tag:blogger.com,1999:blog-65413868756987525042024-02-07T15:10:38.184-05:00through everdeal the way, not dealt awaybryan reynoldshttp://www.blogger.com/profile/10569097526504867639noreply@blogger.comBlogger78125tag:blogger.com,1999:blog-6541386875698752504.post-50159462517611736312011-06-17T00:40:00.004-04:002011-06-17T00:47:39.086-04:00Battles _-_ Gloss Drop<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://apesontape.com/wp-content/uploads/2011/05/battles4522011.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 452px; height: 303px;" src="http://apesontape.com/wp-content/uploads/2011/05/battles4522011.jpg" border="0" alt="" /></a><br /><br />Who cares what this album sounds like? Look at how GOOD Ian Williams looks!Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6541386875698752504.post-15378274373085115482011-05-23T04:58:00.005-04:002011-05-23T05:19:36.704-04:00Akiko Yano - 'Japanese Girl' (1976)<table border><tr><td colspan="2"><img alt="Akiko Yano - 'Japanese Girl' (1976)" src="http://static.rateyourmusic.com/album_images/c01f9a123422ce57a97e0c367a1c7633/89596.jpg"><tr><td><b>A1</b>: Kikyu Ni Notte<br><b>A2</b>: Kuma<br><b>A3</b>: Denwa-sen<br><b>A4</b>: Tsugaru Tour<br><b>A5</b>: Funamachi Uta Part II</td><td><b>B1</b>: Ooinaru Shii No Ki<br><b>B2</b>: Helicopter<br><b>B3</b>: Futa<br><b>B4</b>: Oka Wa Koete<br><b>B5</b>: Funamachi Uta Part I</td></tr><tr><td colspan="2">FEATURING members of <big><strong>Little Feat</big></strong> and <strong><big>Yellow Magic Orchestra</big></strong></td></tr><tr><td colspan="2"><a href="http://qooy.com/files/Z3X2WEWQQG/Japanese_Girl.zip">http://qooy.com/files/Z3X2WEWQQG/Japanese_Girl.zip</a></td></tr></table><hr><iframe width="425" height="349" src="http://www.youtube.com/embed/ScsgT-cQ7QQ" frameborder="0" allowfullscreen></iframe>bryan reynoldshttp://www.blogger.com/profile/10569097526504867639noreply@blogger.com0tag:blogger.com,1999:blog-6541386875698752504.post-24310032525024852282010-12-29T20:38:00.006-05:002010-12-29T21:03:12.670-05:00Enter our raffle to win your band's name listed in <span style="font-weight: bold;">the Deli: New York's Foremost Leader</span> In Informing People That Are Hip But Consider <span style="font-style: italic;">"Reverend" Horton Heat</span> "the Best". Remember: the more raffle tickets you buy the more <span style="font-style: italic;">redundant </span>you feel. Whoever feels the most <span style="font-style: italic;">redundant</span>, surely sounds the most redundant; and we here at the Deli only cater to, ass the French say, l<span style="font-style: italic;">e' mediocure'</span>.<br /><br /><span style="font-size:78%;"><i><span style="font-family:georgia;">Disclaimer chances of winning are .05 and 3,210,400 as the Foo Fighters (thebestthebestthebestthebestthebestthebestthebestthebestthebest)</span><br /><span style="font-family:georgia;">have already purchased all the raffle tickets and their are several hundreds of thousand of hip, green, DIY conscious bands on the Lower East Side</span><br /><br /></i></span><div class="gmail_quote">---------- Forwarded message ----------<br />From: <b class="gmail_sendername">The Deli Year End Polls for Emerging Artists</b> <span dir="ltr"><info@thedelimagazine.com></info@thedelimagazine.com></span><br />Date: Wed, Dec 29, 2010 at 7:40 PM<br />Subject: Best of Your Scene Poll 2010: 2 days left to submit (2RCXUL advances)<br />To: RudyDudy@askjeevevs.com<br /><br /><br /> <div><p>Deli-cious Bands and Artists,</p> <p>The deadline to submit your band to be considered for The Deli's Local Best of Polls through SonicBids is January 31. </p> <p>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.</p> <p style="text-align: left;">Here are the submission links organized by region - good luck and Happy Holidays!</p> <p style="text-align: center;"><a href="http://thedelimagazine.com/phplist/lt.php?id=eUtWDVAEVVJURFBZVh8FAVAH" target="_blank">NYC</a> - <a href="http://thedelimagazine.com/phplist/lt.php?id=eUtWDVAEVVJXRFBZVh8FAVAH" target="_blank">Los Angeles</a></p> <p style="text-align: center;"><a href="http://thedelimagazine.com/phplist/lt.php?id=eUtWDVAEVVJWRFBZVh8FAVAH" target="_blank">Other Scenes</a> (Austin, Baltimore, Chicago, Nashville, New England, Philly, Portland, SF Bay Area, Washiington)</p> <p> </p> <p>The Deli's Staff</p><p>P.S. Check out the charts!<br /></p><br />You may already be famous!<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7CxXJQ-v8wntYkGeeO2J0-zNrijA9K1tB86jO2sinZHKyr3fzQSB7AL7ZJh7mCaCiRMX0op38poO_Z2LrrxxxAfjeC-prMZOAEJZBgqvx1cdXcXby-FJ0Yj8kJtvHZNM6epwB5CCt6VY/s1600/yourtaxdollarsatworst.