The Bonzer 5 "Mini Merk"

taken from Surfy. A board conceived by JP, executed by Malcolm seems to be the answer for me, in "short Board".

Music For The Home

Rob Ellis is best known by proxy, for his collaborations. He's worked with PJ Harvey since her first album, Dry, and co-produced Stories From The City, Stories From The Sea. His own outfit Spleen released two splendidly sprawling albums for the Swarfinger label and he has played percussion for much acclaimed uneasy-pop auteurs, Laika. Music For The Home demonstrates another, previously hidden side to his talent. Subtitled "Instrumental, Mechanical & Electronic Music 1994-1999", Music For The Home is the result of many years of personal fascination with contemporary classical music, jazz and electronica. Ellis is a self-taught pianist, and the album started life as a piano solo album, gradually evolving into something more orchestrated, taking in music boxes and other wind-up instruments, as well as cello and classical guitar. The album has more in common with the work of composers like Messaien, Reich and Steve Martland than it does with any of Ellis' previous work. Music For The Home is not 'played' as such, rather it comprises a suite of music pieced together from fragments and layers of recordings made over several years. Ellis' composing and arranging, though unconventional here, provide a flow and rhythm that gives the album cohesive force. The album has finally found a surprisingly natural home at The Leaf Label. In many ways, these recordings are not actually that far removed from other Leaf releases - a blend of the organic and synthetic, live instrumentation mediated by digital trickery. Two movements from 'Symphonies of wind-up instruments' appeared on Invisible Soundtracks: Macro 3 CD. Scott Walker has already used a loop taken from 'Arctic Crossing' as the backing track on his contribution to Ute Lemper's recent album. Brian Eno has also given Music For The Home a personal endorsement. listen/buy/via or GET 2 TRACKS from this compilation of electronica artists from the Leaf label. Scroll down to 2nd Lp in forum for link. no clip available but dig the unspoken vibe happening between he and PJ in this live clip. There is just nothing like that feeling when she briefly grins post showing what happens when people really know each other, musically.

