2) Return The Gift 3) 5.45 4) At Home He's A Tourist 5) Natural's Not In It 6) Not Great Men 7) Ether 8) Guns Before Butter 9) Paralysed 10) History's Bunk 11) To Hell With Poverty GET DOWN HERE Another John Peel Gem!

5/27/10

Anderson Stealth / part 3

My Neighborhood History is Grand

Marmion Way & Avenue 43 in 1909. In continuation of last week’s post about the Los Angeles & Mount Washington Railway, here are some photos of where the cable car went and what is left of this important local railway. The cable cars took visitors up to the summit and the Mount Washington Hotel. The luxury hotel was built by Meyer & Holler (Grauman's Chinese Theater) and opened in 1910 at a cost of $40,000. Photo via LAPL. the hotel today is the mothership of the self realization centers founded by Paramahansa Yogananda in 1920. go here for more. Incline Station built by architect Fred Dorn, at Marmion Way and Avenue 43 in October of 1909. Photo circa 1910, via the Los Angeles Public Library. One of my favorite sights while riding the Metro Gold Line is the old Mt. Washington Cable Car station, spotted on the corner of Avenue 43 just before the train goes into a tunnel. This building is the last surviving remnant of the Los Angeles & Mount Washington Railway. It was essentially a mini transit hub, with the cable cars and LARy Yellow Cars meeting at this intersection. It was a place where you could get a drink and eat a hot dog or a tamale while waiting for your cable car to come down, or a streetcar to come by. The Incline Station today. Now a duplex. Today, the path of the cable car is now Avenue 43 and Canyon Vista Drive with a stairway bisecting the steepest part. For 10 years the cable cars ran these steep slopes every 20 minutes from 7 a.m. to 6 p.m. (and as late as midnight if the demand was there.) As automobiles become more prevalent the incline was needed less. The death nail for the cable car came with World War I, and the creation of the Los Angeles Board of Public Utilities. The BPU had jurisdiction over elevators, and despite this being called, and looking like a railway, it was ruled to be a vertical elevator by the State Supreme Court. The BPU demanded the railway (or vertical elevator as they called it) add a secondary cable and replace the original cable. This cost proved to be too prohibitive for Robert Marsh & Company, and with most of his real estate lots now sold, they had less incentive to keep the cable cars going. The last cable car ran on January 9,1919. In 1930 the tracks removed and right of way paved over. The Mt. Washington sign atop a covered water reservoir in 1912. Located near where Mt. Washington School is today. Much like the Hollywood(land) sign erected 10 years later, this was placed here to promote real estate sales. (This sign, likely inspired the Hollywood sign we know and love today.) Photo via the Los Angeles Public Library. Florence & Virginia pass each other on the Mt. Washington Railway in 1916. Note the "Mt. Washington" sign. Photo via the Los Angeles Public Library. Quote from the Los Angeles Public Library: Cable cars pass each other on the slopes of Mt. Washington’s Incline Railway. The railway operated over a distance of 2,900 feet, pulled by a cable under wood planking and was created to increase land sales for the Mt. Washington Development Company. The two cable cars, named Florence and Virginia (shown here), operated simultaneously, one leaving at the foot of the hill and the other heading down the mountain from the inn. In January, 1919, the Board of Public Utilities ordered the railway to stop operation due to unsafe operating conditions. What amazes me is how barren the place looked 90 years ago. At the dawn of the automobile age, it was really these two cable cars that made living on top of Mount Washington practical. Going to take you higher... Canyon Vista Drive. The path of the cable car now all paved over developed with houses. Just as real estate developer Robert Marsh planned a 100 years before. A long way down. The bright red cable cars climbed this hill every 20 minutes for only a nickle. One last tid-bit about this place and railway named Mount Washington: It is often assumed that Mt. Washington, Los Angeles was named after George Washington, or the more famous Mount Washington in New Hampshire. Instead, it was named by and after Colonel Henry Washington, who surveyed the Los Angeles region for the United States in 1855. More detail about the lost railway of Mount Washington can be found at the Electric Railway Historical Association. all via

5/26/10

Needle In The Hay

5/25/10

Kalimba Grande

Joe Meek- I Hear a New World /and more...

