so amazing just needed a repost....

from the dvd "Jazz On A Summers Day". get used for 5 bucks the song "El Moors" is from the LP El Chico. get it here. 100% great! Chico w/ Gabor Szabo and Willie Bobo!!

Gabor Szabo - 1966 Jazz Raga

A brilliant record featuring Szabo’s distinctive guitar and his overdubbed, out-of-tune sitar playing. Funk drummer Bernard Purdie contributes successfully to the percussive groove and even the odd-sounding sitar isn’t as obtrusive as is often suggested. Gabor Szabo (g, sitar overdubbed) Bob Bushnell (g) Johnny Gregg (b) Bernard "Pretty" Purdie (d). 01 Walking On Nails (Gabor Szabo) 2:46 02 Mizrab (Gabor Szabo) 3:32 03 Search For Nirvana (Gabor & Alicia Szabo) 2:07 04 Krishna (Gabor Szabo) 3:12 05 Raga Doll (Gary McFarland) 3:42 06 Comin' Back (G. Szabo/C. Otis) 1:55 07 Paint It Black (M. Jagger/K. Richard) 4:40 08 Sophisticated Wheels (Gabor Szabo) 3:52 09 Ravi (Gabor Szabo) 2:59 10 Caravan (D. Ellington/J. Tizol/I. Mills) 2:58 11 Summertime (G. Gershwin/D. Heyward) 2:28 Recorded at Rudy Van Gelder Studio, Englewood Cliffs, NJ, on August 4 and 17, 1966 August 4, 1966 Gabor Szabo (g, sitar) Johnny Gregg (b) Bernard Purdie (d) 90601 Comin' Back 90602 Sophisticated Wheels 90603 Krishna 90604 Summertime 90605 Caravan August 17, 1966 Bob Bushnell (g) Gabor Szabo (g, sitar, vo) Johnny Gregg (b) Bernard Purdie (d) 90607 Mizrab 90608 Search For Nirvana 90609 Walking On Nails 90610 Paint It Black 90611 Ravi 90612 Raga Doll get it's rumored in the liner notes of Gabor playing so aggressive on the sitar on this song he destroyed it near the end of the song. one wish is that the song "comin back" was to be a starship cover. that would be something. one exellent LP!

happy whale tale

The Whale... If you read a recent front page story of the San Francisco Chronicle, you would have read about a female humpback whale who had become entangled in a spider web of crab traps and lines. She was weighted down by hundreds of pounds of traps that caused her to struggle to stay afloat. She also had hundreds of yards of line rope wrapped around her body, her tail, her torso, a line tugging in her mouth. A fisherman spotted her just east of the Farallon Islands (outside the Golden Gate) and radioed an environmental group for help. Within a few hours, the rescue team arrived and determined that she was so bad off, the only way to save her was to dive in and untangle her. They worked for hours with curved knives and eventually freed her. When she was free, the divers say she swam in what seemed like joyous circles. She then came back to each and every diver, one at a time, and nudged them, pushed them gently around as she was thanking them. Some said it was the most incredibly beautiful experience of their lives. The guy who cut the rope out of her mouth said her eyes were following him the whole time, and he will never be the same. May you, and all those you love, be so blessed and fortunate to be surrounded by people who will help you get untangled from the things that are binding you. And, may you always know the joy of giving and receiving gratitude.

Herbie Hancock - Head Hunters (1973)

Headhunters by Herbie HancockHerbie Hancock's 1973 recording, Head Hunters ,is arguably the best album in fusion genre. (and don't argue with fusion fans, what's the use? They like weather report...) Think of it as Bitches Brew without the coke, or Miles Davis's pretentious attitude. A man wiser man than myself once said, "Funk is like sex. When it is bad, it's still good. When it's good, it's really good." Let the listener be warned that this album is comparable to good sex, and you will want more. However, the rest of Herbie's albums will let you down after this peak experience. Chasing after the Head Hunter's dragon left me with no less than six rather horrendous Hancock albums. I think I even have a Weather Report album somewhere as a result of those dark days ::shudder::. The climax of the album is track II, "Watermelon Man". Don't make describe this track with those tiresome, and cliche music reviewer phrases: "a funky alliance of pulsating Afro-percussion and deep grooves building into an electric rainforest". No, listen to the track -- that's why I've bothered to find a good free sample of it. We have the internet now, we don't have to use those words to describe music. But if Watermelon Man is the climax, than the 18 min track I, "Chameleon" is the perfect build up. After years of listening to this album, I'm almost tempted to say that this it's my favorite track. I've gotten into a lot of arguments with jazz lovers about track 3 and 4 with (with fusion loves, they usually turn into fist fights). "Sly" and "Vein Melter", to take this sexual-funk metaphor to its close, are like that afterwords cigarette [though not quite as cliche], and obligatory "that was incredible" small talk. I usually panic, and bail from the house of Head Hunters before Vein Melter even begins. Hints why this album didn't get 5 stars. Nevertheless, the experience of the first two tracks is worth its under 10 dollar price tag [or free, if you are into certain music gathering practices :-)] text via nick lewis 1. Chameleon - 15:44 2. Sly - 10:20 3. Vein Melter - 9:09 4. Watermelon Man - 6:32 Músicos: Herbie Hancock: Fender Rhodes piano, Clavinet, synthesizer Bennie Maupin: soprano & tenor saxophones, saxello, bass clarinet, alto flute Paul Jackson: marimbula, bass); Harvey Mason (drums Bill Summers: congas, shekere, balafon, agogo, cabasa, hindewho, tambourine, log drum, surdo, gankoqui, beer bottle get