Before the Poison-Marianne Faithfull

I have a theory that Marianne Faithfull died in the mid-'70s, not an unlikely scenario all things considered, and that her albums since have been beacons from the other side. Her voice, creaky and seemingly centuries-old, clearly does not come from the eternal delight of a heaven, or the pain and suffering of a hell. It instead comes from an indifferent void. Hers is a voice stripped away of all earthly illusions, one, as she sings on a cover of PJ Harvey's "No Child of Mine", that has "no time for hate or love". Only this could explain how Faithfull's voice went from that of a moping English songbird to an instrument of nearly impossible gravity. And nowhere has she used her voice with more effectiveness than on Before the Poison, an album that can only be compared to the devastating albums Johnny Cash released during his final years. On Before the Poison, Faithfull's voice is guided by a number of mediums: PJ Harvey, Nick Cave, Damon Albarn, and Jon Brion. Although collaborative albums often seem unfocused, Faithfull takes control of the proceedings and makes Before the Poison a powerful, cohesive artistic statement on loss and survival. "The Mystery of Love", penned by Harvey, begins with the vital question: "Tell me, do we still have time? / To make the wrong somehow be right?" The album seems to suggest that there is little one can do to make a fundamentally flawed world into some sort of paradise. Even "The Mystery of Love", a song about the possibility of love somehow righting wrongs, opens with a declaration that "when you're not by my side / The world's in two, and I'm a fool". If love can save the world, it always has the possibility to split it in two. It is Faithfull's sense of inevitable, unavoidable loss, just below the surface of "The Mystery of Love", that leaks through the remaining tracks. The lyrics speak for themselves: "It's the last song for you" ("Last Song); "What's left for you, my friend?" ("Before the Poison"); "Where has my loverman gone?" ("There Is a Ghost"). Faithfull's solemn voice, beyond romance and myth, conveys, if only by hints, the realization that loss is the inevitable cost of life. Even "My Friends Have", a rousing swamp-rocker from Harvey about the importance of friendship, has a hint of darkness. Harvey's lyrics are innocuous, an ode to one's friends and their necessity in life: "My friends have many things that, / I am needing, to keep me singing". Faithfull sings the song flatly, her calm tone contrasting with Harvey's angular guitar riffs, hinting at the darkness within the word "need". Without contact, life is almost unlivable, but Faithfull's voice conveys the knowledge that these connections are liable to fall apart at any point. The title track expands this by showcasing the moment of the loss of innocence, the place where the Marianne Faithfull of "As Tears Go By" was replaced by the Marianne Faithfull of Broken English: "Before the poison / I'd lost my fear / Maybe too happy / To even care". There is a moment when the mind sees, if only for a second, the indifferent cruelty always present behind the surface of life. All of Before the Poison seems to take place during this moment of terrible maturity. This awful right of passage is also vividly acted out in Faithfull's definitive rendition of Harvey's previously recorded "No Child of Mine", where she portrays a mother coldly tossing her child away, consciously breaking even the bonds of motherhood, ordering it to "find (its) own way": "Every man must stand alone / And family you must disown". The song does not support or refute the narrator's decision, it simply shows it as example of another bond shattered and another painful realization of the world's true nature. These are all areas that Nick Cave has explored with great success on his own albums, so he flourishes in his three contributions. "Crazy Love" and "There is a Ghost" are powerful new additions to his canon, but he saves his greatest contribution in the music accompaniment of Faithfull's self-penned "Desperanto", a free floating rant on the "language of despair". As Faithfull's singing evolves into something approximating a rap, Cave leads the band into a howling apocalyptic swirl of violins and white noise that highlights the emotional chaos just barely contained by Faithfull's bone-dry delivery. Cave himself sings along, obliquely quoting "Break on Through" during the chorus. It is a powerful release of the negative emotion that builds throughout the entire album. It is a primal scream of a song, designed to exhaust the language of despair, because Before the Poison is not an album of hopelessness. Before the Poison is an album about managing to survive the nearly unbearable without harboring any illusions about any lights at the end of any tunnel. Before the Poison clearly is not a joyful album, even Damon Albarn's "Last Song" is about as far away from the pop world as one could imagine, but it is an album whose purpose is not to depress but to provide comfort, if only of the coldest kind. Hours after receiving my review copy, I learned that a friend of mine, far far too young, had passed on after a short fight with cancer. Something about Faithfull's gravely tone, the voice that acknowledges the horrors of life without speaking the "language of despair", has somehow provided a bleak type of consolation in face of this loss. This is the true power of Before the Poison: it takes stories of tragedy and misery and presents them with just enough beauty to allow us to accept them. It is simply a stunning accomplishment. - Hunter Felt - 01. "The Mystery of Love" (PJ Harvey) 02. "My Friends Have" (PJ Harvey) 03. "Crazy Love" (Marianne Faithfull/Nick Cave) 04. "Last Song" (Marianne Faithfull/Damon Albarn) 05. "No Child of Mine" (PJ Harvey) 06. "Before the Poison" (Marianne Faithfull/PJ Harvey) 07. "There Is a Ghost" (Marianne Faithfull/Nick Cave) 08. "In the Factory" (Marianne Faithfull/PJ Harvey) 09. "Desperanto" (Marianne Faithfull/Nick Cave) 10. "City of Quartz" (Marianne Faithfull/Jon Brion) Tracks 1, 2, 5, 6 & 8: Vocals and handclapping: Marianne Faithfull Electric and acoustic guitars, bass, synth, backing vocals, piano, slide bass: PJ Harvey Drums, piano, percussion, glockenspiel, handclapping: Rob Ellis Synth bass, electric guitar, bass: Adrian Utley Tracks 3, 7 & 9: Vocals: Marianne Faithfull Musicians: Nick Cave, Warren Ellis, Martyn P. Casey and Jim Sclavunos TUNE IN and TURN ON... MY 2 CENTS; I KNOW THIS LP came out in January 2005, yet i have not been "turning on" people to links for very long and this LP is outstanding and a must have. Sure, a few stinkers but the Gems out weigh the turds for sure.

Part Deux

Planing For Gold

Surprise Inside!!!!

Leave it to Jack White to break the rules of records by releasing the new Dead Weather single on an innovative new kind of vinyl that he concocted for just such an occasion: the Triple Decker Record. The new format is already trademarked but only 300 copies are being pressed for this initial unveiling. The Triple Decker Record goes double down by embedding a 7" inside a 12". Confused? So were we. But it sounds awesome. Watch Jack White demonstrate how to "crack open" the Triple Decker Record below, after the jump. The product launch coincides with the release of the new Dead Weather single, 'Blue Blood Blues' from their latest full-length, 'Sea of Cowards.' The first 100 copies of the Triple Decker Record will be available at White's Third Man Records store in Nashville, while the remaining 200 will be scattered across the globe: some via randomly-selected mail order, others via mom-and-pop record shops. Good luck. But if you don't end up with the golden ticket, so to speak, you can still get your hands on the new Dead Weather single: Third Man Records is releasing it this week as a proper 7" collectible with a double-sided cover and a live B-side ('Jawbreaker'), as well as a special Tri Color 45 version -- another unique White creation. The alternate 12" will feature a different live B-side ('No Hassle Night/I Just Want to Make Love to You'). So you can pick and choose -- or, more likely, you'll just have to take what you can get. Check out White's Triple Decker Record demonstration below.