Going through a little phase of watching a new feature movie and a 1991 documentary on strange and troubled genius Joe Meek. The movie, "Telstar" is a pretty good summation of Joe's chaotic and troubled life as an eccentric record producer. Credited with virtually kick starting the British singles music industry and creating some innovative studio tricks Joe eventually was outpaced by more talented studio technicians and eventually swamped by the wave started by the Beatles and Stones. The actor playing Joe really nails his personality and manner and even looks a lot like him. The film is fascinating in its depiction of Joe's cramped and chaotic studio situated in tiny rooms above a luggage shop. Its amazing how many famous artists recored with Joe but his main hits were with the Tornados and his bleached fancy, Heinz. After being sued by somebody claiming to have written Telstar before Joe and hounded by a homosexual criminal charge Joe eventually succumbed to addiction and mental illness culminating in him shooting his downstairs co-tenant and himself with a gun ironically owned by Heinz. The documentary is even better and really shows the sides of Joe's eccentric genius and features an interview with Joe's two brothers who seem a little bemused by Joe's lifestyle. A profile of the legendary maverick producer and song writer Joe Meek, composer of the massive hit Telstar who recorded most of his hits in a home studio using innovative recording methods in Holloway Road. Meek was obsessed with the occult and suffered from depression and paranoia, and in 1963 had been charged with ‘importuning for immoral purposes’. If you don't recognize his name, you'll at least recognize the tragic Joe Meek's freaky 1962 instrumental hit "Telstar," performed by The Tornados. The follow-up vocal version, sung by Kenny Hollywood, is titled "Magic Star." Both are available here, as are other Meek songs. I want to draw your attention, however, to Meek's 1960 concept album I Hear a New World performed by Joe Meek and The Blue Men. The album explores what life might be like on the moon (released one year prior to John F. Kennedy's famous speech to Congress committing the US to setting foot on the moon by the end of the decade). The work is trippy and wonderful stuff unlike anything else from the time, although Meek's music is sometimes mistakenly lumped into the library music category. Justin at Aquarium Drunkard adds, Meek stepped forward to create this lunar-inspired “music fantasy” record, technologically and conceptually well ahead of the time. Joe Meek: “I wanted to create a picture in music of what could be up there in outer space. At first I was going to record with music that was completely out of this world but realized that it would have very little entertainment value, so I kept the construction of the music down to earth.”... The music production and engineering for this recording were unique and visionary. In a pre-synthesizer world, Meek used a wide array of homemade electronics and unique instruments to achieve a signature sound. Most notably, perhaps, was the Clavioline, a three-octave keyboard instrument somewhere between an organ and a simple analog synthesizer. The Clavioline handles many of the lead melodies on this record (as well as on "Telstar"). via;http://phronesisaical.blogspot.com/ GET DOWN HERE

Obi Wan Von Kieswetter

Vampires and Lesbians (things that scare us)

