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---------- Forwarded message ---------- From: The Deli Year End Polls for Emerging Artists Date: Wed, Dec 29, 2010 at 7:40 PM Subject: Best of Your Scene Poll 2010: 2 days left to submit (2RCXUL advances) To: RudyDudy@askjeevevs.com
Deli-cious Bands and Artists,
The deadline to submit your band to be considered for The Deli's Local Best of Polls through SonicBids is January 31.
Even if you already submitted for free through our site before December, submitting through SonicBids will actually give you more chances to be selected because we promised them a certain number of nominees per city - it's only $5.
Here are the submission links organized by region - good luck and Happy Holidays!
Other Scenes (Austin, Baltimore, Chicago, Nashville, New England, Philly, Portland, SF Bay Area, Washiington)
The Deli's Staff
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1. Ceelo Green - Fuck You
As a child watching defamatory cartoons I wondered when the day would come when a hit song would just be the phrase "Fuck You," albeit then I bet on a fantastical R. Kelly ballad about tender fucking love. Oh! Was it glorious when it was a topical anti-love song about the very contemporary issue of how collectively broke we are, both financially and morally. While not the best production I've ever heard, Cee-lo delivers an astounding performance of a very simple song with a direct, insightful message. Go slight amount of pathos!
2. The Move - Chinatown
While very obviously released only to me this year, this is what I wished music actually sounds like: insightful, angsty, and well arranged; wel produced counterpoint rock music. I COULD FIND A GOOD TIME GIRL IN CHINATOWN! CHINATOWWWWWWWWNN! DANCING IN MY SHOES!
3. Ruja - Dr. Noorman
I hadn't heard about the massive Estonian musical revolution against a communist Russian ban on musical instrument sales and other musical liberties, but this cry of prog passion from these esoteric masterminds. DOC-TOR! Rachmael promised to write a multi-installment series on the Eastern-European Cultural Revolutions, which he's been extensively researching for months but you know him: always Jillin!
4. Grateful Dead - Franklin's Tower
Hell, I had heard this song a long time ago and rationalized it away as just another noodle.Man, the world of Thomas Hart Cooking will really flavor yournoodles. This song is about taking your time, doing things right, and surrendering toJah and the mother's G-deyehead. You've got to Roll away the dew. Roll away the dew. If you get confused listen to the music play.
5. XTC - Roads Girdle the Globe
Wow, it must be a really slow year if songs Rachmael showed me a year ago are cracking the top five. Average song topics: Guys and girls, guys and guys, guys and money, guys and cars. This is a classicguys and cars smash. Also has the best bass playing I've heard this year. Boo contemporary music!
6. redaccted
7. Olivia Newton John - Magic
Believe you and me, Beyonce puts out a cover of this backed by the Manualist playing "Run to the Hills" and it would top this list. Olivia Newton John still probably tops my annual list of most fantacized about women for the 13th odd consecutive year (with a close second and third by one of the Bank Teller's at the branch in Olneyville and Anais Nin). Needless to say I was forced to watch Grease at nauseum growing up and I totally equate all feelings of affection with that horn sounding part in that song where they go "YOU'REDAONEDATAWANT! YOUR'EDAONEDATAWANY! OO-OO- OO-HONEY!"
over and over in my head, so when I saw this video where she was singing this somewhat psychotic song beckoning you to join the colorwiccans the first thing that came to mind was that John Travolta must have been blackmailed into joining Scientology because the scientologists had discovered video footage of Travolta repeatedly punching John in the back of the head during intercourse. Where'd she get that crazy eye from? Who knows, right? You have to believe we are magic! Nothing can stand in our way!
8. Gorillaz - Melancholy Hill
Good song good job. This is the "Feel Good Inc." of Plastic Beach. The Gorillaz are a full blown media phenomenon that all my friends in the midwest seem to write off. Good synths always win the day. I guess Damon Albern is as topical as a British pop song writer you can get if you don't worship Radiohead.
9. Readacted
10. Yes - And You and I
In a year where I felt a hopeless, overwhelming feeling that culture was condemned to a bland post-modern music world of derivatives and style packages where everyone was embracing fantasy, I decided to jump on the band wagon. Until Rachmael showed me "Close to the Edge" the song, I had been lukewarm on Yes though I enjoyed a few of their earlier albums and most of their radio singles. I was reading an interview with Frank Zappa in a book of interviews and articles I keep in the bathroom (which I stole from Edan Wilbur which he found in a dumpster) and he was endlessly decrying mediocrity.
"Progressive Magazine (this is actual a Wisconsin libertarian rag and not a prog rock magazine): Do you think anything can be done to reverse the trend?
Frank Zappa: Perhaps. I tend to view the whole thing as a conspiracy. It is no accident that the public schools in the United States are pure shit. It is no accident that masses of drugs are available and openly used at all levels of society. In a way, the real business of government is the business of controlling the labor force. Social pressure is placed on people to become a certain type of individual, and then rewards are heaped on people who conform to that stereotype. Take the pop music business, for example. Look at the stereotypes held up by the media as great accomplishment. You see guys who are making millions of dollars and selling millions of units. And because they are making and selling millions they are stamped with the seal of approval, and it is the millions which make their work quality. Yet anyone can look at what is being done and say, "Jesus, I can do that!" You celebrate mediocrity, you get mediocrity. People who could have achieved more won't, because they know that all they have to do is be "that" and they too can sell millions and make millions and have people love them because they're merely mediocre. Few people who do anything excellent are ever heard of. You know why? Because excellence, pure excellence, terrifies the fuck out of Americans because they have been bred to appreciate the success of the mediocre. People don't like to be reminded that lurking somewhere there are people who can do some shit that you can't do. They can think a way you can't think, they can dance a way you can't dance. They are excellent. You aren't excellent. Most Americans aren't excellent, they're only OK. And so to keep them happy as a labor force, you say, "OK, let's take this mediocre chump," and we say, "He is terrific!" All the other mediocre chumps say, "Yeah, that's right and that gives me hope, because one day as mediocre and chumpish as I am I can..." It's smart labor relations. An MBA decision. That is the orientation of most entertainment, politics, and religion. So considering how firmly entrenched all that is right now, you think it's going to turn around? Not without a genetic mutation it's not!"
