Please don't use fireworks. they make me mad.
6/30/11
Listen or Get GREAT mixes
ALE – SKY RECORDS MIX (02.25.11)
Ale made this mix as part of the German Sound Exploration project dublab curated in conjunction with the Goethe-Institut Los Angeles. It features songs from the catalog of the legendary Sky Records. Sky Records was a Hamburg based label founded 1975, that released some of the seminal Krautrock records of all time. For more German music archives please visit dublab.com/german.
MIX: DOWNLOAD
Gunter Schickert – uberfallig – Uberfallig
Streetmark – passage – Eileen
Ramses – Windy – La Leyla
Christian Von Eschersheim – La Belle – Sommernachtstraum
Klaus Hess – Sternentanz – Sternentanz
Serge Blenner – Frivolite – Magazin Frivole
Hans-Joachim Roedelius – Tee fur die Geisha – Selbstportrait II
Michael Rother – Katzenmusik 10 – Katzenmusik
Earthstar – Jet Sets – Atomkraft? Nein, Danke!
Nik Tyndall – Trotzdem – Sonnenlicht
Cluster – Zum Wohl – Sowiesoso
Moebius & Plank – Two Oldtimers – Rastakraut Pasta
Octopus – The Entrance – An Ocean of Rocks
Eno Moebius Roedelius – Luftschloss – After The Heat
Wolfgang Riechmann – Himmelblau – Wunderbar
Harald Grosskopf – 1847 Earth – Synthesist
Harlis – King Of The Pirates – Night Meets The Day
Adelbert Von Deyen – Silverrain – Atmosphere
Mythos – Nurse Robot – Quasar
Shaa Khan – World Will End on Friday 1 – The World Will End on Friday
Straight Shooter – My Time-Your Time – My Time-Your Time
Bullfrog – Movin on – self titled
Faithful Breath – Stick In Your Eyes – Back On My Hill
about dublab
dublab is a non-profit web radio collective devoted to the growth of positive music, arts and culture. We have been broadcasting independently since 1999. Our audience of turned-on listeners connect from around the world. dublab’s mission is to share beautiful music via the world’s best djs. What you hear on dublab crosses genres and defies classification. Unlike traditional radio, the dublab djs have total freedom of selection. You will experience many different sounds, but find they all have the same soulful root. We have extended our creative action to include art exhibits, film projects, event production and record releases.
A collective of the planet’s most progressive music selectors. Whether bringing dance floors to a boil, exploring magic experimentalism or spinning far-out, eclectic sets the dublab soundsystem reflects all shades of future roots sound.
The dublab soundsystem has been featured at the following venues amongst many others:
MOCA, LACMA, Barnsdall Art Park, Art Center College of Design, CalArts, A+D Museum, The Getty Center, Page Museum/La Brea Tar Pits, Disney Hall, UCLA/Hammer Museum, Hollywood Bowl, Natural History Museum of LA County, El Rey Theatre,Henry Fonda Theatre
6/29/11
6/28/11
Behind Django
Joseph "Nin Nin" Reinhardt, Django's brother. In this clip Django's brother Joseph demonstrates his considerable skill as a soloist and composer. The unusual flat top guitar he is playing was supposedly built by Joseph himself. In many photos from after Django's death, Joseph can be seen holding this same guitar. Also take note that Joseph's accompanist, Vivian Villerstein, is playing American style flat four rhythm on an archtop guitar. These are all characteristics of the post-Django era in Paris, in which musicians tended to stray away from Django's style and repertoire.