herbie hancock cameleon live 1975

Saving The Sushi Menu

The world has fished past the point of "peak tuna." A half-century ago, much of the Atlantic bluefin tuna that found its way into fishermen's nets was thrown back or used for cat food. But when the modern sushi craze took root in Japan — and spread to sushi aficionados worldwide — demand for tuna meat skyrocketed. And tuna populations dwindled. Scientists estimate that because of overfishing, the tuna populations in the Gulf of Mexico and Mediterranean have shrunk to less than 10 percent and 15 percent, respectively, of their pre-fishing size. But the fate of this storied fish — whose qualities Aristotle extolled in his History of Animals — may yet be altered when the international community comes together next month at the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES) meeting in Doha, Qatar. Already, the principality of Monaco, headed by ocean-loving Prince Albert II, has proposed designating the bluefin as "threatened with extinction," placing it alongside such protected species as African elephants, mountain gorillas, and Siberian tigers. Most significantly, this listing would ban international trade of bluefin, meaning that Japan's favorite snack would become "threatened with extinction" as well. Bluefin are particularly revered among the Japanese for their high fat content and rich flesh. A slice of raw toro, the fatty belly meat of a tuna, leaves a delicate aftertaste as it melts in your mouth. And sushi lovers are willing to pay top prices: In Tokyo, one piece of prize bluefin nigiri can cost more than $20. Most Atlantic bluefin are caught in their Mediterranean spawning grounds by countries including France, Italy, and Spain, but more than 80 percent of Atlantic bluefin tuna wind up in Japanese fish markets, where a single fish recently sold for $175,000. But because of their status as a delicacy and due to advances in fishing technology, populations of Atlantic bluefin tuna are now severely depleted. Where fishermen once hunted the giant fish with harpoons and hooks, many now use modern vessels equipped with powerful sonar to find fish underwater and radar to track seabirds that gather around tuna schools, as well as giant nets that can efficiently encircle and capture entire schools of bluefin. Most tuna are then held in net pens and fattened on mackerels, sardines, and squid to increase their market value. Unless trends reverse, wild bluefin tuna might become exceedingly rare and off the menu entirely. There are three bluefin tuna species — Atlantic, Pacific, and Southern — and all are hunted extensively throughout their ranges. Atlantic bluefin have fared the worst, and they've had shockingly little help from fishery managers. The International Commission for the Conservation of Atlantic Tunas (ICCAT), an intergovernmental organization composed of 48 member states including the United States, Japan, and Mediterranean fishing nations, has been responsible for the conservation of Atlantic tuna species, including bluefin, since 1969. However, it has generally failed in this mission. Under ICCAT regulations, fishery managers are supposed to set catch quotas based on the recommendations of scientists. Instead, managers have consistently disregarded internal expert recommendations. For the past 10 years, ICCAT has set quotas that have exceeded scientific recommendations, often by more than double. Managers have also refused scientific advice to suspend fishing in the Mediterranean during the full May-to-July spawning season, meaning that tuna are often caught before they can reproduce and help sustain the population. Further, though member states agree to implement ICCAT regulations, governments often fail to crack down on overzealous fishermen at home. In recent years, ICCAT scientists estimate that more than half of bluefin catches in the Eastern Atlantic and Mediterranean have been illegal, meaning that fishing nations failed to report or underreported catches. In 2007, for example, ICCAT scientists recommended that catches should be no greater than 15,000 metric tons. ICCAT fishery managers, however, set a quota of 29,500 metric tons. And in the end, ICCAT scientists estimated actual catches at about 61,000 metric tons, more than four times higher than the recommended limit. Such failures have led Carl Safina, a leading marine ecologist, as well other conservationists involved in the bluefin saga, to refer to ICCAT as the "International Conspiracy to Catch All Tunas." The familiar image of Japanese businessmen lunching on nigiri sushi may soon be a thing of the past. Is there any hope? Yes. Because 80 percent of the market for bluefin tuna is concentrated in a single country, Japan, an international trade ban would have dramatic impacts, effectively stopping the race for fish and eliminating the incentive for illegal fishing. But this isn't the first time the Atlantic bluefin has almost made the "threatened with extinction" list. Sweden's effort to list bluefin in 1992 failed in the face of significant political pressure from Japan (top sushi market), backed by the United States and Canada (fishing nations). In 1994, Kenya submitted a proposal to list bluefin, but quickly withdrew it after tough lobbying from Japan, a major foreign-aid donor. This March, too, Japan is likely to be highly resistant. The country has already condemned the proposed ban as an insensitive attack on Japanese food culture and its way of life. But this time around, significant players are prepared to step up in support of protecting bluefin tuna. Even France and Italy, major fishing nations in the European Union, have recently pledged support for a ban on the bluefin trade. The United States has yet to weigh in on this crucial issue — while the Interior Department and the Commerce Department try to resolve who has jurisdiction over tuna policy — and the fate of the bluefin remains uncertain. Sushi aficionados have over-enjoyed a precious resource. To ensure that bluefin are available for future generations, we must have the courage to make the hard decisions now. It's time to put saving the bluefin on the menu. DANE KLINGER and KIMIKO NARITA via and related Listen to Chris Joyce's report on Morning Edition.

"works best in hollow point surf....."