What are Nick Cave, Tom Waits, Scott Walker, Lee Hazlewood, Serge Gainsbourg, and Leonard Cohen talking about?

Surely there are more to this list, so please forgive me..... "The Love Song must be born into the realm of the irrational, the absurd, the distracted, the melancholic, the obsessive, the insane, for the Love Song is the noise of love itself and love is, of course, a form of madness. Whether it be the love of God, or romantic, erotic love – these are manifestations of our need to be torn away from the rational, to take leave of our senses, so to speak. Love Songs come in many guises and are seemingly written for many reasons – as declarations or to wound – I have written songs for all of these reasons – but ultimately the Love Songs exist to fill, with language, the silence between ourselves and God, to decrease the distance between the temporal and the divine." -Nick Cave- JOHNNY CASH 1932 - 2003 Johnny Cash is the ancestor of modern country music. His dark and sometimes melancholic voice introduced a new singing technique. He is the front figure in the dark romantic movement with his three themes: Love, God and Murder. (Compare Dylan Thomas' Angel, Madman and Beast...) Johnny Cash is an artist with social concerns. His most famous concerts were arranged at prisons. As long as there is evil in the world, Cash has promised to dress in black. The movie about his life will be released this year, I think. He sung Mercy Seat by Nick Cave on a cover album. NICK CAVE The Dark Romanticist of all times. Since the early 80s, Nick Cave has been established as a musician and songwriter without any counterpart. After leaving his first band, The Birthday party, he began to work with the Bad Seeds.Cave blends religious mysticism and symbolism with tearful stories of lost love. Nick Cave describes human nature as both beautiful and ugly, suggesting that true love may lead to murder - and vice versa. Cave has managed to record twelve albums, from heavy rock n' roll to The Boatman´s call, which consists of pure ballads, which by the way is an album dedicated to P J Harvey. (I think). On Nomore shall we part, Cave speaks of grotesque wonders as he opens his heart to a cruel world. On earlier albums he described the creatures that haunts a closed heart - according to me. Nomore shall he be alone, and that seems to be a sad fact. Further on, the many-sided Nicholas Edward Cave has written a couple of lyricbooks, King Ink and King Ink II with lyrics and texts from Birthday Party to Boatman´s call. In the 80s he wrote the widely discussed novel The Ass saw the Angel (written in Berlin under three years, also available on CD). A novel not easily read, yet interesting. His language reminds of William Blake (Blake with his Laughing Song and Cave with his Weeping Song) and maybe Poe (see literature). Nick Cave read William Blake's poem Infant Sorrow on BBC. in 1994. I strongly recommend his two lectures, The secret life of the love song and Flesh made word. In my opinion, these two texts are among the most beautiful ever written and I dare to say that they changed my life completely. Read more here. Cave catches a glimpse of the supernatural forces - God, love, literature, Jesus - but they always disappears, leaving us abandoned. Nick Cave has collaborated with many other artists, as for example Barry Adamson, Anita Lane, The Dirty Three and Mick Harvey. Further on, Nick Cave has made a wide range of covers - songs by Leonard Cohen, Serge Gainsbourg, Tom Jones and Marc Almond. If you wish to listen to Nick Cave's inspirations , try The Original Bad Seeds. There are further on many bootlegs, of which Backside of the Cave shows another side of Nick Cave. "Now I´ve been made weak by visions, many visions did I see all through the night..." LEONARD COHEN Leonard Cohen has been singing and writing poetry since the 60s. His spectacular voice is recognized all over the world. Cohens music has been through a lot of changes, from classic guitar to electronic tunes. Cohen's relationship to God - central in all his songs and poems - is characterized by seeking and brooding. Less steam and more contemplation compared to Nick Cave. Cohen lived a rather turbulent life, from bottles of red wine to a buddistic abbey in later years. I think he has restarted his writing career. A new album was released this year, Ten New Songs. I think the album was a disappointment. Gone is the dark romanticist. I prefer the early songs from the 60s and 70s. One of his earlier works, Book of Mercy, gives an interesting background to Cohens lyrics. Before he became a famous singer/songwriter he wrote some fascinating novels - Beautiful losers and The Favourite game. "Everybody knows that the plague is coming NICK DRAKE 1948 - 1974 Drake recorded a few extraordinary songs in the 60s and 70s. Five leaves left is the best album, according to me. Drakes had a fragile singingvoice. Strings and other classical instruments lifted his dark stories to stunning heights. Nick Drake is regarded as a musical genious that composed immortal music for centuries to come. Drake's songs can't easily be compared with other musicians, but still there is a dark romanticism that probably influenced many others. Nick Drake was a fragile person, according to his relatives in A skin to few - the documentary by Jeroen Berkven - "without the extra skin that protects." Moreover, Drakes mother, Molly Drake, was also a singer/songwriter. SERGE GAINSBOURG 1928 - 1991 Gainsbourg, an early dark romanticist popular in the 60s and 70s, is today remembered for especially one song - Je T’aime...Moi Non Plus. A romantic duet with Gainsbourg's wife Jane Birkin. A song that actually was forbidden in many countries at the time. As the song turned into a huge success, it achieved acceptance. Groundbreaking. Mick Harvey recorded his own version of the song. Gainsbourg and Birkin are replaced by Nick Cave and Anita Lane. Serge Gainsbourg was very creative under his lifetime and stayed up at night smoking and writing songs. La decadence is another masterpiece. Mabye Gainsbourg sung what his fellow countryman Baudelaire wrote. The both erased the border between romanticism and decadence. Gainsbourgs bar-music and sometimes rather decadent lyrics was sensational in the 60s, as was his life, full of wimen and liquor. He is and was a national hero in France. He was regarded as an unusual talented artist, and at the same time he was extremely shy. In interviews he explained how important it was for a human being to hide behind somekind of shelter. Even though he proclaimed that everlasting love did not exist in his songs, everybody somehow knew what he really meant. LEE HAZLEWOOD Hazlewood is a country-singer that composed several wonderful songs in the 70s. The music reminds of Leonard Cohen - everyday observations instead of religious seeking. Hazlewood recorded a wide range of duets, with Nancy Sinatra and Nina Lizell just to mention a couple. You can find these songs on the collection The cowboy and the ladies. In 1970 he produced a movie in Gotland, Cowboy in Sweden. The soundtrack i a masterpiece - don't miss the sensitive cover of Vem kan segla. Hazlewood's sings about whisky abuse and constantly broken hearts. There are also many humoristic portraits. Melodious country. His Farewell tour is probably the last chance to see this legend. "You won't find it on any map, but take a step in any direction and you're in Trouble". JOY DIVISION IAN CURTIS 1956 - 1980 Ian Curits was the singer in Joy Division, the real pioneer in music with gothic overtones. Joy Division has a unique sound, a kind of melancholic punk The music is colder than the theatrical gothic rock. Curtis dark voice was strongly style-forming at the time. Perhaps the only real dark romantic "icon". Joy Division was the starting point in a new wave - New Order and The Smiths. TOM WAITS In Coppolas Dracula you have probably seen Tom Wats as the man who eats flies. He also appears in movies like Down by law and Night on Earh. Waits remarkable whisky-voice can easily trigger an earthquake. Tom Waits is many-sided; his long career includes jazz, industrial, rock n' roll and some projects that can not easily be defined. His music is rough, yet sensitive. Rain Dogs is a melodious album - Downtown train is a Tom Waits song, better than Rod Stewart's awful version - SCOTT WALKER Scott Walker inspired dussins of musicians - David Bowie (striking similarities in singing voices) and Nick Cave. Walker composed music in the 60s and 70s. He returned to the scene in the 90s with an industrial experiment. In the early 60s he wrote song with Walker Brothers, with hits such as The sun aint gonna shine anymore. Shortly after he started a solo career. Walker's lyrics are pathetic. Walker was a perfectionist and his songs are sometimes perhaps a little too polished. I recommend the songs No sad songs for me and If you go away. All via