01. I Know That You Know [Live] / Joseph Reinhardt (4:59)
02. Manouche [Live] / Joseph Reinhardt (5:08)
03. Bric-A-Brac [Live] / Joseph Reinhardt (5:01)
04. Nuages [Live] / Joseph Reinhardt (4:02)
05. There'll Never Be Another You [Live] / Joseph Reinhardt (3:41)
06. Lover Man [Live] / Joseph Reinhardt (9:45)
07. Paris Côte D'Azure [Live] / Joseph Reinhardt (3:18)
08. Danse Norvégienne [Live] / Joseph Reinhardt (4:47)
09. Sweet Sue [Live] / Joseph Reinhardt (6:02)
10. Triste Melodie [Live] / Joseph Reinhardt (5:39)
11. Viper's Dream [Live] / Joseph Reinhardt (8:11)
12. Manoir De Mes Rêves [Live] / Joseph Reinhardt (6:04)
...
amazing recording. or shitty recording that sounds amazing as thelevels are distorting just enough to make it more interesting.
even if it is not the amp overloading, it sounds nice and does what distortion does so beautifully. "recorded on reel to reel by Alain Antinietto with his taperecorder under the tablecloth, under the table. "
sample here
6/27/11
Stevie the Goat
As Stevie Nicks and Fleetwood Mac entertain the victorious troops, Stan, Kyle, and Cartman salute the American flag.
6/26/11
Web Rok- Side A
the waning of presentation in music has taken another turn.
NEVER will the act of listening to an album on the stereo be completely replaced.
chasing that feeling maybe silly yet this does bring the listening experience back into the world of side A and side B.
remember that whole albums were recorded conceptually this way for a reason.
many examples but Abbey Road seems the most widely known.
we are in a year where the formats for the music buyer are going to be changing.
so get ready all and take all those cheap ass CD's you got from the music clubs (and did not pay for) and trade em in for CASH
MONEY.
soon enough they will be getting dusty.
actually i don't know anyone anymore who actually physically listens to CDs anymore at all.
everything is MP3 files or Vinyl.
i could actually see youtube as a listening format with full page artwork with liner notes and full sides A and B even C and D
plugged into a nice amplifier and big speakers.
CDs have gone BETA.
get on board.
Wonder Bread Psychedelics Again
Here are the complete recordings of Jim Edward, Bonnie and Maxine Brown. This vocal trio emulated the line-up of The Carter Family, albeit with an emphasis on modern honky-tonk country and, later, unabashed crossover pop.
Their vocals are mesmerizing, and in their early RCA Victor recordings (heard on the first two discs of this exhaustive set), they achieve a compelling blend of old and new. They go through a bland pop period with their biggest hit, "The Three Bells." The early '60s finds them returning to a folk-pop style, and they end their career with some distinguished recordings that fall more into the folk and country side.
The first CD contains all their recordings for the Fabor label, then switches to their stunning early run with RCA Victor. Highlights of their early Victor sides are several songs written for them by Ira and Charlie Louvin.
"I Take The Chance," their Victor debut, is as good a "cheatin' song" as country has ever produced. It perfectly captures the moral dilemma of infidelity. Sure, it's a bit judgmental, but Ira Louvin always excelled as a writer when he threw some down-home sermonizin' into the mix.
"A Man With A Plan," on the other end,is among the most outrageously riqsue songs of 1950s country music. A paean to loose sex, cruising, rock 'n' roll and un-Christian behavior, it still packs a punch, heard 50-plus years after its creation.
Other Louvin-penned songs here are "The Last Thing I Want," "Just As Long As You Love Me" and "You Thought, I Thought." The Louvin Brothers memorably covered a Browns original, "Here Today and Gone Tomorrow," on their excellent covers LP, Ira and Charlie, in 1958.
In-between are several unusual songs from established Nashville writers. Felice and Boudleaux Bryant contribute the atmospheric, creepy "Getting Used To the Blues," a song that, like Don Gibson's "Give Myself a Party," is an ode to giving up on love.
Hugh Ashley, son of legendary old-time musician Clarence Ashley, wrote "Goo Goo Da Da," also covered by Bill Carlisle.
"I Guess I'm Crazy" is a cover of Werly Fairburn's 1955 Columbia recording, penned by its performer.