Yes' symphonic style rock orchestration peaked almost forty years ago yet most bands now in a post-modern egotistical haze embrace their inabilities and mediocrities as "style" or as "unimportant," yet the decline in music is exactly what it sounds like. You want crap: you get crap. Not knowing how to play guitar is exactly what it sounds like. Not knowing how to play drums is exactly what it sounds like. Not knowing how to play bass or keyboards or anything is exactly what it sounds like. Using automated sequencing and metaproccessing to create music is fundamentally what it sounds like. This is probably the only song to make me cry in the last few years and I have that terminal disease Zach Braff has in Garden States and the only way to cure it is self medicating Scrubs marathons until I come to terms that their are in fact hospitals in real life. Conclusively, there'll be no mutant enemy we shall certify; Political ends, as sad remains, will die. Reach out as forward tastes begin to enter you. Ooo, Booo! I listened hard but could not see - Life tempo change out and inside me.
The preacher trained in all to lose his name;
The teacher travels, asking to be shown the same. In the end, we'll agree, we'll accept, we'll immortalise.That the truth of the man maturing in his eyes, All complete in the sight of seeds of life with you. Coming quickly to terms of all expression laid, As a moment regained and regarded both the same, Emotion revealed as the ocean maid, A clearer future, morning, evening, nights with you.
Both staple points of the thriving Minneapolis scene, this tape was sold during a joint tour during either 2008 or 2009, I don't remember. Trust me when I say the Knife World side of the tape is equally enchanting but I've leaked way too much of John Nielsens' classic works to the internet (see the Knife World and Voyager albums...if you can find em...).
Skoal Kodiak consists of two former members of the Cows on bass and drums and an accomplished noisemaker as a front man who manipulates electronics. The sound could be defined as a cross between noisy, hip-hop influenced pop and Gang of Four or Public Image Limitedesque grooves. Unbelievably tight bass work, outright astounding drumming, and a charismatic, noise generating frontman who mostly sings through a circuit bent bleach bottle while wearing a lamp around his neck. Hands down some of the best and most functional drone and oscillator work I've seen in recent time, particularly in underground "experimental" dance music. Skoal Kodiak seems to be a step above with well orchestrated parts and catchy, yet unintelligible, hooks.
The tape stands as an excellent example of the unbranded dance music they've been bringing to Minneapolis for some time now. Their first album (Three People Keep Having Grape Emegencies) doesn't nearly capture their brilliant live show, although a new album is rumored to be on the way.
One of the first fully digitally recorded albums finds the front half of Steely Dan exploring similar territory albeit without Walter Becker. Backed by a lengthy list of popular studio musicians (Michael & Randy Brecker, Larry Carlton, Rick Derringer, Anthony Jackson (the inventor of the six string bass-guitar), Marcus Miller, Paul Schaffer, Roger Nichols (inventor of digital drum replacement made popular on Gaucho), Chuck Rainey, and many more) and produced by perennial Steely Dan producer Gary Katz, Fagen explains in the liner notes the album being about:
"certain fantasies that might have been entertained by a young man growing up in the remote suburbs of a northeastern city during the late fifties and early sixties, i.e., one of my general height, weight and build."
The music itself is considerably similar to Gaucho (the Nightfly coming only two years later), going as far as to reuse passing sections from songs cut from Gaucho ("The Goodbye Look" has a part directly from the "Second Arrangement"). The biggest difference is finding a laid back Fagen producing dense pop songs in lue of the heavily jazz influenced Dan-work just prior. The sardonicism commonly associated with his lyrics are replaced by an exhausted, mellower delivery. With production work comparable to Thriller, The Nightfly is a popular album for testing stereo monitors due to it's deft use of early digital recording equipment.
The highlight of this record is the track is the second single "New Frontier". It finds an aging Fagen confused over contemporary shifts in culture over a delightfully dicey keyboard.
" Well I can't wait 'til I move to the city 'Til I finally make up my mind To learn design and study overseas
Have you got a steady boyfriend Cause honey I've been watching you I hear you're mad about Brubeck I like your eyes, I like him too He's an artist, a pioneer We've got to have some music on the new frontier"
Beyond this finds Donald covering Leiber & Stoller's Drifter's hit "Ruby Baby" with a groove quite similar to that of "The Way You Make Me Feel" by Michael Jackson. "Green Flower Street" relies on themes taken from "Green Earrings" from Steely Dan's The Royal Scam. Many of the songs on this record could be described as throw away Dan songs but definitely worth the listen for people with an already vested interest in Steely Dan.
The anticrack rhetoric was to have other costly consequences. Congress, swept up in its own polemic, was the scene of heated debates about what to do with these heinous drug dealers who were enslaving the youth of the country. Federal penalties for drug dealing went up and up. In 1988 Senator Jesse Helms (Republican, North Carolina) lobbied for a law dictating that, since crack was a hundred times more addictive than cocaine (no one knows where this statistic came from), possession of it should merit a penalty a hundred times greater. Unbelievably, it was passed. Today the penalty for possession of 5 grams of crack (worth about $350) is a mandatory five years in jail—equivalent to that for possession of half a kilogram of cocaine (worth about $10,000). And yet, as anyone who knows anything about cocaine will tell you, 500 grams of cocaine, when cooked up, will yield 500 grams—possibly even more—of crack.