ANDY SUMMERS & ROBERT FRIPP - I Advance Masked (1982)

Review and samples by Greg Prato Many a guitar fan would have predicted that a summit between legendary guitarists Andy Summers (the Police) and Robert Fripp (King Crimson) would result in a guitar solofest. But the music on their first collaboration together, I Advance Masked, stresses guitar textures and moods over indulgent soloing. Although the recording sessions weren't entirely enjoyable for Summers (who was experiencing marital problems at the time), some very beautiful music can be found on the resulting album. The music for the track "Girl on a Swing" does an excellent job of conveying the song's title in one's mind, and the duo's guitars weave wonderful polyrhythmic guitar lines throughout "China -- Yellow Leader." "The Truth of Skies" is an atmospheric piece, created by a wash of keyboard sounds and guitar dissonance, while "New Marimba" would have sounded right at home on an early-'80s King Crimson album. I Advance Masked has a dreamlike quality to it, and is definitely not typical rock music. It's highly recommended to fans of these two great and original guitarists. 01 I Advance Masked 02 Under Bridges of Silence 03 China - Yellow Leader 04 In the Cloud Forest 05 New Marimba 06 Girl on a Swing 07 Hardy Country 08 The Truth of Skies 09 Painting and Dance 10 Still Point 11 Lakeland / Aquarelle 12 Seven on Seven 13 Stultified get best track. 2 or 3 other greats.(seven on seven, painting and dance +) me says: the two rehearsing for #2 LP "Bewitched" that IMOP has only one good song. those damn eighties and the "Roland" influence really takes the edge off of all. still some great moments.

Bjork - Vespertine live (2004) ]

forgive the google translate... via It is no misogynist, but in truth that women were not given a lot of this wonderful music, and before I claim tell me: where is the integral in the Beatles? King Crimson? in Pink Floyd? (Haha, well is The Great Gig in the Sky) and Banas most legendary? although not directly involved are the biggest source of inspiration. Few have caught my attention, the veteran could say that Patti Smith is my favorite, since Joplin was never to my liking and Sinead O'Connor only surrounded himself with good Musco. Already in the 90's began to have more diversity and I do not mean the Britneys or Avrils, talk about Fiona Apple, Norah Jones, Bjork and, of course. And if you think good music first female to mind is Bjork. Not if his eccentric nature or the fact of being born in Iceland that all his records to the Volta me sound great, besides the icon to be reached. As mentioned in my top, this DVD contains the best of Bjork, Vespertine hits and, of course the DVD is fucking up, so I leave the disc only, taken entirely from that concert at the Royal Opera House, although not included their hits as the DVD has the vespertine completito, and to close the debut of Its in Our Hands. Track list: 1. "Frosti" 2. "Overture" 3. "All is Full of Love" 4. "Cocoon" 5. "Aurora" 6. "Undo" 7. "Unravel" 8. "I've Seen It All" 9. "An Echo, a Stain" (With Tanya Tagaq) 10. "Generous Palmstroke" 11. "Hidden Place" 12. "Pagan Poetry" 13. "Harm of Will" 14. "It's Not Up to You" 15. "Unison" 16. "It's in Our Hands" get or try http://www.mediafire.com/?yu25mtm1ny2 mediafire always easier. video 2 posts down w/ musicbox. an AMAZING CONCERT. The use of the music box on the LP/tour with matmos. Can you explain the process of the music box adaptation for Björk’s songs ? JP : Initially, Bjork or her collaborators(Matmos) contacted a music box manufacturer in Randolph Vermont, for whom I had done much work. The music box company sent me three scores initially (Frosti, Blueprint - Pagan Poetry - , and Aurora). (Later, Cocoon was added.) I spoke once with Bjork over the phone after that, which gave me a clear sense of what Vespertine was supposed to be. The work I did for Bjork clearly were « adaptations » : she had created full, complete arrangements written with music box in mind. Her music was inventive and beautiful as it lay, and it was a shame that it wouldn’t fit on a music box disc as it was. (Frosti was longer than the 1 minute which could fit on a disc.) So, I knew my task was to get it to fit without wrecking it. more

a small bite from; "Chumash Values"

1st a brief into summarized Chumash History; The Chumash and Gabrielino-Tongva peoples were the first human inhabitants of the Channel Islands and Santa Monica Mountains areas. They are known to have lived here for thousands of years; numerous archaeological sites have been uncovered in the past decade. There were about 20,000 Chumash living in an area that covered California's coast from Malibu in the South, to San Luis Obispo in the North. The successful livelihood of the Chumash people was based upon their subsistence upon the available natural resources. chumash website thanks to south willard my sense and MAIN POINT!; these are core values to any sane person in today's standards.

sound of beauty

sound of the music box can never be duped. yet, still can be made and programmed as Bjork show on "Frosti" from the Vespertine LP.

the Fairey Huntress 23/ from russia with love

a little james bond trivia in "from russia with love"; Vehicles featured included The Orient Express Train; SPECTRE's two-seater Hiller UH-12C helicopter; a yellow C30 1961 Chevrolet flatbed delivery truck; a 1960 Ford Fordor Ranch Wagon; a Venetian water taxi gondola; a Fairey Huntress 23 speed boat being pursued by two Huntsman 28 and two Huntress speedboats. http://www.faireyownersclub.co.uk/default.asp?content=boats&type=huntress

blue friday

Jean-Michel Basquiat : The Radiant Child

The Big Shoo (part 1 of a 5 part MP3 cd mixtape)

GET here. (Tracklist included in file)

Crazy Horse (1971)