"Don't Tell Me Your Troubles" was co-written by Texas renegade songwriter-producer Jack Rhodes, who also wrote "A Satisfied Mind," "Woman Love," "Action Packed" and another Browns side, "Preview of the Blues."
"I'm In Heaven," heard here in two versions, is a nice song by (I think) Nashville cleffer Hod Pharis.
There are some duff novelty sides, especially amongst the pre-RCA sides (tracks 1-16), but the vocalizing is consistently fine, and the Chet Atkins-produced early RCA material is uniformly strong.
above via here.
John Lamb
Tom Waits performed in 1978 live at the La Brea stage in Hollywood, photographed and rotoscoped.The original live action was shot with 5 cameras - 2 high, 2 low and one hand held.. shot by Dan O'Dowd and crew..The music from "The One That Got Away" blared in the background as Tom sang the lyrics. Donna Gordon is the dancer performing as the stripper, 6 takes and 13 hours of video footage were edited to make a 5 1/2 minute live action short which we turned into animation. A total of 5,500 frames were captured, re-drawn, inked and painted by hand onto celluloid acitate to create this film. Produced by Lyon Lamb Video Animation Systems and directed by John Lamb, the film bore some cool new technology and talent ..and was created specifically for a burgeoning video music market that didn't yet exist and arguably may be the first music video created for the MTV market.However, a series of unfortunate events prohibited the film from ever
being released or sold commercially, consequently catapulting it into obscurity.
In 1979, an Academy Award was presented to Lyon Lamb for the technology used in this short.
http://en.wikipedia.org/wiki/John_Lamb_(producer)
6/25/11
Fireworks Hurt Dogs
if you did not know......
all dogs are scared and actually they are IN PAIN from IDIOTS making LOUD BOOM BOOM NOISES and thinking it funny.
Humane societies and shelters typically take in more stray animals during the Fourth of July holiday because many pets are scared off by fireworks. Below are some tips to help pets cope with outdoor noises.
Frightened dogs have different reactions: some tremble at their owners' feet, others retreat to a hiding place, some try to run off (traveling for miles), and others display bizarre behavior. According to behavior specialist Dr. Elizabeth Shull, low-frequency, percussive noises such as fireworks and summer thunderstorms trigger wild fear in about 20% of dogs. Under such circumstances, ordinarily well-behaved pets may become aggressive, destructive and/or unpredictable.
more
btw. today is NOT the 4th of JULY.
it is JUNE 25.
SEE the ASSHOLES having BBQ's ?
"oh well, might as well keep party'in!"
6/24/11
A Burrito Deluxe
Burrito
Burrito – diminutive of burro, Spanish for donkey. Also refers to a popular Mexican dish made from a flour tortilla wrapped around a choice of various fillings.
Burrito may also refer to:
In Fiction:
Burrito: Jack-of-All-Trades, a comic book created by Carlos Saldaña (whose pseudonym is also Burrito)
Burrito (comics), the protagonist of the above comic book series.
In Film:
Burrito, co-star of Columbia Pictures' 1940's animated feature Tito and his Burrito.
Burrito, the winged donkey from the animated Disney short "The Flying Gauchito" from the 1944 feature film The Three Caballeros.
In Music:
Burritos, a song on Sublime's self-titled third album.
The Flying Burrito Brothers, a country rock band.
Burrito Deluxe, the second album released by the Flying Burrito Brothers
The Great Burrito Extortion Case, an album by Bowling For Soup
Other:
Burrito – another word for straight jacket at behavior modification facilities for adolescents
via Websters dictionary
soon the Burrito Deluxe will have it's own place on a Wiki page.
or next to Sublime's 3rd LP???
one can only dream. (or edit)
strange how some wait for the web world to validate things for us.
i know i do.