The net result was that those found in possession of crack were sentenced to disproportionately heavy custodial sentences compared with those found with powder cocaine. This was to have profound effects, owing to the class of people who used crack versus the class of those who used cocaine. As Bruce Johnson explained to me at NDRI:
It is very clear that crack, more than any other substance, is primarily an African American low-income substance. And its sale in public places is very much dominated by African Americans (although there are some Latinos involved in it, as well). Cocaine powder tends to be more controlled and proportionally in the populations is more evenly distributed among the people who use illegal drugs. It's just that whites don't get involved that often in crack.
By 1989, 46 per cent of all arrests in New York City were for crack possession or dealing. Since powder-cocaine traffickers and users tended to be white (they could afford to buy cocaine in bulk) and crack users black (it was sold in small quantities cheaply), federal courts found themselves banging up blacks and members of other ethnic minorities as if there were no tomorrow. As prison numbers spiralled [sic] (doubling in the 1980s alone), so more and more blacks ended up in jail for possession or low-level dealing. At the time of writing, the US prison population has just hit 2 million—up from 300,000 in 1970—of whom 500,000 are in for drug offences. Currently African Americans, who make up just 12 per cent of the US population, constitute 50 per cent of the US prison population. Blacks are arrested for drug offences at six times the rate of whites, so one-third of the black US population is under criminal supervision of one form or another. Crack is to blame for much of this. The 100:1 ratio crack law amounts to a form of institutionalized racism. This has been demonstrated by numerous academics and experts (recently even the US Drug Tsar, General Barry McCaffrey, lobbied for cocaine-crack sentencing parity) by Congress repeatedly votes against repealing it: no one wants to appear soft on drugs. Besides, banging up black crack users can hardly do that much harm, can it? It keeps them off the streets, after all. Once again, cocaine becomes a race issue.
Streatfeild, Dominic. Cocaine : an unauthorized biography. 2nd ed. New York, NY: Picador, 2001. pp.312–313. Print.
Sven Grünberg(born 24 November 1956, Estonia) is an Estonian ambient and progressive rock composer and musician most known for his meditative organ and electronic works involving the concepts of Tibetan Buddhism. He has collaborated with the film director Olav Neuland and written the soundtracks for the most of his films.
In the 1970s Grünberg was the leader of the progressive rock band Mess, which was founded by him in January 1974 together with Härmo Härm. Despite the years of the band's existence and many live performances, Mess did not release a single studio album because of the contradictions of their musical style with the Soviet ideology; only in 1996 did Grünberg released a compilation from several survived Mess recordings and a full remastered album in 2004.
01 - Undercover Man (Hammill) :: Lyrics 02 - Scorched Earth (Hammill, Jackson) :: Lyrics 03 - Arrow (Hammill) :: Lyrics 04 - The Sleepwalkers (Hammill) :: Lyrics ~ BONUS ~ 05 - Forsaken Gardens (Hammill) :: Lyrics 06 - A Louse Is Not A Home (Hammill) :: Lyrics
Cover
Back
Godbluffis the first record released by Van der Graaf Generator after they reformed in 1975. It is their fifth disc overall.
It features a tighter, more pared-down sound than the band's earlier recordings with John Anthony. Hammill makes extensive use of the Hohner Clavinet D6 electromechanical keyboard.
The Purple Sage cursed and waxed sorely pissed and cried out in a loud voice: A pox upon the cursed Illuminati of Bavaria; may their seed take no root. May their hands tremble, their eyes dim and their spines curl up, yea, verily, like unto the backs of snails; and may the vaginal orifices of their women be clogged with Brillo pads. For they have sinned against God and Nature; they have made of life a prison; and they have stolen the green from the grass and the blue from the sky. And so saying, and grimacing and groaning, the Purple Sage left the world of men and women and retired to the desert in despair and heavy grumpiness. But the High Chapperal laughed, and said to the Erisian faithful: Our brother torments himself with no cause, for even the malign Illuminati are unconscious pawns of the Divine Plane of Our Lady. —Mordecai Malignatus, K.N.S., “The Book of Contradictions,” Liber 555
(Shea, Robert, and Robert Anton Wilson. The Illuminatus! Trilogy. 2nd ed. New York, NY: Dell Publishing, 1975. pp.91. Print.)
By 1980 it was estimated that eighty planes per night were air-dropping drugs on to the Florida mainland and it was widely accepted that trafficking was the largest single source of income for the state. Marijuana alone generated considerably more than the tourist industry. So much grass was confiscated that authorities stopped destroying it in incinerators and gave it to the Florida Power and Light Company to burn in their ovens to generate electricity. In 1978 alone, cocaine entering the state was estimated at $7 billion.
It wasn't only Miami's crime statistics that were doing somersaults. As illicit cash poured in, the state's finances went haywire: in 1979 the Miami Federal Reserve Bank reported a mysterious cash surplus of $5.5 billion—more than that of all the other twelve Federal Reserve banks in the country put together. The Miami state bank, built to supply a city with a population of under 350,000, began supplying cash to the other twelve federal banks. It soon became obvious where all this money was coming from: in the banks, traffickers and their assistants showed up regularly with boxes, sports bags and even supermarket trolleys full of cash to deposit.
When there were finally rumbled and the Bank Secrecy Act was invoked (instructing banks to report cash deposits of more than $10,000 at a time) a new industry emerged. Traffickers employed runners to drive around the city's banks, making repeated deposits of just under ten grand. On occasions DEA agents would follow them—only to discover that they were being driven around in buses from bank to bank like tour groups, queues of them shuffling out with shoulder bags full of cash at each stop before re-embarking and moving on to the next one. So comedic was their appearance, all permanently queuing to get off the bus or into the bank, that the DEA named them after cartoon characters, the Smurfs.
Of course, once in the banks, the money had to be transferred and laundered before it could be moved back to Colombia. The easiest way to do this was to invest it in real estate. The result was that Florida property prices went through the roof. One economist estimated that 40 per cent of all properties valued over $300,000 were owned by offshore corporations and that, were they to pull out, a real-estate recession would ensue.