King Of The Froggy Monotone

Don't let the doofy cover fool you. This is one of the best albums you will hear in your life. Most often, I hear Cowboy in Sweden cited as his best work (aside from his collaborations with Nancy Sinatra), but this is the better album, in my opinion, and indeed I would say: it's nearly flawless. This is a guy who's pretty loopy at the best of times, but far from being just camp curiosity, his work here is sublime. A collection of country-pop with lush, cinematic strings, a baroque sensibility, a savvy sense of the archetypes of the genre and a genuine gift for deadpan, pathos-laden storytelling with a rich sense of humor; all delivered by a man whose laid back chops were nonetheless honed. Each song is great, the title track being particularly breathtaking in it's crystalline brevity and stunning sudden stop, and the track "Pour Man," which kills just kills with its interplay of harpsichord and jangly guitar. The guitars, keys, and strings throughout are stellar... inventive and ruthlessly professional, almost Italian sounding. Really just a little treasure of production. Lee himself does the froggy monotone that has always characterized his singing, but it's the best incarnation of it and it's great. Besides, like David Berman says, "all my favorite singers couldn't sing." If you like the Porter Wagoner compilation Rubber Room, Nancy Sinatra, or music, among other things, you will see fit to try and like this. I say this a lot, and it's because I think a lot of them haven't been properly identified yet: It's a masterpiece. -http://flashstrap.blogspot.com/- GET MELLOW HERE