A Mostly Kiped Post
Asym Minisim by Carl Ekstrom
Seriously, this thing is beyond amazing. The first of the Asyms finally done (look up 'perfectionist' in the dictionary and there should be a picture of Carl there) and so utterly worth the wait. My bumbling Ansel Adams effort doesn't do this board justice, it's freaking beautiful and felt incredible under the arm. 5'11" goofy foot asym, PU/epoxy build, boxes and bamboo 101 Fins, Ekstrom hand shape. Andy Warhol bought boards from this guy and I understand that completely.
I took this directly from a good source. A Day AT The Beach.
A really good and thorough breakdown of this whole deal called Hydrodynamica. here...
All the different shapers and more......
rome
it has been 5 years in the making for Danger Mouse & Daniele Luppi’s spaghetti-western inspired album Rome (due out on May 17). The project assembles many of the surviving performers of classic '60s and '70s Ennio Morricone scores — and, in half a dozen memorable cases, pairs them up with the vocals of Norah Jones or The White Stripes' Jack White. The duo began to record for the album in Rome in October 2006, booking Forum Studios (formerly the Ortophonic Studios) founded by, among others, Ennio Morricone. It is, as Burton puts it, “a vast space underneath a church, filled with old mixing desks”. They also tracked down vintage instruments. “One of the biggest collectors was a Vespa engineer,” says Luppi. “We went to his garage and he showed us his collection of guitars from the Sixties. He didn’t want payment for us to use them, so we bought him a crate of wine.” More difficult was reuniting the musicians, many now in their seventies and eighties. They included studio backing band Marc 4, and I Cantori Moderni, a choir led by Alessandro Alessandroni, who whistles on many of the original Spaghetti Western soundtracks. Their plan, says Burton, “got more and more specific. We wanted to work at the same studio, with the same musicians and even the same microphones.”
“None of them knew who we were, but it was an emotional moment when they assembled for the first time in decades. There were tears and hugs,” says Luppi. “Although within an hour or two they were shouting and abusing each other – also just like the old times, apparently.” Some of Grammy Award winning Danger Mouse’s credentials include: forming Gnarls Barkley with Cee-Lo Green, produced Gorillaz Demon Days and Beck’s Modern Guilt, collaborated with James Mercer (The Shins) to form Broken Bells and paired up with Sparklehorse to create the album Dark Night of the Soul.
my 2 cents;
ok. anyone that knows me knows this may be something i would love or would have loved to have done?
nope.
yes, i do love the old movies and soundtracks but recreating them or trying to, is just silly and futile.
also very tired of White and Jones as well.
(i do love both of their singing.)
no fault of theirs but they are done, for now. or overdone.
this Quote sums it up for me. "We wanted to work at the same studio, with the same musicians and even the same microphones.”
i feel they are chasing a dream. a vintage one.
it may sound good but WHAT is it?
maybe if there was a purpose other than trying to be as retro as possible.
Edgy
Edge: :O is it an actual theremin?
Page: VOOM VOOM VOOM VOOOOOOM
Edge: :O is it an therm
Page:(as he conjures demons from below) VOOM VOOM VOOOOM VOOM VOOM VOOOOOOOM VOOOOM BAM!
6/23/11
OBO
5'10 G&S Twin Fin, The First G&S Twin Fin Design
Considering it's 40 years old, this board is in really good condition. You will never see one of these again so its worth alot and super collectable. The board is about as thick as a longboard, and with that wide square tail, it has an interesting ride. It catches waves easily. Riding it feels kind of like you're noseriding a longboard. Very cruisy... A few years ago, I emailed the G&S office to get some info on this board. Larry Gordon himself wrote back to tell me about it. He said that it was their first twinfin design, shaped in the late 60s and early 1970s. The board has had a few small dings over its lifetime. All dings are repaired and board is ready to surf or be admired on your wall.