Prior to joining forces with Young for the masterpiece Everybody Knows this Is Nowhere, guitarist Danny Whitten, bassist Billy Talbot, and drummer Ralph Molina had provided the core to aggregations such as the aforementioned white doo-wop group and scuzzy Los Angeles rock band the Rockets. Unlike other musical outfits, these guys learned to sing before becoming proficient with their respective instruments. Thus, in contrast to many other groups, they could rock hard and belt out killer harmony vocals at the same time. Crazy Horse came about in the wake of This Is Nowhere and After the Gold Rush and should have been huge. However, in spite of the superb contributions from guitarist Nils Lofgren (who was playing hooky from his band Grin during the recording sessions), pianist-producer Jack Nitzsche, guitarist Ry Cooder, and fiddler Gib Gilbeau, it failed to make a significant commercial impact. Crazy Horse's sound was unique: roots-based country rock filtered through a drug-addled, post-1960s perspective of lost innocence. Prewar blues even shows its influence in songs such as the awesome opening track "Gone Dead Train" (although it sounds like the band only borrowed the title of King Solomon Hill's best 78) and the lovely "Carolay" (which contains verses lifted from Robert Johnson's "I Believe I'll Dust My Broom"). "Dance, Dance, Dance" is a fine bit of ersatz Cajuniana from the pen of mentor Neil Young, while the anthemic "Downtown" inexplicably never became the massive hit that it could have been in a more just world. The phase shifter featured on the melancholy "Look at All the Things" and the rocking "Beggars Day" give both songs an early 1970s psychedelic sheen. Cooder's exquisite slide guitar is the icing on the cake for the heartfelt and beautiful "I Don't Want to Talk About It," which stands in stark contrast to the menacing and tough "Dirty Dirty." "Nobody" sounds more upbeat in tone as does "I'll Get By," which also features some enchanting group vocals. And finally, Nitzsche takes a rare turn handling lead singing duties on the Rolling Stones-like "Crow Jane Lady." via Tracks : 1. "Gone Dead Train" (Nitzsche, Titelman) – 4:06 2. "Dance Dance Dance" (Neil Young) – 2:10 3. "Look at All the Things" (Whitten) – 3:13 4. "Beggar's Day" (Lofgren) – 4:28 5. "I Don't Want to Talk About It" (Whitten) – 5:18 6. "Downtown" (Whitten, Young) – 3:14 7. "Carolay" (Nitzsche, Titelman) – 2:52 8. "Dirty, Dirty" (Whitten) – 3:31 9. "Nobody" (Lofgren) – 2:35 10. "I'll Get By" (Whitten) – 3:08 11. "Crow Jane Lady" (Nitzsche) – 4:24 Get it. Danny Whitten wrote this track and other gems. Rod Stewart made it suck hard and worldwide. You gotta just cancel his version out and be objective and how great the song is with good singing and Ry Cooder playing slide. Other highlights are "Dirty Dirty" and "Look at all the Things".

jet powered

taylor knox carving bonzer 5 fin speed trails of smoke. hopefully someday soon he'll be doing this not just on off days but in the midst of the 3 fin stagnation nation of circuit surfing. just my op. frame grabs from rip curl footage and much thanks to duncan campbell and surfy surfy.

Esther Phillips - From A Whisper To A Scream (1971)

The arrangements were made and conducted by ex-James Brown sideman Pee Wee Ellis, and he has an excellent cast to work with. Amongst the players are stellar guitarists Eric Gale & Cornell Dupree. Bernard Purdie & Airto Moreira handle the rhythm sections percussive side of the things, playing against Gordon Edwards subtle but deeply grooved bass lines. Richard Tee mans the keys, saxophonists galore including including Hank Crawford on Alto Sax who is oined by full orchestral style string sections working in tandem with the affair. The album had some 9 violinists working on it, along with another half dozen folks on harp, violas, cellos etc. This is one richly steeped audio stew, captured to tape by the peerless Rudy Van Gelder at his personal studio for Creed Taylor's Kudu label circa December 1971. In 1972 when Esther lost the Grammy she was up for to the so-called "Queen Of Soul" Aretha Franklin, the modest Franklin actually presented the trophy to Phillips, saying she really should have won it instead. Enjoy another selection from the "From A Whisper To A Scream" album and tell me you can't hear "it". Here's another Allen Toussaint composition, a little bit lighter fare than the title cut. via and much more on Esther here 1. Home Is Where The Hatred Is (Gil Scott-Heron) - 3:25 2. From A Whisper To A Scream (Allen Tousaint) - 4:15 3. To Lay Down Beside You (Tim Drummond) - 5:00 4. That's All Right With Me (M. Small/P. Field) - 3:20 5. 'Til My Back Ain't Got No Bone (E. Floyd/A. Isbell) - 3:15 6. Sweet Touch Of Love (Allen Toussaint) - 3:15 7. Baby, I'm For Real (Marvin and Anna Gaye) - 4:20 8. Your Love Is So Doggone Good (D. Ervin/R. Love) - 3:55 9. Scarred Knees (Janis W. Tyrone) - 6:15 10. How Blue Can You Get (Leonard Feather) - 5:08 11. Brother, Brother (Carole King) - 2:54 12. Don't Run And Hide (A. Hicks/G. Nash/C. Crock) - 5:58 13. A Beautiful Friendship (D. Cahn/S.H. Styne) - 4:52 Richard Tee (p,org); Cornell Dupree, Eric Gale (g); Gordon Edwards (b); Bernard Purdie (d); Airto Moreira (perc); Esther Phillips (vcl); Joshie Armstead, Hilda Harris, Barbara Massey, Louis St. Louis, Tasha Thomas (bkgrnd vcl); Pee Wee Ellis (arr,cond). Jack Wilson (rhythm arr). John Eckert, John Gatchell (tp,flhrn); Sam Burtis, Dick Griffin (tb); Frank Vicari (ts,f); David Liebman (bs,f); Hank Crawford (as); Michael Comins, Max Hollander, Leo Kahn, Charles Libove, Guy Lumia, Max Pollikoff, Alvin Rogers, Paul Winter, Jack Zayde (vln); Harold Coletta, Harry Zaratzian (viola); Charles McCracken, Alan Shulman (cello); Margaret Ross (harp); Don Sebesky (string arr). get it