Here it is, yes, the one that started it all! You may at some point have purchased the "Vampyros Lesbos" soundtrack. But unless you have the original release, the one pictured above, you have not heard it all! Only this release contains all 24 tracks and they are ALL essential! If, in your travels, you ever meet a German bloke named Peter Blumenstock, slap him on the back for me and buy him a beer. For it was he and his love of European exploitation movies - what film historian Craig Ledbetter dubbed "Eurotrash" - that gave him the inspiration to create the collector's CD label Lucertola. In 1994, for his first CD, Blumenstock released the excellent soundtrack compilation CD "The Films of Jean Rollin" to a limited edition of 1,200 copies. Now, understand that this music was really still very much a cult thing at this time. You couldn't even call it a cult, really, hardly anybody knew about this shit. And I believe that this "labor of love" release got a slow start start and those 1,200 took awhile to sell. Hard to believe now but it's true! And it's for that reason, it would seem, that upon releasing the next CD, "3 Films by Jess Franco", the run was a mere 500 copies. Lo and behold, this time around this strange new CD became a surprise blowout! (If you own one of these bad boys, go and slap yourself on the back!) So much so that the German progressive rock label Crippled Dick Hot Wax immediately picked up the rights. Only upon quickly re-releasing it the name was somewhat deceptively re-titled to "Vampyros Lesbos - Sexadelic Dance Party", a somewhat more obvious and commercially "hip" title. I say deceptive because the music tracks heard on this collection were actually used by Jess Franco for 3 different movies he shot back-to-back, all starring the lovely "Susann Korda" (aka Soledad Miranda), the titles of which are most commonly known as "She Killed in Ecstasy", "Vampyros Lesbos" and "The Devil Came From Akasava" (all released by the prolific director in 1970). all via; http://purplezombiedj.blogspot.com/ Track listing 1. The Lions And The Cucumber (05:07) 2. Psycho Contact - Part One (01:30) 3. There Is No Satisfaction (03:07) 4. Psycho Contact - Part Two (01:36) 5. The Message (03:19) 6. Psycho Contact - Part Three (01:31) 7. Ghosts Or Good And Bad Onions (04:26) 8. Psycho Contact - Part Four (01:29) 9. Countdown To Nowhere (02:25) 10. Psycho Contact - Part Five (01:22) 11. Droge CX 9 (05:10) Tracks 1-11 performed by The Vampires' Sound Incorporation 12. Dedicated To Love (02:32) 13. People's Playground - Version A (00:50) 14. We Don't Care (05:21) 15. People's Playground - Version B (01:18) 16. The Ballad Of A Fair Singer (04:22) 17. People's Playground - Version C (01:27) 18. Necronomania (02:08) 19. Kama Sutra (04:00) 20. People's Playground - Version D (01:01) 21. Shindai Lovers (04:19) 22. Konkubination (03:58) 23. People's Playground - Version E (00:50) 24. The Six Wisdoms Of Aspasia (04:18) GET DOWN HERE

5/23/10

Here and There

Amon Düül II - Wolf City (1973)

'Wolf City' is perhaps the most popular Amon Duul II recording. The sound is a continuation of the style which dominated "Carnival In Babylon". The tracks are shorter and made more accessible by a more mainstream rock approach and Renate Knaup's dominance on lead vocals. In addition to her vocals, Lothar Meid sings on the title track while Danny Fichelcher is responsible for the vocals on 'Sleepwalkers Timeless Bridge'. Despite losing touch with their underground ways the songs are fresh and range from the psychedelic "Wolf City' to the ethnic-rock-fusion 'Wie Der Wind Am Ende Einer Strasse' to the heavy gothic rocker 'Deutsch Nepal'. Some songs are so fresh that there are a few musical passages which could be deemed as 'proto-punk' or even 'proto-new wave' (check out the rocking middle section of Green-Bubble-Raincoated-Man). The obvious standout are tracks 1,4,5,6. It should be noted that allegedly, 'Wie Der Wind Am Ende Einer Strasse' was the result of an LSD trip in which according to legend, the entire band dropped acid and decided to record while tripping... This is a must-have for fans of Amon Duul II and Krautrock fans in general. Most ADII fans view this as their last great album while viewing later material as sadly lacking. [5/5 Doug] Tracks: 1. Surrounded By The Stars 7.46 2. Green-Bubble-Raincoated-Man 5.04 3. Jail-House-Frog 4.52 4. Wolf City 3.20 5. Wie Der Wind Am Ende Einer Strasse 5.44 6. Deutsch Nepal 2.59 7. Sleepwalkers Timeless Bridge 4.54 Musicians: Chris Karrer - Guitar Johannes Weinzierl - Guitar Renate Knaup - Vocals Falk Rogner - Keyboard Lothar Meid - Bass Danny Fichelcher - Drums GET DOWN