Streatfeild, Dominic. Cocaine : an unauthorized biography. 2nd ed. New York, NY: Picador, 2001. pp.237–238. Print.
I got into this album after I saw a video of Phish playing "Watchers of the Skies" at Genesis' induction to the Rock "n" Roll Hall. The song (and record itself) opens with a lengthy mellotron solo (which keyboardist Tony Banks claimed to have written by stringing together the best sounding chords on the touchy Mark 2 model). By the time Phish began singing, they had already panned over several shots of Phil Collins looking very angry that they opened with a Peter Gabriel era Genesis tune as well as Eddie Vedder, Meryl Streep, Bruce Springsteen, and other TOTALLY classy celebs looking bored and confused as shit. " Forward in the song, the band goes into a tight single-note staccato pattern in a 6/4 time signature (reminiscent of the 5/4 rhythmic pattern from "Mars" in Gustav Holst's The Planets suite) played over a pattern of sustained organ chords. Phish played it extra tangy and bouncy (they later played "No Reply At All") In the song Peter Gabriel eventually declares:
"Judge not this race by empty remains Do you judge God by his creatures when they are dead? For now,the lizards shed its tail This is the end of mans long union with earth.
From life alone to life as one, Think not now your journeys done For though your ship be sturdy, no Mercy has the sea, Will you survive on the ocean of being? Come ancient children hear what I say This is my parting council for you on your way.
Sadly now your thoughts turn to the stars Where we have gone you know you never can go. Watcher of the skies watcher of all This is your fate alone, this fate is your own."
The strength of early-Genesis as a band as far as this record tells is a tight jazz-fusion ensemble floating between Pink Floyd/Queen-esque progressive art rock and more fantastical Yes/Rush-esque runs and feels, though the ascetic is exclusive to the ensemble itself. Their songs are incredibly self contained, floating through a lot of drastically different music within a short span of a record. Peter Gabriel's bizarre cross of imaginative, science fiction lyrics are offset by his super-naturally erotic content; with a distinct folk-prog delivery, sometimes in character. Phil Collins sings tight backing vocals; not to mention phenomenal jazz-rock grooves, lefty; carry the whole sound to a second level. Not to be secondhand is the incredible guitar work ("Horizons" is a Satiesque 12-string guitar exhibition comparable to Yes' "The Clap"), never to take any superfluous licks or play lead lines that don't entirely support the tight dynamic. Genesis has an incredible talent for taking difficult leaps artistically, meshing long medleys with quick (if not instantaneous) transitions with far less pastiche or kistche then the likes of Yes or King Crimson; achieving a long cinematic line of imagery the listener can follow without any noticeable pretension.
The gem of the record is the epic "Supper's Ready," just short of twenty-three minutes long in seven parts). An extensive prog-workout with a variety of varying styles and dynamics, some nasty Steve Hackett guitar solos, lots of sweet keyboard work, and Gabriel proclaiming "The fights begun; they've been released! Killing foes for peace! Bang bang bang. Bang BANG bang. And they've given me a wonderful potion because I can not contain my emotion! But even though I'm feeling good, something tells me I better activate my prayer capsule." The narrative follows the story of a couple's bizarre erotic experience to a small town inhabited by a farmer and the head of a highly scientific new religion (The Guaranteed Eternal Sanctuary Man) all the way to Revelation from the bible. The liner notes describe the story as:
I In which two lovers are lost in each other's eyes, and found again transformed in the bodies of another male and female.
II The lovers come across a town dominated by two characters; one a benevolent farmer and the other the head of a highly disciplined scientific religion. The latter likes to be known as "The Guaranteed Eternal Sanctuary Man" and claims to contain a secret new ingredient capable of fighting fire. This is a falsehood, an untruth, a whopper and a taradiddle, or to put it in clearer terms; a lie.
III Who the lovers see clad in greys and purples, awaiting to be summoned out of the ground. At the G.E.S.M's command they put forth from the bowels of the earth, to attack all those without an up-to-date "Eternal Life Licence", which were obtainable at the head office of the G.E.S.M.'s religion.
IV In which our intrepid heroes investigate the aftermath of the battle and discover a solitary figure, obsessed by his own image. They witness an unusual transmutation, and are pulled into their own reflections in the water.
V Climbing out of the pool, they are once again in a different existence. They're right in the middle of a myriad of bright colours, filled with all manner of objects, plants, animals and humans. Life flows freely and everything is mindlessly busy. At random, a whistle blows and every single thing is instantly changed into another.
VI I saw an angel standing in the sun. He cried with a loud voice, saying to all the birds that fly in the sky, Come! Be gathered together to the great supper of God.
VII Above all else an egg is an egg 'And did those feet ............' making ends meet. Jerusalem = place of peace.
01 - Main Street 02 - Saxmaniax 03 - The Fire In His Guitar 04 - French Perfume 05 - Take My Hand 06 - Don't You Feel Better 07 - Indiana Rainbow 08 - I Should Have Known
Recorded in 1976 A.D. .... Well, that more or less sums it up really. The powers that be (at the time) decided in their infinite widom, that this album should not be released. (THEY KNOW WHO THEY ARE). In my opinion, this was nothing short of a crime. Now hopefully, the album is in the hands of a company who genuinely cares about music.
Until just recently, I had not even heard the album for around ten years, and had probably written it off. To be honest, I was not even sure whether I would still like it, but I must say that I was pleasantly surprised. My first reaction was that it needed a remix, but the original multi track tapes were not available anyway, so that was out of the question. Basically, if you can adjust your ears to the fact that this album was produced with the aid of studio equipment that is more than twenty years old, then it sounds okay. At the time of recording this album, Wizzard as a working band had really ceased to exist.