lalo schifrin- cool hand luke soundtrack

Composer Lalo Schifrin might be better known to the current generation of young moviegoers as the guy who wrote the "Mission: Impossible" theme. But this six-time Academy Award nominee has a much broader palette than people may know. He's also a renowned classical and jazz composer. His personal record label, Aleph Records, has been releasing many of his new albums (including "Esperanto" and "Brazilian Jazz"), as well as digging back into the archives to release older soundtracks that might have been forgotten. Recently, they released his score to the "disaster" movie, Rollercoaster. The Steve McQueen classic Bullitt, and his Academy Award nominated score to The Fox. Now, continuing this impressive streak of score releases, Aleph Records has released Lalo's Academy Award nominated score to Cool Hand Luke. Long considered an excellent score (and one of Lalo's best), this release of Cool Hand Luke is by far the best release of the score to date. Previously released (on LP and the later on CD) as a 31-minute album, this new score has been somewhat remastered (there is still a bit of hiss present, but the album is just a bit "loud", so turn your volume down a tad to make it more enjoyable) and has given us an additional 26-minutes of music. Lalo's mixture of bluegrass and symphonic music resulted in a unique and satisfying sound. From the distinctive "Main Title" theme to the highly energetic (and Copeland-esque) "Tar Sequence", the first five minutes alone on the album are enough to give one the clear indication that this is no ordinary score. -Dan Goldwasser- 1 Main Title 2 Just a Closer Walk With Thee 3 Tar Sequence 4 Lucille 5 Egg Eating Contest 6 Plastic Jesus 7 Bean Time 8 Ballad of Cool Hand Luke 9 Arletta Blues 10 The First Morning 11 The Chase 12 Road Gang 13 End Title GET IT HERE i hope to soon be recording a version of this theme. highlights; "end title" and Harry Dean Stanton's "Just a Closer Walk With Thee"

Tell Them Anything You Want

From Lance Bangs and Spike Jonze, acclaimed director of WHERE THE WILD THINGS ARE, comes A PORTRAIT OF MAURICE SENDAK, a loving look at one of the most cherished and controversial figures in children's literature. Featuring TELL THEM ANYTHING YOU WANT, this is a deeply moving tribute to Sendak, a seminal talent whose conflicts with success and lifelong obsession with death have subtly influenced his work. Now 81, Sendak is best known for his book, WHERE THE WILD THINGS ARE, which he wrote twelve years into his career as a writer and illustrator. WILD THINGS would go on to become one of the most beloved and critically lauded children’s books of all time and, much to Sendak's chagrin, would come to define his career. Through his own words, personal photos, and illustrations, Sendak offers a rare, intimate, and unexpected look at his exceptional life. A TRIBUTE TO MAURICE SENDAK also features James Gandolfini, Meryl Streep, Catherine Keener, and Tony Kushner honoring their friend and colleague. watch here buy

Gasland and the Frack Attack

In July, a hydrologist dropped a plastic sampling pipe 300 feet down a water well in rural Sublette County, Wyo., and pulled up a load of brown oily water with a foul smell. Tests showed it contained benzene, a chemical believed to cause aplastic anemia and leukemia, in a concentration 1,500 times the level safe for people. The results sent shockwaves through the energy industry and state and federal regulatory agencies. Sublette County is the home of one of the nation's largest natural gas fields, and many of its 6,000 wells have undergone a process pioneered by Halliburton called hydraulic fracturing, which shoots vast amounts of water, sand and chemicals several miles underground to break apart rock and release the gas. The process has been considered safe since a 2004 study [3] (PDF) by the Environmental Protection Agency found that it posed no risk to drinking water. After that study, Congress even exempted hydraulic fracturing from the Safe Drinking Water Act. Today fracturing is used in nine out of 10 natural gas wells in the United States. Over the last few years, however, a series of contamination incidents have raised questions about that EPA study and ignited a debate over whether the chemicals used in hydraulic fracturing may threaten the nation's increasingly precious drinking water supply. An investigation by ProPublica, which visited Sublette County and six other contamination sites, found that water contamination in drilling areas around the country is far more prevalent than the EPA asserts. Our investigation also found that the 2004 EPA study was not as conclusive as it claimed to be. A close review shows that the body of the study contains damaging information that wasn't mentioned in the conclusion. In fact, the study foreshadowed many of the problems now being reported across the country. more here.... There is a documentary out there called "Gasland" that shows the truth of how we are screwing up again with another fossil fuel. about the movie; "The largest domestic natural gas drilling boom in history has swept across the United States. The Halliburton-developed drilling technology of "fracking" or hydraulic fracturing has unlocked a "Saudia Arabia of natural gas" just beneath us. But is fracking safe? When filmmaker Josh Fox is asked to lease his land for drilling, he embarks on a cross-country odyssey uncovering a trail of secrets, lies and contamination. A recently drilled nearby Pennsylvania town reports that residents are able to light their drinking water on fire. This is just one of the many absurd and astonishing revelations of a new country called GASLAND. Part verite travelogue, part expose, part mystery, part bluegrass banjo meltdown, part showdown."