Next-Gen Sports Drinks in Surfing Come Under Scientific Scrutiny(yet need more)

"Mick uses Red Bull to supercharge his surfing" - Do you?(THIS WAS THE CAPTION TO THIS PHOTO. FANNING IS A HEALTH NUT AND I DOUBT HE EVEN DRINKS THE SHIT IN PRIVATE!) Fifteen years ago, sport drinks contained two main ingredients to replenish the body after exercise: electrolytes (salts) and carbs (sugar). But today’s thirst quenchers have morphed into concoctions loaded with caffeine and a number of supplements not approved by the FDA. Now, doctors and researchers are asking some hard questions: Do these reinvented sport drinks improve performance? And more importantly, are they safe to use in the first place? Lined up on supermarket shelves next to familiar staples such as Gatorade, proximity alone lets buzz rockets like Red Bull and Monster inconspicuously pass as the embodiment of Sport Drinks 2.0. Yet this new breed of “energy drinks” is loaded with sugar (upwards of 60 grams), jacked with caffeine (as much or more than a cup of coffee), and laden with a number of still-unproven products: taurine, guarana and glucuronolactone, among others. Led by John P. Higgins, a team of researchers from the University of Texas Medical School at Houston and the University of Queensland in Australia surveyed scientific papers on sports nutrition from 1976 to 2010 for evidence that the main components of energy drinks aided an athlete during competition. Running down the list of drink ingredients, Higgins and his team exposed the reason each was chosen for the energy brew. Caffeine, for example, has been shown to coax fat to burn more efficiently in the body, thereby leaving glycogen stores — a muscle’s energy reserve — untapped. With more energy to burn, athletes hopped up on caffeine should, in theory, be able to keep going while their competitors tire out. Caffeine works much like adrenaline, making the heart beat faster, as it pushes more and more blood to hungry muscles. The effects of caffeine on performance are so well known that the International Olympic Committee has banned its use during the Games. Just like any drug, it’s possible to overdose on caffeine, and — though it’s extremely rare — there have even been a few case reports of caffeine-induced seizures and death. On the other hand, levels of the other non-FDA regulated supplements in energy drinks are low, making overdose — and, consequently, any added performance boost — extremely unlikely. Though energy drinks may not aid performance or restore key nutrients lost in sweat, the bigger question is whether they’re safe to consume during competition. Higgins and his team say that, according to research, a healthy athlete should consume no more than one energy drink during physical activity. However, a history of heart disease or high blood pressure makes a physician check-in mandatory. In an era where pro athletes being paid millions of dollars will pound a caffeinated energy drink rather than report injuries to the team’s medical staff, it’s only reasonable to know everything we can about that energy drink. Citation: Higgins JP, Tuttle TD, & Higgins CL. (2010) “Energy Beverages: Content and Safety.” Mayo Clinic Proceedings. Mayo Clinic, 85(11), 1033-41. PMID: 21037046 via pro surfing & nascar one in the same. my 2 cents; no doubt some of these surfers carry the sponsor and probably don't use the crap. just want the dough. still no excuse cuz ,"the medium is the message"! props the ones that hold on to their scruples!

Cluster - Grosses Wasser

Grosses Wasser is the seventh album by the electronic music outfit Cluster. It was co-produced by former Tangerine Dream member Peter Baumann. Grosses Wasser marked the return to Cluster working as a duo of Hans-Joachim Roedelius and Dieter Moebius after two albums collaborating with Brian Eno. Grosses Wasser was recorded and released in 1979 on the Hamburg, Germany based Sky label. It featured a wide variety of styles, including some of the most avant-garde material created by Moebius and Roedelius, particularly during the middle section of the title track, which occupied all of side 2. Other tracks, including "Manchmal" and both the opening and closing sections of "Grosses Wasser" continued the gentle, melodic style of the previous three albums, while others echoed the rhythmic style of Zuckerzeit, albeit with more of an edge via 1 - Avanti (4:32) 2 - Prothese (2:10) 3 - Isodea (4:02) 4 - Breitengrad 20 (4:00) 5 - Manchmal (2:03) 6 - Grosses Wasser (18:34) get it

G O F U L L S C R E E N !

Watch Spiritualized and other great gigs on Moshcam.

"ladies and and gentlemen"

Watch Spiritualized and other great gigs on Moshcam.

"rated x"

Watch Spiritualized and other great gigs on Moshcam.

"walkin with jesus"

Watch Spiritualized and other great gigs on Moshcam.

"lord can you hear me" Quality outstanding.

Guero Canelo (mescaline and mota VS the Sonoran Hot Dog)