5/22/10

Fun Land

El Sucio (Magnum Force)

you just can't beat the 70's San Francisco cop films. Sound wise you do have some filler (as in most) yet some tracks have that Fender Rhodes setting the ambient moods and evil suspense for the man (now with a name but still layin' down pure justice in his angel/devil paradoxical manner continued from the Spaghetti genre) YEAR: 1971 DURACIÓN: 102 min. DURATION: 102 min. PAÍS: Estados Unidos COUNTRY: United States DIRECTOR: Don Siegel DIRECTOR: Don Siegel GUIÓN: Harry Julian Fink, RM Fink, Dean Reisner Screenplay: Harry Julian Fink RM Fink, Dean Reisner MÚSICA: Lalo Schifrin MUSIC: Lalo Schifrin FOTOGRAFÍA: Bruce Surtees PHOTO: Bruce Surtees REPARTO: Clint Eastwood, Harry Guardino, Reni Santoni, John Vernon, Andy Robinson, John Larch CAST: Clint Eastwood, Harry Guardino, Reni Santoni, John Vernon, Andy Robinson, John Larch GÉNERO: Acción GENRE: Action Track listing 1. Main Title (02:11) 2. The Cop (02:21) 3. Harry's Ostinato (01:01) 4. Magnum Force (01:59) 5. Stakeout (02:29) 6. The Crooks (01:36) 7. Harry’s New Friend (02:21) 8. The Pimp (02:45) 9. Rogue Gun (02:34) 10. Recreation (02:06) 11. Warm Enough? (01:11) 12. Palancio (04:20) 13. Last Dance In Sausalito (03:37) 14. The Faceless Assassin (03:57) 15. Potrero Hill (03:07) 16. The Bullet (01:47) 17. Execution Squad (01:41) 18. Mailbox (01:36) 19. Early Is Late (01:54) 20. Briggs (01:01) 21. Confrontation (03:12) 22. Finale (02:04) part 1 part 2 part 3

5/21/10

Deerhoof - Offend Maggie [2008]

Some people find Deerhoof unlistenable, with sometimes manic, screeching vocals over strange instrumentation. Some critics think they're twee, and some think they’re the best of noise rock. Most cannot slap a genre label on this expectation-bending band. There is occasional yelling and human-made sound effects, "Beep beep!" You have no idea where the songs will go, or when they will end. The lyrics may not sound like English, and while they are, it is not guaranteed that they will make sense. On Offend Maggie, Deerhoof are in their typical bizarre, hyperactive form. The production quality is through the roof, making this album perhaps more accessible than their earlier releases, though the madness of their style is retained. “Fresh Born” is a series of words associated with baby animals, repeated. "Basket Ball Get Your Groove Back" also has a repetitive chorus of, "Rebound! Rebound!" "This Is God Speaking," which can hardly be classified as a song, is a series of distorted, Charlie Brown adult-type sounds with some clanky piano notes covering the incomprehensible groans. Only one of the fourteen songs clocks in over four minutes, and the album artwork–a cover image of a faceless man wearing headphones, parallel black and white lines inside–is disturbing and wonderful. sample song from the live rec.... the above live at Juan's Basement absolutely rocks, GET HERE Yet some of the tracks here are almost ballads, melodic at times, consistently beautiful if consistently weird. Opener "The Tears of Music and Love" lives somewhere in between avant-garde awkwardness and loving harmonies. "Purple Past" sounds like it could be found on any number of other indie rock records, save the stylings of Deerhoof's signature vocalist, Satomi Matsuzaki. "Family Of Others" is reminiscent of Animal Collective with its woodsy appeal and quick switches between crooning and staccato onomatopoeia. The title track is perhaps the most appealing song and even amid its goofy lyrics of "Ring ring! I hang up!" it remains almost quaint, switching between something lyre-like tinkling and heavy electric guitar. If you suffer from migraines, hate strobe lights, and think noise rock is for annoying hipsters, you will likely hate Deerhoof. Offend Maggie is nevertheless their most enjoyable record to date, and it is some of the most approachable noise pop on the scene. Review by Brittany Shoot 1. Tears And Music Of Love, The 2. Chandelier Searchlight 3. Buck And Judy 4. Snoopy Waves 5. Offend Maggie 6. Basket Ball Get Your Groove Back 7. Don't Get Born 8. My Purple Past 9. Family Of Others 10. Fresh Born 11. Eaguro Guro 12. This Is God Speaking 13. Numina O 14. Jagged Fru Buy from Kill Rock Stars Here or..... get down studio LP here