Trailer

I See The Light

Exit achieved. Cris/ photos: Rick (Thanks)

Late to Jimi's Birthday

I just Stumbled onto this KCRW Broadcast from Mr. Rollins via Jacob at Transafixion and even though late to the game it is worth posting. (show embedded below) "On KCRW, Mr. Henry Rollins will be dedicating his entire 2 hour show to all things Hendrix. Rollins did a similar thing for John Coltrane a couple months back and it was wonderful. Tonight’s show should be a good one as well." -Jacob- (From Henry) Fanatics! Writing to you from the airport in Ulaan Bataar, Mongolia. We've done it before, we're doing it again. There's no way we could let this momentous date pass without taking full advantage if it's Fanatic potential. Sadly, it was on this day, forty years ago, that Jimi Hendrix passed away. We thought it would be the right and Fanatic thing to do by spending the entire shows hanging out in the glow of Jimi's great work, if even just a small fraction of it. If it's all great, then even a small portion is completely worthwhile. You Fanatics don't need me to tell you that there's really no way to do justice to the mighty Hendrix catalog in a mere two hours. So, what we are going to try and do is have a good time and listen to some good jams. You will notice, we are utilizing the mono versions where possible. Tonight's show jumps around a little chronologically. To be honest, I really didn't want to be tethered to that, I just wanted to put together two hours of goodness. Many of you, I am sure, find listening to Jimi Hendrix as frustrating as you do you uplifting. As with the great John Coltrane, they both passed away at very young ages, Hendrix younger than Coltrane but all the same, we will never know what could have been. Thankfully, Jimi Hendrix was one hard working genius and was a good way into finishing what was going to be his next album, so we get songs like Freedom, Astro Man and In From The Storm. What we don't get is the result of a possible meeting of Hendrix and Miles Davis in the studio and what that could have been. Also, it was obvious that Hendrix was moving on and the next five years of his output would have been no doubt, quite something. But, the facts are the facts and we have what we have. Thankfully, the Hendrix estate has seen fit to release morsels to us now and then. You Fanatics who are familiar with the universe of Hendrix bootleg recordings, know that there is a lot more to hear. Little by little, Fanatics, we will get further down the road with Mr. Hendrix. For now, dig the jams, pursue this music, listen, listen again and again. It's worth it. Like many of you Fanatics, Hendrix put the hook in my ear early and immediately. I have been listening to the man since I was about eight and I'm just getting warmed up. Speaking of getting warmed up, I think that any of you who are reading these notes and know what's in store, should start listening to Jimi earlier in the day and make it an all day and into the evening thang. Whatever you do, listen loud and STAY FANATIC!!! —Henry 01. Radio One / BBC Sessions 02. Purple Haze / Hendrix Live In Paris 03. The Stars That Play With Laughing Sam's Dice / South Saturn Delta 04. In From The Storm / Voodoo Soup 05. Love Or Confusion (mono) / Are You Experienced? 06. Freedom / First Rays Of The New Rising Sun 07. Can You Please Crawl Out Your Window? / BBC Sessions 08. Hey Baby / First Rays Of The New Rising Sun 09. Third Stone From The Sun / Jimi Hendrix Experience Box Set 10. I Don't Live Today (live) / Jimi Hendrix Experience Box Set 11. Red House (live) / Jimi Hendrix Experience Box Set 12. May This Be Love (mono) / Are You Experienced? 13. Spanish Castle Magic (mono) / Axis 14. Manic Depression / BBC Sessions 15. Remember (mono) / Are You Experienced? 16. 1983...(A Merman I Should Turn To Be) / The Jimi Hendrix Story 17. Peter Gunn Catastrophe / War Heroes 18. Voodoo Child (Slight Return) / Live At Woodstock