Güero (pron. IPA ['wero]) is a Mexican Spanish slang term for a pale-skinned or blonde-haired person, often used as a slur. Canelo is an ajective, "cinnamony" Also according to its website, El Guero Canelo was a restaurant started by the Contreras family in 1993 famous for the Sonoran Dog and the staff at El Guero Canelo has perfected it. When ordering, you can omit certain things from the eight original ingredients that come on the dog. The originals include bacon, beans, grilled onions, fresh onions, tomatoes, mayo, mustard and jalapeno sauce. And you can add as many extra ingredients as you like from their large selection of fresh toppings. Guero Canelo is also a song made famous in the Michael Mann movie Collateral where Calexico has a part playing the track in a Columbian Cartel bar. It's a freaking brilliant scene, primarily because of the dark & eerie mood set by the song. However, the effect is heightened by the lyrical content - "Güero Canelo" is a hyperbolic recap of the stereotypical inner city Latino lifestyle (sex, drugs, fighting, cars, machismo) Upon a search these are the listed calexico lyrics:(this is confusing as the band is from Tuscon and could be championing the home town restaurant. (which i doubt) Anyway, the tune is great and Quite dark for a a hot dog song so basically the band have achieved the perfect art piece in my book, in which the meaning is personal to the beholder. Open to interpretation or just confusion. It works and more important it rocks. Hot Dogs, thugs and/or peyote, you decide. the song rocks. i would presume that the band are certainly not narcocorridos and are just doing social comment on inner city issues. (if they wrote the song at all) i know little about the band except for some good music. i could be miles off. lyrics; jump, scrape, break the switches coast low wit da bitches funky pop, drop 'n hop here come the cops güero canelo gangs, guns, knives, thugs chumps, chops, chill, chug drink malt, smoke mota i like you mucho dame un beso soma, valium, oxycontin reds, whites, speed, vicodin t's, b's, thorazine screamers, pleasers güero canelo freak, tweek, week 2 week kneel, feel, seek the geek pump da bass in yo' face contrabasso how low can you go? belladonna, mescaline psylocibin, peyote mda and dnt spells ecstasy güero canelo coil spring, bounce, crank pumps, shocks, struts, tanks psychoactive electroplade it's necesito dame un beso impala, caddy el dorado, comet galaxy, el camino chevelle, caprice monte carlo so low six fo' how low can you go? tweezer, teaser, tiger weezer rusty, crusty, skuzzy skeezer chuy, chata, cholo, chico flaco, chucho only at pueblo molé y güero canelo güero canelo güero canelo

Narcocorridos: Ballads Of The Mexican Cartels

whole story and listen to tracks here at NPR October 10, 2009 - The news of Mexico's bloody cartel war is reflected in a controversial folk-music genre called narcocorridos, or drug ballads. They're like journalism put to song — telling stories of drug lords, arrests, shootouts, daring operations and betrayals. It's a slow night on Calle del Taco in the border town of Reynosa, Mexico. Lovers sit in their vehicles eating tacos and sipping bottles of cold beer while the trios warm up: musicians with scarred instruments, wearing cowboy shirts buttoned tight across paunches and open at the top, machismo-style. "In San Jose, Costa Rica, they took him prisoner, now the whole world knows how the ballad begins of Rafael Caro Quintero," the musicians croon in harmony. They're singing an older narcocorrido about the 1985 arrest of a Mexican druglord who is also under indictment in the U.S. for the torture and murder of DEA agent Enrique "Kiki" Camarena in Mexico. The composer of "The Ballad of Caro Quintero" is one of Mexico's most prolific corridistas: Reynaldo "El Gallero" Martinez — a 71-year-old fighting-cock breeder with a pencil mustache and a gambler's grin. He's with us tonight, listening approvingly to this rendition of one of his most famous corridos. "The kids of Reynosa and Matamoros and many parts of Mexico learn the words to a corrido before they learn the National Anthem," Martinez says. He may be overstating it, but it's undeniable that the popularity of narcocorridos has tracked the spiraling cartel violence in Mexico. More than 13,500 people have been killed in drug-related violence since President Felipe Calderon took office in 2006. Standing nearby, guitarist Agustin Llamas says that if they don't sing narcocorridos out here on the Calle del Taco, they won't make any money. "The people say, 'Sing me a corrido about narcos with bullets and marijuana,' " Llamas says. "They don't want a bolero. They want a narcocorrido. That's how it is here on the border." Corridos have chronicled life and death in Mexico since the time of the Mexican Revolution. Narcocorridos first came into vogue in the 1970s, then exploded in the 1990s. The more the cartels make news, it seems, the more songs there are about them. To make his point, Reynaldo Martinez took us to a music store on a busy downtown street in Reynosa. The manager pointed out her best-selling CDs. Lucrative Business On the covers are musicians in cowboy attire gripping AK-47s — mimicking the traffickers they sing about. Afterwards, Martinez tries to explain Mexicans' enduring fascination with stories about smugglers. He compares the popularity of the narcocorridos with that of bullfights. "They always want to see the bull gore the matador," Martinez says. "We always want the weak one to win. And that's how we see the narco-traffickers." But now that drug mafias like the Sinaloans, La Familia and the Zetas have grown more powerful than the police or even the army, they're not the underdogs anymore. The romanticizing of traffickers and the glorification of the drug trade has irritated the Mexican government to the point that narcocorridos are banned from the Mexican airwaves. They're considered a bad influence on young people. And so a curious flip-flop has occurred. Border Blasters The program Killer Corridos airs each afternoon on Radio Papalote in Edinburg, Texas, about 20 miles north of the Rio Grande. It's one of the stations along the U.S. side of the border that broadcasts prohibited corridos deep into Mexico. It's the flip side of the famous border blasters that thrived in Mexican border towns from the 1930s through the '80s. High-powered transmitters broadcast preachers, hucksters and rock 'n' roll into the American heartland. Disc jockey Jose Jaime Zavala says it's dicey playing certain types of corridos — for example, those that mention the name of a cartel or a particular trafficker. A rival cartel might take offense. "There's one called Suicide Bodyguards that tells of the Zetas," Zavala says. "This is very dangerous to play on the radio, because you don't know if someone is going to hear it, and there will be reprisals. The station owner told me to try to avoid strong corridos, and so as a disc jockey I try to avoid them." Left: Chuy Quintanilla, a former federal police commander and current narcocorrido singer, stands in a record store in McAllen, Texas. Right: Reynaldo "The Roosterman" Martinez, one of Mexico's most prolific corrido composers, has 270 ballads to his name. Occupational Hazards Though narcocorridos have created hits for dozens of bands throughout Mexico, they create something of an occupational hazard. More than a dozen Mexican musicians were murdered between 2006 and 2008; motives are shadowy, but it's suspected that some were killed for what they sang. One was a 25-year-old banda star from Sinaloa named Valentin Elizalde. He was machine-gunned in his car as he left a concert in Reynosa three years ago; people suspect that one of his songs somehow offended the Gulf Cartel, which controls this territory. The murder of Elizalde sent a chill through the narcocorrido music business. Martin Gamboa, an up-and-coming singer who lives in Matamoros, says musicians have to be careful these days. "Many times, you can't put certain words in a corrido," he says. "What you have to do is use nuance, so that you don't offend anybody." Gamboa pauses. "And if any of my corridos has offended anyone, I ask their pardon." If you do put the name of a powerful drug lord in your song, you'd better be somebody like Chuy Quintanilla. He's a blustery, 58-year-old songster from Reynosa whose brother is the late narcocorrido superstar Beto Quintanilla. Perhaps Chuy's musical bravado has something to do with the fact that he used to be a federal judicial police commander, a position in Mexico that is ascribed godlike powers. In the current climate of caution, Chuy belts out corridos other artists wouldn't whisper. For instance, his "Corrido of Tony Tormenta" tells the story of Antonio "Tony Tormenta" Cardenas — the current chief of the murderous Gulf Cartel. Yet Chuy doesn't like calling them narcocorridos. "Let's do away with the term, narcocorrido; it's vulgar," he says. "A narco is a person who's guilty of a crime that you or I can't ascertain. Only a judge can say. No, Chuy Quintanilla writes corridos about current events." Time will tell. Tony Tormenta is currently on Mexico's most wanted list and under indictment by the DEA. more