5/20/10

Antonio Aguilar - 31 Exitos

Actor, musician, band leader and the pride of all Mexico, Antonio is my main man of Sinaloa. love the cumbia, the ranchera and the polka! we used to just get trashed at the bars near home and listen to the punk rock aesthetic of his drunken banda very loud and thru the shittyest juke ever! good stuff. This is no joke. This is damn good music. and does rock with extreme dynamics! highlights; El Chivo, ANDO QUE ME LLEVA and much more!!! this is not a trendy or kitch condescension of a culture! just good music. 01. A Las 11 De LA Noche 02. Ahora Y Siempre 03. Amor Perdido 04. Ando Que Me Lleva 05. Cancion Del Alma 06. Cenizas 07. Como Un Perro 08. Condicion 09. Cuando Ya No Me Quieras 10. Cuatro Milpas 11. De Puntitas 12. Dos Almas 13. El 24 De Junio 14. El Chivo 15. El Chubasco 16. El Tiempo Pasa 17. Falsa 18. Hay Que Saber Perder 19. Indita Mia 20. La Cancion Del Preso 21. Mi Ranchito 22. Mis Ojos Te Denuncian 23. Nosotros 24. Poncho Tirado 25. Que Te Parece 26. Señorita Cantinera 27. somos Diferentes 28. Tristes Ruecuerdos 29. Vagabundo 30. Y Andale 31. Yo Voivo Mi Vida get on board post dedicated to Rich.

Rasta- Bonzer5

Groovy pro surfer Dave "Rasta" Rastovich got the cover shot riding a Campbell Bros Bonzer5 surfboard (with bamboo center fin) on the Hawaiian surf magazine Free Surf. stolen from Surfy Surfy. The man rips on everything and now giving the thumb's up to the Campbell 5 is a wonderful thing to see.

Ren and Stimpy part 2

The Dude and side kick Poppet loving the yard.

5/19/10

Plastic Ono Band - Play in the Dark LP [Apple, 1970]

A1 Why A2 Why Not A3 Greenfield Morning I Pushed An Empty Baby Carriage All Over The City B1 Aos B2 Touch Me B3 Paper Shoes get it ack, yoko!? yeppers, this is the twin sister album to john's version released simultaneously baque in 70 on the apple imprint. heads owlready know. apart from the music, which is chit-tons more 'out' on this slab & features ornette on few numbers, the primary difference is the reversed positions of the artists in the cover photo. total pranksters. not much to say about these tunes cept i diggem, specially those excerpted in the clips just above. 'greenfield morning' really gets into a great trancing groove & 'why' sounds like some gal costa stylings from her 69 lp. some of ringo's best playing too eyed say. all stolen via yes great ringo grooves manipulated with a tape echo and the yoko is actually listenable. sounds like a damn fun time they had. Thanks Kirk

5/18/10

Lou Bond - (1974)

Misplaced on the We Produce imprint of the legendary Stax label, soulful troubadour Lou Bond never received the recognition befitting his talent and the strength of his recordings. A voice of conscious strumming an acoustic guitar with a magnetic vocal delivery, Bond should have taken his rightful place among his more lauded peers during the 1960s and 70s. Light in the Attic Records is proud to reissue his eponymous album from 1974, a powerhouse confluence of Bond’s fiery lyricism and Memphis orchestral soul, that even in its nearly four decades of anonymity, managed to influence some of contemporary music’s biggest stars – Outkast and Mary J. Blige each sampled his nearly 12-minute gem, “To The Establishment.” A gifted artist whose luster is finally being restored. here and hear Tracklisting: 01. Lucky Me 02. Why Must Our Eyes Always Be Turned Backwards 03. To The Establishment 04. Let Me Into Your Life 05. That's The Way I've Always Heard It Should Be 06. Come On Snob get it here. bonus track;I'm So in Love - Motherless Child (Live, Previously Unreleased and only available via purchase) excellent and must have. "Sparse instrumentation yet in parts massively over-produced. Backing by the Memphis Symphony Orchestra giving it an almost Issac Hayes sound at times, its very cinematic." thank you Sam.

5/16/10

No Need Fin