Sun Ra-Sleeping Beauty

"This is the great late-night Sun Ra chillout album you never knew about. The band had been working in a more groove-oriented setting off and on for over a year, as evidenced by the albums Lanquidity and On Jupiter, with both featuring prominent electric bass and electric guitar. Sleeping Beauty picks up right where On Jupiter left off, with the gentle, swaying "Springtime Again" echoing the same mellow vibe of "Seductive Fantasy" from On Jupiter. A skittering intro coalesces as different instruments pick up bits of the melody, which is then fully expressed by the horn section and ensemble vocals. It's a simple two-chord vamp, with beautiful solos that seem to embody the reawakening and rebirth of springtime. "The Door of the Cosmos" starts with a gospel-like chant and handclaps, with comments from Ra's electric piano and electric guitar. A strong bassline enters, very reminiscent of "A Love Supreme, Pt. 1: Acknowledgement," but the accompanying chant celebrates the mysteries of the unknown rather than the universal truth of A Love Supreme. This track builds in intensity, but never loses its groove or becomes nearly as raucous as the Arkestra is sometimes known for. "Sleeping Beauty" is the album centerpiece, taking up all of side two. Ra's beautiful electric piano gets things rolling, and the band falls into a peaceful groove before the vocals enter, led by the wonderful June Tyson. These songs are all built on the simplest of structures, and the playing from everyone is understated and sublime. Sleeping Beauty is truly a high point in an unwieldy discography, and something of an anomaly at the same time. There's a good reason copies of this album go for several hundred dollars on the collector's market, but it really deserves a proper release so more people can hear it. Outstanding." ~ Sean Westergaard via Sun Ra (synth, organ vocals) John Gilmore (tenor sax, percussion) Marshall Allen (alto sax) Danny Thompson (baritone sax, flute, percussion) Michael Ray (trumpet) Noel Scott (alto sax) June Tyson (vocals) Eloe Omoe (bass clarinet) Craig Harris (trombone) Tommy Hunter (drums) Al Evans (flugelhorn) Jarbu Shahid (bass) Samarai Celestial (drums) Vincent Chancey (french horn) Francisco Mora, Tani Tabbal (percussion): Bright Moments (congas) The Bell Brothers (bells) John Ore (bass) James Jackson (Ancient Egyptian Infinity Lightning Drum) 1. Springtime Again 2. Door of the Cosmos 3. Sleeping Beauty GO TO SPACE HERE and more words from "One of the most soulful Sun Ra albums -- very much on the Lanquidity tip, and done with a great mix of electric and acoustic instrumentation. The vibe here is really mellow, spiritual, and warm -- and the album actually feels more like a session recorded for the Strata East label than it does for Saturn! Keyboards pervade the session -- electric piano and organ drifting around in moody, laidback lines -- augmented by occasional vibes, bits of guitar, and some wonderfully well-blown sax solo work by Marshall Allen and John Gilmore! The title track "Sleeping Beauty" runs for all of side two of the album -- and it's an amazing number that mixes instrumental passages with some great mellow vocals. "Door Of The Cosmos" is a bit of a groover, that gets funky at times -- and the album also features the laidback spacey number "Springtime".

Sunday PM: Long Drive to a Sandbar Score

Sunday AM Part 1. Extreme Planing (and more...)

Super Hero = 0 displacement

Miles Davis - The Complete Bitches Brew Sessions (Jazz, 1969/70)