SKATEISTAN: TO LIVE AND SKATE KABUL

Skateistan: To Live And Skate Kabul is a beautifully shot film that follows the lives of a group of young skateboarders in Afghanistan. Operating against the backdrop of war and bleak prospects, the Skateistan charity project is the world’s first co-educational skateboarding school, where a team of international volunteers work with girls and boys between the ages of 5 and 17, an age group largely untouched by other aid programmes. BY ORLANDO VON EINSIEDEL

space is the place

dawn city dream...

The secret to cheaper gas could lie in cow dung.(shit gas)

and; The Vehicle Research Institute of Western Washington University in Bellingham, Wash., has been turning cow manure into fuel that can power a natural-gas car. Researchers are not shoveling manure straight into the gas tank but pumping the methane -- a gas created by the manure -- into the car. They have some hard-working cows at a dairy farm in Lyndon, Wash., to thank for this experiment, which could mean cheaper car fuel for many people. "We are talking about dairy cows," said Eric Leonhardt, an engineering technology professor and director of the Vehicle Research Institute. "So they are very well-trained. They go in one spot. They feed and do their business in one location. And then that material is pumped into a holding tank." For 21 days, the manure sits in an underground tank and stews. Then, using regular old garden hoses, researchers siphon floating methane out of the holding tank. They must purify the methane to remove other gases before pumping it into the car. Every cow can produce enough manure in a day to make a car go about 15 miles. If you take 20 cows, you get 300 miles of gas in your car. There are not enough cows in the United States to power every vehicle. But Vehicle Research Institute researchers say a natural-car powered by methane could be a great solution for certain rural communities. The price of cow fuel will put some consumers, well, over the moon. "The gas is currently being sold at one-fifth the pump price," Leonhardt said. this from; AES in partnership with Renew Energy Systems has developed a range of proven technology solutions that allow ranchers and dairies to convert their manure into renewable energy. This segment offers a glimpse into the developmental process that has led to these cost savings programs. Not to be confused with Anaerobic Digetion, AES utilizes Gasification to directly convert the manures into energy for heating, cooling and/or electricity. AES & RES demonstrate in this video how cow manure can be densified, aka "briquetted" in order to add fuel value and to reduce the difficulty of managing the manure.

Pharoah Sanders - Karma (1969)

Pharoah Sanders' third album as a leader is the one that defines him as a musician to the present day. After the death of Coltrane, while there were many seeking to make a spiritual music that encompassed his ideas and yearnings while moving forward, no one came up with the goods until Sanders on this 1969 date. There are only two tracks on Karma, the 32-plus minute "The Creator Has a Master Plan" and the five-and-a-half-minute "Colours." The band is one of Sanders' finest, and features vocalist Leon Thomas, drummer Billy Hart, Julius Watkins, James Spaulding, a pre-funk Lonnie Liston Smith, Richard Davis, Reggie Workman on bass, and Nathaniel Bettis on percussion. "Creator" begins with a quote from "A Love Supreme," with a nod to Coltrane's continuing influence on Sanders. But something else emerges here as well: Sanders' own deep commitment to lyricism and his now inherent knowledge of Eastern breathing and modal techniques. His ability to use the ostinato became not a way of holding a tune in place while people soloed, but a manner of pushing it irrepressibly forward. Keeping his range limited (for the first eight minutes anyway), Sanders explores all the colors around the key figures, gradually building the dynamics as the band comps the two-chord theme behind with varying degrees of timbral invention. When Thomas enters at nine minutes, the track begins to open. His yodel frees up the theme and the rhythm section to invent around him. At 18 minutes it explodes, rushing into a silence that is profound as it is noisy in its approach. Sanders is playing microphonics and blowing to the heavens and Thomas is screaming. They are leaving the material world entirely. When they arrive at the next plane, free of modal and interval constraints, a new kind of lyricism emerges, one not dependent on time but rhythm, and Thomas and Sanders are but two improvisers in a sound universe of world rhythm and dimension. There is nothing to describe the exhilaration that is felt when this tune ends, except that "Colours," with Ron Carter joining Workman on the bass, was the only track that could follow it. You cannot believe it until you hear it. ~ Thom Jurek, All Music Guide 1.Creator Has A Master Plan 2.Colors. via Pharoah Sanders (tenor saxophone) Leon Thomas (vocals, percussion) Julius Watkins (French horn) James Spaulding (flute) Lonnie Liston Smith, Jr. (piano) Reggie Workman, Richard Davis, Ron Carter (bass) Freddie Waits, William Hart (drums); Nathaniel Bettis (percussion). Recorded at RCA Studios, New York on February 14 & 19, 1969. ...