9.5 Condition
($1995.00 Free Shipping)
1970 Ludwig Classic Gold Sparkle. "Bonham Set up"
Outstanding, near mint condition, no extra holes, problems, or excuses. This is THE ONE - the only thing keeping this set from being exactly like John Bonham's is the fact that it is Gold Sparkle rather than Green Sparkle. Early 70's 3 ply shells with reinforcement rings and granitone interiors, sizes 14x26, 10x14, 16x16, and 16x18, exactly the same makeup as Bonham's kit that was on display at the Rock and Roll Hall of Fame. While the name "Bonham" seems to get thrown around with every set that has a large bass drum, almost every single "Bonham kit" on the market has one or more problems that just don't cut it - wrong mount, wrong spurs, rewrapped, extra holes, wrong sizes, etc. It is close to impossible to find a set like this, with the correct single rail mount and cymbal L-arm mount, correct 5/16" spurs, etc. This is NOT a restoration, this is the real deal. Original Gold Sparkle wrap is absolutely gorgeous, very glossy with no fade, almost zero use wear. Chrome almost looks new. Edges are original, interiors are immaculate. Original Ludwig logo front head, even the hoop paint is original! Asking price is $9000 or best offer.
Public
The best-known version is a 1952 BBC Archive recording by an Irish traveller, Mary Doran. Belfast singer Winnie Ryan also performed a version, and was recorded by folklorists Peter Kennedy and Sean O'Boyle in 1952. Doran's version was taught to the singer Anne Briggs by A.L. Lloyd.; Anne Briggs in turn taught it to singer/guitarist Bert Jansch. It appears on Jansch's 1966 album Jack Orion as "Black Water Side.
Bert Jansch learnt the song from Anne Briggs and recorded it five years before her—in 1966—for his album Jack Orion; this version also appeared on The Electric Muse and served as the basis for Led Zeppelin's Black Mountainside.
the song is considered "Traditional" and has no writer credited.
more on origins
and
6/22/11
Organs and Pizza
The mighty wurlitzer at organ stop pizza in mesa, az. Note that it only "rotates" up or down at the beginning and end of each performance (usually about 15-30 mins then the organist takes a break).
Any time you are in the Phoenix area you should come over, it is really an amazing experience and is very fun when you get to hear your requests played on the bigges-- I mean, a really big organ!
other parlors
http://www.n8ujh.net/pipe_organs/pizza.php
history
Fuzzy surfaces always make me smile.
2 rolls of beautiful flocked wall paper. one pink one light blue.
Gene Clark – Collector's Series: Early L.A. Sessions
From the liner notes:
Early in 1967, CBS released the original version of this album under the title "Gene Clark with the Gosdin Brothers." Perhaps it was ahead of its time. Gene Clark and his producer and friend Jim Dickson weren't happy with it either. When they learned that CBS planned to re-release the album (feeling that perhaps now its time had come), they decided that all of the original eight-track recordings should be re-mixed and at least some vocals re-recorded.
After a week in CBS L.A. studios, where it all began almost six years before, they emerged with an enormously improved, almost totally different album. Nearly all of the vocals were re-recorded, tracks were brightened, parts buried in the original mix were brought up (in some cases completely changing the sound of the cuts), and in re-sequencing the order of the sides they even removed one song, Elevator Operator, because with five years' perspective they felt strongly that the song did not measure up the others.'
- David Swaney
1 Tried So Hard 2:20
2 Keep On Pushin' 1:44
3 Think I'm Gonna Feel Better 1:32
4 Is Yours Is Mine 2:26
5 Echoes 3:14
6 The Same One 3:27
7 Needing Someone 2:02
8 So You Say You Lost Your Baby 2:06
9 Couldn't Believe Her 1:52
10 I Found You 2:58
Arranged By, Conductor – Leon Russell
Banjo [Electric] – Doug Dillard
Bass – Chris Hillman
Drums – Earl Palmer, Mike Clarke*
Guitar – Bill Rhinehart, Clarence White (2), Glen Campbell, Jerry Kole*
Keyboards – Van Dyke Parks
Piano, Harpsichord – Leon Russell
Producer – Gary Usher, Jim Dickson, Larry Marks
Reissue Producer – Gene Clark, Jim Dickson
Vocals – Rex Gosdin, Vernon Gosdin*
Written-By, Guitar, Vocals – Gene Clark
In 1972, Gene and Jim Dickson revisited the "Gene Clark with The Gosdin Brothers" album. They remixed the album's tracks and Gene put new vocals to them. In this version of "Echoes", the dorky 'hipster' voice of the original (no offense to anyone who liked it, but I didn't) is stripped off and an honest to goodness Gene from the heart rendering is put in its place.