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 300px; height: 600px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7CxXJQ-v8wntYkGeeO2J0-zNrijA9K1tB86jO2sinZHKyr3fzQSB7AL7ZJh7mCaCiRMX0op38poO_Z2LrrxxxAfjeC-prMZOAEJZBgqvx1cdXcXby-FJ0Yj8kJtvHZNM6epwB5CCt6VY/s320/yourtaxdollarsatworst.jpg" alt="" id="BLOGGER_PHOTO_ID_5556288146773857410" border="0" /></a><span style="color: rgb(136, 136, 136);"><br /><div>--<br />If you do not want to receive any more newsletters, <a href="http://thedelimagazine.com/phplist/lt.php?id=eUtWDVAEVVJZRFBZVh8FAVAH" target="_blank">this link</a><br /><br />To update your preferences and to unsubscribe visit <a href="http://thedelimagazine.com/phplist/lt.php?id=eUtWDVAEVVJYRFBZVh8FAVAH" target="_blank">this link</a><br />Forward a Message to Someone <a href="http://thedelimagazine.com/phplist/lt.php?id=eUtWDVAEVVVRRFBZVh8FAVAH" target="_blank">this link</a><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU36DA_cHAmN23Jy-8kvAHHeWAWyJ-mfnrY3uNbbO61HCNQS1uXEDyLY-d03y9LC-ugb-46Z1d_TOoHpHkjyerUP9pIqdyscurrTWLcp2ShXWJ-0bNDeT7NPzJDPhNEca7effQ7bl7JsA/s1600/Your+band+may+already+be+famous.gif"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 300px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU36DA_cHAmN23Jy-8kvAHHeWAWyJ-mfnrY3uNbbO61HCNQS1uXEDyLY-d03y9LC-ugb-46Z1d_TOoHpHkjyerUP9pIqdyscurrTWLcp2ShXWJ-0bNDeT7NPzJDPhNEca7effQ7bl7JsA/s320/Your+band+may+already+be+famous.gif" alt="" id="BLOGGER_PHOTO_ID_5556285067589365906" border="0" /></a><br /><div style="text-align: center;"><span style="font-family:times new roman;">YOUR BAND MIGHT ALREADY BE A WINNER!</span><br /></div><div style="text-align: center;">Remember to sign up for BMI presents The Deli's Official Visa Buxx card, for teens. It gives teens the freedom to go to Williamsburg and shop or just to hang out at home with their friends and rock.<br />Don't leave your loft space without it!</div></div></span><span style="color: rgb(136, 136, 136);"><br /></span></div> </div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6541386875698752504.post-9994312465254974972010-12-24T16:20:00.003-05:002012-11-24T02:16:31.950-05:00Smellband Brett's YEAR END SONGS of the Year: TOP TEN<object height="300" width="300"><param name="movie" value="http://www.youtube.com/v/pc0mxOXbWIU?fs=1&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/pc0mxOXbWIU?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="300" width="300"></embed></object><br />
<span style="font-style: italic;">1. Ceelo Green - Fuck You</span><br />
As a child watching defamatory cartoons I wondered when the day would come when a hit song would just be the phrase "<span style="font-weight: bold;">Fuck You</span>," albeit then I bet on a fantastical R. Kelly ballad about <span style="color: #ff99ff;">tender fucking love</span>. Oh! Was it glorious when it was <span style="font-style: italic;">a topical anti-love song</span> about the very contemporary issue of <span style="color: #003333; font-style: italic;">how collectively broke we are, both financially and morally</span>. 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 <span style="font-weight: bold;">pathos</span>!<br />
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<object height="300" width="300"><param name="movie" value="http://www.youtube.com/v/haHLB82_lns?fs=1&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/haHLB82_lns?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="300" width="300"></embed></object><br />
<span style="font-style: italic;">2. The Move - Chinatown </span><br />
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!<br />
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<object height="300" width="300"><param name="movie" value="http://www.youtube.com/v/7FSvgAufQH0?fs=1&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/7FSvgAufQH0?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="300" width="300"></embed></object><br />
<span style="font-style: italic;">3. Ruja - Dr. Noorman</span><br />
I hadn't heard about <span style="font-style: italic;">the massive Estonian musical revolution</span> against a communist Russian <span style="font-style: italic;">ban on musical instrument sales</span> and other <span style="font-weight: bold;">musical liberties</span>, but this cry of prog passion from these esoteric masterminds. DOC-TOR! Rachmael promised to write a multi-installment series on the <span style="font-style: italic;">Eastern-European Cultural Revolutions</span>, which he's been extensively researching for months but you know him: <span style="color: #66cccc; font-style: italic;">always Jillin! </span><br />
<br />
<object height="300" width="300"><param name="movie" value="http://www.youtube.com/v/sEniyvOtETc?fs=1&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/sEniyvOtETc?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="300" width="300"></embed></object><br />
<span style="font-style: italic;">4. Grateful Dead - Franklin's Tower</span><br />