This was probably a last attempt to retain some sort of sanity, trying to grow up, and not carry on indefinitely being just another pop group. We had experimented previously with this style, on B sides of singles, but never really had the opportunity to express ourselves fully in the kind of music that we genuinely preferred to play. I would like to believe that, if this album had been released when it was first created, then my writing style would have taken a different curve, and we would have been performing the type of material that bands such as Jamiroquai are being successful with right now.
In my opinion, I would say that the years have not jarred the quality of the songs, or even the performance and arrangements, because this album cannot be restricted to a definite era or time span.
That is only my opinion... What do you think?? - Roy Wood, Main Street 2000 liner notes
Main Street, credited to Roy Wood & Wizzard (whereas the group's first two albums had been credited simply to Wizzard), was initially planned to showcase the more jazz-rock, deliberately uncommercial, side of the group as part of a double album, along with the material that became the album Introducing Eddy & The Falcons in 1974. When they eventually recorded Main Street (or Wizzo as it was originally to be called) in 1975-6, the group had rather slipped out of the public eye and was on the point of disbanding. The single, also credited to Roy Wood’s Wizzard, "Indiana Rainbow" (backed by a non-album track "The Thing Is This (This Is The Thing)"), released in March 1976, stiffed completely, and did not even make the BBC Radio 1 playlist. As a result Jet Records, to whom Wood was signed at the time, cancelled the album's release. The tapes only came to light in 1999 and, with Wood's blessing, released by Edsel, a re-issue label which specialised largely in licensing long-deleted albums from major companies and had recently made Introducing Eddy & the Falcons, available on CD for the first time. - Wikipedia
Recorded Columbia Studio E, New York City June 19 or 20, 1974
Miles Davis ► electric trumpet w/ wah wah
Dave Liebman ► alto flute
Pete Cosey ► electric guitar
Reggie Lucas ► electric guitar
Dominique Gaumont ► electric guitar
Michael Henderson ► bass guitar
Al Foster ► drums
James Mtume ► percussion
B1
Maiysha
Recorded Columbia Studio E, New York City October 7, 1974
Miles Davis ► electric trumpet w/ wah wah, organ
Sonny Fortune ► flute
Pete Cosey ► electric guitar
Reggie Lucas ► electric guitar
Dominique Gaumont ► electric guitar
Michael Henderson ► bass guitar
Al Foster ► drums
James Mtume ► percussion
B2
Honky Tonk
Recorded Columbia Studio E, New York City May 19, 1970
Miles Davis ► trumpet
Steve Grossman ► soprano saxophone
John McLaughlin ► electric guitar
Keith Jarrett ► electric piano
Herbie Hancock ► clavinet
Michael Henderson ► bass guitar
Billy Cobham ► drums
Airto Moreira ► percussion
B3
Rated X
Recorded Columbia Studio E, New York City September 6, 1972
Miles Davis ► organ
Cedric Lawson ► electric piano
Reggie Lucas ► electric guitar
Khalil Balakrishna ► electric sitar
Michael Henderson ► bass guitar
Al Foster ► drums
James Mtume ► percussion
Badal Roy ► tabla
C1
Calypso Frelimo
Recorded Columbia Studio E, New York City September 17, 1973
Miles Davis ► electric trumpet w/ wah wah, electric piano, organ
Dave Liebman ► flute
John Stubblefield ► soprano saxophone
Pete Cosey ► electric guitar
Reggie Lucas ► electric guitar
Michael Henderson ► bass guitar
Al Foster ► drums
James Mtume ► percussion
D1
Red China Blues
Recorded Columbia Studio E, New York City March 9, 1972
Miles Davis ► Electric trumpet w/ wah wah
Wally Chambers ► harmonica
Cornell Dupree ► electric guitar
Michael Henderson ► bass guitar
Al Foster ► drums
Bernard Purdie ► drums
James Mtume ► percussion
Wade Marcus ► brass arrangement
Billy Jackson ► rhythm arrangement
D2
Mtume
Recorded Columbia Studio E, New York City October 7, 1974
Miles Davis ► electric trumpet w/ wah wah, organ
Pete Cosey ► electric guitar
Reggie Lucas ► electric guitar
Michael Henderson ► bass guitar
Al Foster ► drums
James Mtume ► percussion
Sonny Fortune ► flute
D3
Billy Preston
Recorded Columbia Studio E, New York City December 8, 1972
Miles Davis ► electric trumpet w/ wah wah
Carlos Garnett ► soprano saxophone
Cedric Lawson ► Fender Rhodes electric piano
Reggie Lucas ► electric guitar
Khalil Balakrishna ► electric sitar
Michael Henderson ► bass guitar
Al Foster ► drums
James Mtume ► percussion
Badal Roy ► tabla
Get Up With It is an album collecting tracks recorded between 1970 and 1974 by Miles Davis. Released on November 22, 1974 as a double LP, it was Davis' last studio album before five years of retirement from music.
"He Loved Him Madly" is a track recorded in tribute to Duke Ellington, who had died one month before; Brian Eno cited it as a lasting influence on his own work. - Wikipedia
We had [a] machine invented when we were doing a record called Get Up With It by Miles. We were dedicating a number to Duke Ellington ("He Loved Him Madly"). And I put this track through this piece of equipment. I called Miles up and I says, "Look, something unusual happened here. I can't figure it out. I don't know what it is, but I hear the Duke Ellington band. Not your band, the Duke Ellington band, coming through the speakers." Holy Christ, mean it was traumatic and exciting at the same time. I couldn't believe what I was hearing.