note; i can't find this LP yet the original Gene Clark - Gene Clark With The Gosdin Brothers -1967 is here. it does contain "Echoes" yet the different or previous vocal from '67.
20 Massive Egos On One Stage
and it worked.
Side one
"George Harrison/Ravi Shankar Introduction" – 5:19
"Bangla Dhun" (Ravi Shankar) – 16:40
Side two
"Wah-Wah" – 3:30
"My Sweet Lord" – 4:36
"Awaiting on You All" – 3:00
"That's the Way God Planned It" (Billy Preston) – 4:20
Performed by Billy Preston
Side three
"It Don't Come Easy" (Ringo Starr) – 3:01
Performed by Ringo Starr
"Beware of Darkness" – 3:36
Featuring Leon Russell on one verse
"Band Introduction" – 2:39
"While My Guitar Gently Weeps" – 4:53
Side four
"Medley: Jumpin' Jack Flash/Young Blood" (Mick Jagger/Keith Richards)/(Jerry Leiber/Mike Stoller/Doc Pomus) – 9:27
Performed by Leon Russell, with Don Preston on "Youngblood" (which is the spelling of this song on the back cover of this album [5])
"Here Comes the Sun" (Acoustic) – 2:59
Featuring Pete Ham on rhythm guitar
Side five
"A Hard Rain's A-Gonna Fall" (Bob Dylan) – 5:44
"It Takes a Lot to Laugh, It Takes a Train to Cry" (Bob Dylan) – 3:07
"Blowin' in the Wind" (Bob Dylan) – 4:07
"Mr. Tambourine Man" (Bob Dylan) – 4:45
"Just Like a Woman" (Bob Dylan) – 4:49
Tracks 1–5 are performed by Bob Dylan, accompanied by Harrison, Ringo Starr and Leon Russell
Side six
"Something" – 3:42
"Bangla-Desh" – 4:55
Harrison's studio version of "Bangla-Desh" was released as a single just two days before the concerts
Bonus track (2005 re-master)
"Love Minus Zero/No Limit" (Bob Dylan) – 4:19
The Artists
Eric Clapton – guitars
Bob Dylan – vocals, guitar, harmonica
George Harrison – vocals, guitars
Billy Preston – vocals, keyboards
Leon Russell – bass, keyboards, vocals
Ringo Starr – drums, vocals, tambourine
Ravi Shankar – sitar
Ustad Ali Akbar Khan – sarod
Ustad Alla Rakha – tabla
Kamala Chakravarty – tamboura
The Band
Jesse Ed Davis – rhythm guitar
Tom Evans – acoustic guitar
Pete Ham – acoustic guitar
Mike Gibbins – tambourine
Jim Keltner – drums
Joey Molland – acoustic guitar
Don Preston – guitars, backing vocals
Carl Radle – bass guitar
Klaus Voormann – bass guitar
The Hollywood Horns
Jim Horn, Allan Beutler, Chuck Findley, Jackie Kelso, Lou McCreary, Ollie Mitchell
The Backing Vocalists
Don Nix, Jo Green, Jeanie Greene, Marlin Greene, Dolores Hall, Claudia Linnear
From the original LP release liner notes:
"This recording was made using up to 44 microphones at one time."
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