The first thing that Bitches Brew made clear is that Miles was keenly interested in expanding the idea of what his music could be, and was starting to stretch it way out. The title track runs 26 minutes, which then and now is at the extreme end of what a side of vinyl on an LP can hold; the opening "Pharaoh's Dance" also breaks 20 minutes. And these pieces weren't lengthy compositions or single jams, but were assembled by Miles and producer Teo Macero through editing-- unrelated tracks could become one piece through the miracle of the razor blade and magnetic tape. For an improvisatory art form that was founded on the idea collective expression in the present moment, the idea of stitching together pieces into a new whole was radical enough on its own. But Miles was changing his approach in several ways simultaneously as the 1960s came to a close. He was processing his trumpet with echo, working with electric keyboards and electric guitar, adding new percussion colors, experimenting with rock rhythms, doing away with chord changes, and building long tracks from riffs and vamps. And, as the liner notes from Greg Tate included with these sets illustrate, he was hanging out with Betty Davis, who was introducing him to new music, and along the way he had become a fan of Jimi Hendrix, Sly Stone, and James Brown. All of these elements swirled together into a record of brilliant and fascinating contradictions. The psychedelic cover art and long electric jams on the one hand anchor the music in Age of Aquarius, but the connections to earlier jazz tradition and unmoored, floating quality of music also lend it a timeless feel. It sounds very much like a bunch of dudes jamming in the room, but some of the abrupt edits serve as a reminder that it owes a lot to technology. It finds Miles distancing himself from his musical past, but it sounds equally far from the dense abstraction his music would take on a couple of years later, especially in a live setting. It was long and hard to get a handle on, but it was also a huge commercial success. Ultimately, Bitches Brew seems mostly like a single beautiful frame from a jarring film filled with jump-cuts. The amount that Miles Davis' music changed from the early 60s to the early 70s is astonishing. His sound was constantly on the move, and this is what it sounded like on those August days in the studio. -pitchfork- The musicians on the album are: Miles Davis on Trumpet, Wayne Shorter on Soprano Sax, Bennie Maupin on Bass Clarinet, Chick Corea on Electric Piano, John McLaughlin on Guitar, Dave Holland on Bass, Harvey Brooks on Electric Bass, Lenny White on Drums, Jack DeJohnette on Drums, Don Alias on Drums and Congas, Juma Santos on Congas, Larry Young on Electric Piano, Joe Zawinul on Electric Piano, Billy Cobham on Drums, and Airto Moreira on Percussion. Please note: Not all musicians appear on all tracks. The cover art by Mati Klarwein is/was groundbreaking. His credits for Lp's is too long to list here yet a few are.... Santana, Buddy Miles, Eric Dolphy, Jon Hassell, Malcolm X, Earth, Wind & Fire, Leonard Bernstein and The Last Poets..... Bitches Brew Track Listing: Track Listing: Disc: 1 1. Pharaoh's Dance - Miles Davis, Zawinul, Joe 2. Bitches Brew 3. Spanish Key 4. John McLaughlin Disc: 2 1. Miles Runs the Voodoo Down 2. Sanctuary 3. Great Expectations 4. Orange Lady - Miles Davis, Zawinul, Joe 5. Yaphet [#][*] 6. Corrado [#][*] Disc: 3 1. Trevere [#][*] 2. The Big Green Serpent [#] 3. The Little Blue Frog [Alternate Take][#][*] 4. The Little Blue Frog [MST] 5. Lonely Fire 6. Guinnevere - Miles Davis, Crosby, David [1] Disc: 4 1. Feio [#][*] - Miles Davis, Shorter, Wayne 2. Double Image [#][*] - Miles Davis, Zawinul, Joe 3. Recollections [#][*] - Miles Davis, Zawinul, Joe 4. Take It or Leave It [#][*] - Miles Davis, Zawinul, Joe 5. Double Image - Miles Davis, Zawinul, Joe * Miles Davis - trumpet * Wayne Shorter - soprano saxophone * Bennie Maupin - bass clarinet * Chick Corea - electric piano (solo on "Miles Runs The Voodoo Down" ) * Larry Young - electric piano * Joe Zawinul - electric piano * John McLaughlin - guitar * Dave Holland - bass * Harvey Brooks - electric bass * Lenny White - drum set * Billy Cobham - drum set * Jack DeJohnette - drum set * Don Alias - congas, drum set only on "Miles Runs The Voodoo Down" * Juma Santos - shaker, congas * Airto Moreira - percussion CD1 http://www.csoftcorp.com/1NzU4NTE2NDNmMTVhYjk5OT/Miles-Davis-The-Complete-Bitches-Brew-Sessions-1970-CD1-of-4-161-150.html CD2 http://www.csoftcorp.com/hMzk2ODBlNjYzNzFiMGJhYj/Miles-Davis-The-Complete-Bitches-Brew-Sessions-1970-CD2-of-4-172-78.html CD3 http://www.csoftcorp.com/hMDU0ZjA4MTg0NGIwNjkzOD/Miles-Davis-The-Complete-Bitches-Brew-Sessions-1970-CD3-of-4-127-118.html CD4 http://www.csoftcorp.com/wZTlkMDk4YmFlZDcwODU1OT/Miles-Davis-The-Complete-Bitches-Brew-Sessions-1970-CD4-of-4-Jazzmp3-320h33tschon55.html These are NEW LINX! MY 2 Cents;(wish i could find the vinyl rip for ya, but..) My highlights are "Miles Runs the Voodoo Down" and GREAT VERSION of David Crosby's "Guinnevere"! if these links fail see comments.

Saturday Epilogue: The Eggy Doughnut and the Hero Splinter Slide

Saturday Part 2: Come Gather Ye Hulls

Gilda- Liddle Ryan R.- Russell???? Ross- Liddle