The instruments, whatever they were, it sounded like the rhythm section. I mean the soloists and the brass and saxophones came right straight through. The next day we tried to duplicate it, but couldn't do it. We didn't touch the machines. It's like somebody had pushed a button, and out came Duke. Because, it was a tribute to Duke Ellington. I mean that sounds kind of scary to me but that's what happened. I've used it since and it hasn't created the same kind of illusion. But I think Duke was there in that room that day. - Teo Macero, "Interview by Iara Lee," Perfect Sound Forever (September 1997)
1973 saw more touring, and the occasional bit of studio recording by Miles’ band. In 1974 a unit of Davis, Henderson, Foster, Mtume, Lucas, and Gaumont, plus new feedback-freakout-oriented guitarist Pete Cosey, with Dave Liebman and/or Sonny Fortune on sax and flute, cut the majority of tracks to be released on Get Up With It. (Some sessions from preceding years were used as well). This record could be seen as the culmination of Miles’ career; it’s some serious business. The key to the album is Henderson’s bass - his playing is perfect and huge. Foster’s drumming provides the perfect foil to him, and you’ve got a thoroughly grounded musical maze starting already. Then add Mtume’s shifting, inventive percussion to that, and stack two rhythmic guitar players on along with one feedback-oriented player (who does some nice soloing on this album) - now you’ve got some great shifting funk going on. Then put Miles on in a surly mood, playing some serious, no-frills trumpet and raising some hell on organ too. It’s quite a trip. I shouldn’t forget Dave Liebman’s contributions - there are some who say that he was partially responsible for "Mayishia", a thoroughly perfect musical act in two parts on here. And Sonny Fortune plays well, and some other names pop up on the recordings as well. Side 1 of this record is a bit strange, a tone-poem dedicated to Duke Ellington who had recently passed away. Side 2 contains "Mayishia" and the strong, deeply funky "Honky Tonk" (actually recorded years previously with a whole host of famous musicians), as well as the bizarre "Rated X". Side 3 is an out-of-control madhouse piece called "Calypso Frelimo" which shows this band at their most anarchic, but clears way for another killer bassline after a while. Side 4 features the dense, energetic "Mtume" (an amazing cut which typifies this band’s sound) and the funky "Billy Preston", along with a relatively traditional piece, "Red China Blues". Each side is about 30 minutes long. If I had to describe this record with one word, the word I would choose would be "massive". This is one that you’ll be taking the measure of for years and years. - Scott McFarland, "Miles Davis : The 'Electric' Years", Perfect Sound Forever (August 1997)
What qualified a piece for inclusion on [Ambient 4: On Land] was that it took me somewhere, but this might be somewhere that I'd never been before, or somewhere I'd only imagined going to. […] We feel affinities not only with the past, but also with the futures that didn't materialize, and with the other variations of the present that we suspect run parallel to the one we have agreed to live in.
The choice of sonic elements in these places arose less from listening to music than from listening to the world in a musical way. When I was in Ghana, for instance, I took with me a stereo microphone and a cassette recorder, ostensibly to record indigenous music and speech patterns. What I sometimes found myself doing instead was sitting out on the patio in the evenings with the microphone placed to pick up the widest possible catchment of ambient sounds from all directions, and listening to the result on my headphones. The effect of this simple technological system was to cluster all the disparate sounds into one aural frame; they became music.
Listening this way, I realised I had been moving towards a music that had this feeling; as the listener, I wanted to be situated inside a large field of loosely-knit sound, rather than placed before a tightly organised monolith (or stereolith, for that matter). I wanted to open out the aural field, to put much of the sound a considerable distance from the listener (even locating some of it "out of earshot"), and to allow the sounds to live their lives separately from one another, clustering occasionally but not "musically" bound together. This gave rise to an interesting technical difficulty. Because recording studio technology and practice developed in relation to performed music, the trend of that development has been towards greater proximity, tighter and more coherent meshing of sounds with one another. Shortly after I returned from Ghana, Robert Quine gave me a copy of Miles Davis' "He Loved Him Madly". Teo Macero's revolutionary production on that piece seemed to me to have the "spacious" quality I was after, and like [Federico Fellini's] "Amarcord", it too became a touchstone to which I returned frequently. - Brian Eno, Ambient 4: On Land 1986 liner notes
Rummaging through some old paperwork, animator Mike Kazaleh recently came across a Disney TV publicity packet he obtained in 1989 while working on Tiny Toon Adventures. This was material sent to TV stations around the country to prepare them for the coming syndicated package The Disney Afternoon. What surprised him (and I) was that the material is page-after-page of anti-Bugs Bunny, anti-Warner cartoon information, with charts and graphs and misinformation. I always knew television syndication sales was a cut-throat business back then – and here’s a bit of proof. - Jerry Beck, Cartoon Brew (September 2, 2010)
01 - So Far Backie 02 - Follow Me To The Store 03 - Yellow Frog Legs 04 - Donavon Palsy Master Ward 05 - Our House Is Important 06 - Bitchen Transmission 07 - Spaceman And Human 08 - 48 Of Stars 09 - Stutterer 10 - Ducks Abduct 11 - Only Kids Of Nothing Star 12 - Pizza Hut Families Rule 13 - From Death Trap 14 - Ten Foot Barbie Ward 15 - I Said Momma 16 - Teen Texas Concert 17 - Oh My Goodness 18 - Electric Valley 19 - Mommy On Drugs 20 - Broadway World Kids 21 - We Come From A Land 22 - Starcle Manee Alien 23 - Baby FSM 24 - Starcle Cartoon Glossolalia 25 - Crevice Block Poet 26 - Gomblasemba Lumbieca 27 - Calm Stay Calm 28 - You Will Realize Me
This FSM history album (spanning 1992-1998) for study by government demons and cartoons for Japanese kid of audience is not gay. But this is a gay press release for the University Press and Disney CGI.
Meanwhile, Only Kids of Nothing Star by the two guys in Five Starcle Men has been released on the Net, with the band's Web history claiming that one of the two killed himself a while ago. Eighty percent of it is cack—cheap software chitter and silicon noises—but the duo's mythology indicates they were dextromethorphan punks, feeling the need to dull existential pain.