Hell, I had heard this song a long time ago and rationalized it away as just another <span style="color: #993399; font-style: italic; font-weight: bold;">noodle</span><span style="color: #ff9966;"><span style="color: #993399;">.</span> </span>Man, the world of <span style="color: #006600; font-style: italic;"><span style="font-weight: bold;">T</span>homas <span style="font-weight: bold;">H</span>art <span style="font-weight: bold;">C</span>ooking</span> will really <span style="font-style: italic;"><span style="color: #ffff66;">flavor your</span> </span><span style="color: #ff99ff; font-style: italic; font-weight: bold;">noodle</span><span style="color: #ff99ff; font-style: italic;">s</span>. This song is about taking your time, doing things right, and <span style="color: #003333; font-weight: bold;">surrender</span>ing <span style="font-weight: bold;"><span style="color: #006600;">to</span> <span style="color: #006600;">Jah</span></span> and <span style="color: #cc33cc; font-style: italic;">the mother's G-deyehead</span>. You've got to Roll away the <span style="color: #66ffff;">dew</span>. Roll away the <span style="color: #33ccff;">dew</span>. If you get confused listen to the <span style="color: #cc33cc;">music</span> play.<br />
<br />
<object height="300" width="300"><param name="movie" value="http://www.youtube.com/v/X8OZ9bUPeYY?fs=1&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/X8OZ9bUPeYY?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="300" width="300"></embed></object><br />
<span style="font-style: italic;">5. XTC - Roads Girdle the Globe</span><br />
Wow, it must be a really slow year if songs <span style="font-style: italic;">Rachmael</span> showed me a year ago are cracking the top five. Average song topics: <span style="color: #3366ff;">Guys</span> and <span style="color: #ff99ff;">girls</span>, <span style="color: #3333ff;">guys</span> and <span style="color: #66cccc;">guys</span>, <span style="color: #000099;">guys</span> and <span style="color: #003300;">money</span>, <span style="color: #3366ff;">guys</span> and <span style="color: red;">cars</span>. This is a classic<span style="font-style: italic;"> </span><span style="color: #3333ff; font-style: italic;">guys</span><span style="font-style: italic;"> and </span><span style="color: red; font-style: italic;">cars </span><span style="font-style: italic;">smash</span>. Also has <span style="font-weight: bold;">the best bass playing</span> I've heard this year. <span style="font-style: italic;">Boo contemporary music!</span><br />
<br />
<object height="300" width="300"><param name="movie" value="http://www.youtube.com/v/wiLqAu4s-_s?fs=1&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/wiLqAu4s-_s?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="300" width="300"></embed></object><br />
<span style="font-style: italic;">6. redaccted</span><br />
<br />
<object height="300" width="300"><param name="movie" value="http://www.youtube.com/v/cvfE-Cf9Qcc?fs=1&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/cvfE-Cf9Qcc?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="300" width="300"></embed></object><br />
<span style="font-style: italic;">7. Olivia Newton John - Magic</span><br />
Believe you and me, <a href="http://www.youtube.com/watch?v=4m1EFMoRFvY" style="color: #cc9933;"><span style="font-weight: bold;">Beyonce</span></a> puts out a cover of this backed by <a href="http://www.youtube.com/watch?v=pBiLAy7mDbw"><span style="font-weight: bold;">the Manualist playing "Run to the Hills"</span></a> and it would top this list. Olivia Newton John still probably tops my annual list of <span style="color: #ffcccc;">most fantacized about women</span> for the 13th odd consecutive year (with a close second and third by one of the <span style="color: #cc9933;">Bank Teller</span>'s at the branch in <span style="font-style: italic;">Olneyville</span> and <span style="color: #993399;">Anais Nin</span>). Needless to say I was forced to watch <span style="font-style: italic;">Grease</span> at nauseum growing up and I totally equate all feelings of affection with that horn sounding part in that song where they go <span style="font-style: italic;">"YOU'REDAONEDATAWANT! YOUR'EDAONEDATAWANY! OO-OO- OO-HONEY!" </span><br />
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 <span style="color: red;">c</span><span style="color: #ff9900;">o</span><span style="color: yellow;">l</span><span style="color: #33cc00;">o</span><span style="color: #33ccff;">r</span> <span style="color: #993399;">w</span><span style="color: #6600cc;">i</span><span style="color: red;">c</span><span style="color: #ffcc66;">c</span><span style="color: #ffff66;">a</span><span style="color: #006600;">n</span><span style="color: #3366ff;">s</span> the first thing that came to mind was that John Travolta must have been blackmailed into joining <span style="color: #33cc00;">Scientology</span> because the <span style="color: #009900;">scientologists</span> 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? <span style="font-style: italic;">You have to believe we are magic! <span style="font-weight: bold;">Nothing</span> can stand in our way!</span><br />
<br />