pharoah sanders - jewels of thought (1969)

Robert Palmer’s Sept. 3, 1970 Rolling Stone review of Sanders’ 1969 album Jewels of Thought, which came out on Impulse! Records. Not sure why the review came out the following year… A new album by Pharoah Sanders is like a new Stones album; you never know quite what to expect, but you know it’s going to be good. Jewels of Thought is as different from Karma and Tauhid as the earlier albums are different from each other. “Sun in Aquarius,” which takes up the greater part of the album, was originally titled “Explorations,” aptly since the piece explores realms that are new even for Pharoah. “The Creator Has a Master Plan” and “Upper and Lower Egypt,” the “long” pieces on the preceding albums, are perfect as they are because they were distilled from the experience of almost nightly playing. The playing time that elapsed between conception and recording was time enough for these pieces to achieve a fine focus of intensity and a “felt” structural unity arrived at through familiarity. “Sun in Aquarius,” on the other hand, seems to be a new exploration, far into uncharted territory, allowing for as much freedom and spontaneity as possible. Much of it, especially the long accelerating section after the introduction, has no tone center at all; it’s almost white noise. The instruments used to achieve this effect (there was no overdubbing or electronic manipulation) include the strings on the inside of Lonnie Smith’s piano, a large group, cymbals and a battery of African percussion instruments. The introduction itself finds the entire band on percussion instruments except for Lonnie Smith, who switches from thumb piano to recorder to shakers and bells, and Pharoah, who plays two reed flutes of exotic origin, simultaneously. The rest of the piece moves through a variety of moods and textures. There is a very Out contrabass clarinet solo by Pharoah that sounds like the noises of some extraterrestrial animal, and a tenor solo that straddles both the free section and the more lyrical, waltz-time section that follows it. The tenor Pharoah plays is a borrowed one—his own horn was lost the evening before and found after the session — so that some of the textures he arrives at are new and highly unusual, bundling up overtones like sticks. This is a random factor that need not have been so random, since Pharoah’s horn is pretty much an extension of his body; after all, he’s lost it three times in New York City and had it returned. His playing is still exciting and innovative of course, far ahead of the rest of the “energy players,” but it lacks the cohesive, delicately crafted quality of his playing on Karma, especially in connective passages, where it usually signals and structures transitions like the wave of an aural baton. Another thing that worries me (a little) about “Sun in Aquarius” is its premature end, which is the result of mechanical exigencies. The first take of the tune was much fuller and more complete in form, returning as it did, at the very end, to the roaring jet-exhaust sound of the opening passage. It ran some 40 minutes. The take used, the second, had to be shortened at the producer’s request and, even so, its 29 minutes are scattered over both sides of the LP, which does nothing for the continuity. There are a couple of 30-minute sides on Bitches Brew, among other albums, so it seems a shame that ABC found it necessary to divide the work and shorten it as arbitrarily as they did. “Hum – Allah – Hum – Allah – Hum – Allah” is the album’s “short” tune (at 15:04), a memorable song that Pharoah has often used to close a set. The treatment here extends to include a solo by Lonnie L. Smith Jr., Pharoah’s pianist and right-hand man, and some fine tenor by the leader. Vocalist Leon Thomas, who left Pharoah’s group to go out on his own soon after this recording was made, has a more subsidiary role on Jewels of Thought, but this is partially due to the recording balance, which favors Pharoah’s horn over Leon’s voice, turning duets into solo-and-accompaniment. Even so, their interaction is up to the high standards set by the Karma album. Lonnie Smith’s importance to the overall success of the music cannot be overestimated. He is always alert to the changes implied in Pharoah’s playing, and he often cues the band from one groove into another in telepathic conjunction with Pharoah. He is also given co-composer credits on Jewels of Thought, marking his involvement in the direction and sound of the music. The two bassists, Richard Davis and Cecil McBee, operate together as closely as Lonnie and Pharoah. Their duet section is simple, making a developing series of improvisations from a short original motive, and its simplicity, coupled with taste and communication, accounts for the extraordinary purity of the sound. Reservations notwithstanding, this album, and Pharoah’s previous efforts, are indispensable to listeners interested in contemporary musical developments. Pharoah wants to achieve unheard sound textures and new levels of musical consciousness with nothing but the natural sound of musical instruments, played by human beings whose bodies and minds are as one. Each of his recordings is a new trip, and Jewels of Thought is particularly interesting for the chances it takes as well as the plateaus it reaches. Robert Palmer Pharoah Sanders - tenor saxophone, contrabass clarinet, reed flute, african thumb piano, orchestra chimes, percussion Leon Thomas - vocals, percussion Lonnie Liston Smith - piano, african flute, african thumb piano, percussion Cecil McBee - bass, percussion Richard Davis - bass, percussion (on #2 only) Idris Muhammad - drums, percussion Roy Haynes - drums (on #1 only) tracks; 1. Hum-Allah-Hum-Allah-Hum Allah (Pharoah Sanders, Lonnie Smith) - 15:04 2. Sun in Aquarius (Pharoah Sanders, Lonnie Smith) - 27:51 get it