Two Nothing Star numbers are rhythmically compelling. One rips off Beck's "Loser" riff; another has a harmonica sound and the chant "Pizza Hut families transcend spiritual reality." However, because Five Starcle Men were downers, honestly horrid, and maybe nuts, they never made a video featuring the glum faces of dysfunctional boozer parents, stealthily corrosive friends, and assorted earnest-looking made-for-TV ringers. - George Smith, "Go Ahead, Kill Yourself," in The Village Voice (January 20, 2004)
These kids were involved in alien drug torture and deadly cartoon culture governments. They loved performing their little hit "Pizza Hut Families Rule" which often led to their being kicked off stage by the police or various forces that didn't like the song. Using modern cultural, pharmacological, and other technologies, these young suburban punks constructed highly aestheticized, delusional realities for themselves and their viewers, often resulting in a dangerous sense of political and intellectual ability. Glen Hobbs soon died by suicide. He left many fabulous artifacts. Luke McGowan now studies science, philosophy, and history at university.
They built and played on home made insturments and bent looped electronics from toy stores and Radio Shack.
The label "Lost Frog" from Japan sells their CD and a documentary about the deadly chain of events that resulted from the Five Starcle Men chain of Dextromethorphin abuse is in the making. They came from Lancaster, Ca. (1991-1998) - Rich, tribe.net
gonna listen to this later for sure my friend rich polysorbate 60 was really into starcle men mythology apparently you see them on large doses of dxm … yea, i dont know his real last name, he had it legally changed to that member of the long gone LA chaos society (its not chaos, a word like chaos i can't recall right now), lives in long beach and is really into making fake mythology real, like planting fake dead bodies, and giving lectures on skunk apes at universities and such. He would mention starcle men a lot, and him and his buddies had stickers and drawings of them and one even had a tattoo of one. But I don't remember much other than they are common DXM dis-associative hallucinations. As these guys are from LA, it's probably part of the same circle of DXM lovers. Not really sure. … ok, so chris (baboon torture division) said this about it: "It could be a fictitious band invented by Rich for all I know. Jeff McLean has a starcleman tattoo. According to Rich, the music was all made during DXM trips and was somehow influenced by 5 dimensional aliens. I don't think it's too much of a stretch if you believe in telepathic communication, that aliens would have an easier time contacting us psychically than using radio waves. Maybe people in a dissociative state such as a DXM or DMT trip are more receptive to these kinds of things." … [www.erowid.org] a reference to the dxm-alien connection - Dr. Rek, braindance! forum
Five Starcle Men - Gomba Reject Ward Japan : ZIP / stream
Works of art present, point out, cause us to perceive the various elements and relations contained in them. One comes to "know" the art objects or processes themselves. Every work of Serious Culture has the "cognitive value" of provoking in part of its audience the activity of perceiving its elements, apprehending the relations between them, and thus coming to know the object or process as a whole.1
[Henry Flynt] was convinced that [Henry Flynt] had shown this phase of appreciation, strictly, to be delusive.
That recognition of structure in music can be delusive was illustrated by [Karlheinz] Stockhausen's analysis of a cantata by [Luigi] Nono, and the excuse he subsequently had to make for it.
Soon after the publication of [my] interpretation, Nono informed me that it was incorrect and misleading, and that he had neither a phonetic treatment of the text nor more or less differentiated degrees of comprehensibility of the words in mind when setting the text -- not even with respect to a possible representation of the sense of these farewell letters, and if I could interpret a quasi-serial vocal structure into II, it was a mere coincidence. The reader must therefore not take my reflections and analyses as being demonstrations of Nono's composition, but rather of my own -- demonstrated in the work of another composer.2
1 Jackson Mac Low, KOH (1962, unpublished) 2 Karlheinz Stockhausen, "Music and Speech," in Speech and Music [die Reihe No. 6] (1964), page 49, footnote.
Silicon Solitone Live-Time (00:49:49 … From 49:49:49…) Or Just Driftin' In The Year Of The Blues For La Monte Young
Radio show broadcast on Dutch National Radio station De Concertzender. Introduced by Mark van der Voort. A survey of the composer's work. Hennix's recordings taken from an eight day festival organized in Spring 1976 at the Museum of Modern Art in Stockholm, and other sources, selections by Hennix.
Catherine Christer Hennix (C.C. Hennix) (born 1948) is a Swedish-American composer, philosopher, scientist and visual artist associated with drone minimal music. Hennix was affiliated with MIT's AI Lab in the late 1970s and was later employed as research professor of mathematics at SUNY New Paltz. She currently lives in Amsterdam.
Musical Background C.C. Hennix began her musical studies in the 1960s by exploring the music of the art music composers Iannis Xenakis and Karlheinz Stockhausen. Hennix met La Monte Young and Hindustani raga master Pandit Pran Nath at the Nuits du Fondation Maeght festival in 1970 and pursued studies with both men during the 1970s. Hennix also drew inspiration from the Japanese Gagaku music and early vocal, thirteenth-century music of Perotinus and Leoninus. Hennix frequently worked together with the American anti-art philosopher, composer and violinist Henry Flynt. … All major compositions by Catherine Christer Hennix (for example her "The Electric Harpsichord") are regarded as a small part of an ongoing, endless composition cycle.
In the late Seventies, Christer Hennix expounded a proposal for accession to elevated experience framed in terms of recent positions in foundations of mathematics and theoretical linguistics. Hennix's expositions extended seamlessly to poetry, painting, installation art, and music. … In Hennix's installation at Moderna Museet in October 1976, notations for 'cloning' or 'amalgamating' abstract languages by means of semi-ultra-intuitionistic algorithms were presented. (Cf. Notes on Toposes & Adjoints.) The formal methods presented for intuitionistic topoi included, among others, all the infinite variations of Montague grammars for arbitrary fragments of English, permitting Hennix, by means of performing an inverse limit operation, to treat English semantics as abstract formalized concepts pulled along a given set (algebra) of functors while any material form of English grammar corresponds to a notation for these functors and their values. (Cf. Brouwer's Lattice and "17 Points on Intensional Logics," respectively.)
In the mid-Seventies, Hennix developed a dramatic concept referred to as Abstract Noh Drama and originally intended for radio broadcast or silent reading. Abstract Noh compositions differ from classical Noh in that they abstract from all visual elements. A ramification of the classical categories of drama (e.g. Noh-no-kami, Noh-no-kiri, Shura-mono) is allowed. ^-Noh or Empty Noh (1976) was the first new abstract category. It is an example of new logical types based on principles by the Buddhist logician, philosopher, and poet Dharmakirti.
This was a single three hour + MP3 obtained from UbuWeb; I've cut it into tracks and inserted a cleaner copy of "The Electric Harpsichord," glory be
01 - Invasion Of Thunderbolt Pagoda (St. Mark's Epiphany) 02 - Shortwave-India 03 - Heavenly Blue Pt.4&5 04 - Blastitude 05 - Humming In The Night Skull
Angus MacLise was the original, aurally-undocumented drummer / percussionist for The Velvet Underground; he also played in La Monte Young's awesome Theatre Of Eternal Music / Dream Syndicate Here, Angus transcends reality, and is joined in doing so on tracks 01 & 03 by the Universal Mutant Repertory Company, which includes Angus's wife Hetty MacLise, former Gong members Loren Standlee and Ziska Baum, and Raja Samyana
Concretely, this sounds like The Skaters, specifically Spencer Clarke, except 30+ years earlier in time and more earnest
“ You are not limited to one room, there are many rooms. ” - Angus MacLise, Smothered Under Astral Collapse
Made under a variety of pressures, Gaucho was the final album by Steely Dan for almost twenty years. This long unauthorized release reveals an albums side worth of hits that would intrigue well past die hard-Danners. Inclusive in this recording is several skeletal demos of released songs (Time Out of Mind, an instrumental of the title track (Gaucho), and an early demo of "Third World Man" entitled "Were You Blind That Day," the titularly themed refrain), as well as several unreleased gems.
"Kulee Baba," (a version with Donald Fagan playing piano and singing and one with a small band) is the standout of the record with smooth, extended jazz chords. The song narrates images of an ambitious television executive shooting the allusive "Kulee Baba,":
"Brightly colored dancers on-screen Are no more than a prelude to the ritual unfolding No white man's eyes have ever seen The cruel primeval rite that you're beholding!"
Not secondary is the "Second Arrangement" famous for not appearing on Gaucho due to being accidentally half erased by an engineer. Reminiscent of a more tender"Royal Scam"-esque cuckold-romantic endeavors it contains a sweetly bridged-bass line and lyrics not far removed in essence from "Time Out of Mind".
Finally, "The Bear;" a seemingly finished track is a stellar performance all around. "There's a bear that walks like a man, you better shake him fast."
47. TWO SOURCE COSMOGONY: The One was and was-not, combined, and desired to separate the was-not from the was. So it generated a diploid sac which contained, like an eggshell, a pair of twins, each an androgyny, spinning in opposite directions (the Yin and Yang Taoism, with the One as the Tao). The plan of the One was that both twins would emerge into being (was-ness) simultaneously; however, motivated by a desire to be (which this One had implanted in both twins), the counterclockwise twin broke through the sac and separated prematurely; i.e. before full term. This was the darker Yin twin. Therefore it was defective. At full term the wiser twin emerged. Each twin formed a unitary entelechy, a single living organism made of psyche and soma, still rotating in opposite directions to each other. The full term twin, called Form I by Parmenides, advanced correctly through its growth stages, but the prematurely born twin, called Form II, languished.
The next step in the One's plan was that the Two would become the Many, through their dialectic interaction. From them as hyperuniverses they projected a hologram-like interface, which is the pluriform universe we creatures inhabit. The two sources were to intermingle equally in maintaining our universe, but Form II continued to languish toward illness, madness, and disorder. These aspects she projected into our universe.
It was the One's purpose for our hologramatic universe to serve as a teaching instrument by which a variety of new lives advanced until ultimately they would be isomorphic with the One. However, the decaying condition of hyperuniverse II introduced malfactors which damaged our hologramatic universe. Also, the teaching function was grossly impaired, since only the signal from the hyperuniverse I was information-rich; that from II had become noise.
The psyche of hyperuniverse I sent a micro-form of itself into hyperuniverse II to attempt to heal it. The micro-form was apparent in our hologramatic universe as Jesus Christ. However, hyperuniverse II, being deranged, at once tormented, humiliated, rejected and finally killed the micro-form of the healing psyche of her healthy twin. After that, hyperuniverse II continued to decay into blind, mechanical, purposeless casual processes. It then became the task of Christ (more properly the Holy Spirit) to either rescue the life forms in the hologramatic universe, or abolish all influences on it emanating from II. Approaching its task with caution, it prepared to kill the deranged twin, since she cannot be healed; i.e. she will not allow herself to be healed because she does not understand that she is sick. This illness and madness pervades us and makes us idiots living in private, unreal worlds. The original plan of the One can only be realized now by the division of hyperuniverse I into two healthy hyperuniverses, which will transform the hologramatic universe into the successful teaching machine it was designed to be. We will experience this as the "Kingdom of God."
Within time, hyperuniverse II remains alive: "The Empire never ended." But in eternity, where the hyperuniverses exist, she has been killed—of necessity—by the healthy twin of hyperuniverse I, who is our champion. The One grieves for this death, since the One loved both twins; therefore the information of the Mind consists of a tragic death of a woman, the undertones of which generate anguish into all the creatures of the hologramatic universe without their knowing why. This grief will depart when the healthy twin undergoes mitosis and the "Kingdom of God" arrives. The machinery for this transformation—the procession within time from the Age of Iron to the Age of Gold—is at work now; in eternity it is already accomplished. - Philip K Dick, VALIS Appendix