<object height="300" width="300"><param name="movie" value="http://www.youtube.com/v/04mfKJWDSzI?fs=1&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/04mfKJWDSzI?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="300" width="300"></embed></object><br />
<span style="font-style: italic;">8. Gorillaz - Melancholy Hill</span><br />
Good song good job. This is the "<span style="font-weight: bold;">Feel Good Inc</span>." of <span style="font-style: italic; font-weight: bold;">Plastic Beach</span>. The Gorillaz are <span style="font-style: italic;">a full blown media phenomenon</span> that all my friends in the midwest seem to write off. <span style="font-weight: bold;">Good synths</span> always win the day. I guess <span style="font-style: italic; font-weight: bold;">Damon Albern</span> is as topical as a British pop song writer you can get if you don't worship <span style="font-style: italic;">Radiohead</span>.<br />
<br />
<object height="300" width="300"><param name="movie" value="http://www.youtube.com/v/3soucm9emO4?fs=1&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/3soucm9emO4?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="300" width="300"></embed></object><br />
<span style="font-style: italic;">9. Readacted</span> <br />
<br />
<object height="300" width="300"><param name="movie" value="http://www.youtube.com/v/X_bpfWuBvN4?fs=1&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/X_bpfWuBvN4?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="300" width="300"></embed></object><br />
<span style="font-style: italic;">10. Yes - And You and I</span><br />
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 "<span style="font-weight: bold;">Close to the Edge</span>" the song, I had been lukewarm on <span style="font-style: italic;">Yes</span> though I enjoyed a few of <span style="font-weight: bold;">their earlier albums</span> and most of <span style="font-weight: bold;">their radio singles</span>. I was reading <a href="http://home.online.no/%7Ecorneliu/progressive.htm"><span style="font-weight: bold;">an interview with Frank Zappa</span></a> in a book of interviews and articles I keep in the bathroom (which I stole from <span style="font-style: italic;">Edan Wilbur</span> which he found in a <span style="font-weight: bold;">dumpster</span>) and he was endlessly decrying mediocrity.<br />
<br />
"<span style="font-weight: bold;">Progressive Magazine</span> (<span style="font-size: 78%;">this is actual a Wisconsin libertarian rag and not a prog rock magazine</span>): <span style="font-style: italic;">Do you think anything can be done to reverse the trend?</span><br />
<br />
<span style="font-weight: bold;">Frank Zappa</span>: Perhaps. I tend to view the whole thing as <span style="font-weight: bold;">a conspiracy</span>. 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. I<span style="font-weight: bold;">n a way, the real business of government is the business of controlling the labor force</span>. 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!" <span style="font-weight: bold;">You celebrate mediocrity, you get mediocrity.</span> 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. <span style="font-size: 130%;"><span style="font-weight: bold;">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. </span>People don't like to be reminded that lurking somewhere there are people who can do some shit that you can't do.</span> They can think a way you can't think, <span style="font-style: italic;">they can dance a way you can't dance</span>. 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!"<br />
<br />
<span style="font-style: italic;">Yes</span>' symphonic style rock orchestration peaked almost forty years ago yet most bands now in <span style="font-style: italic;">a post-modern egotistical haze</span> embrace their inabilities and mediocrities as "style" or as "unimportant," yet <span style="font-style: italic;">the decline in music</span> 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 <span style="font-style: italic;">I have that terminal disease Zach Braff has in Garden States</span> and the only way to cure it is self medicating <span style="font-style: italic;">Scrubs</span> marathons until I come to terms that their are in fact <span style="font-style: italic;">hospitals in real life.</span> 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!<br />
<span style="font-weight: bold;"> I listened hard but could not see -</span><br />
<span style="font-weight: bold;"> Life tempo change out and inside me.</span><br />
The preacher trained in all to lose his name;<br />
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 <span style="font-style: italic; font-weight: bold;">you</span>.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6541386875698752504.post-78519834435704637172010-12-10T15:16:00.005-05:002010-12-10T15:52:01.117-05:00Skoal Kodiak - Side A of Skoal Kodiak/Knife World Split Cassette<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i23.photobucket.com/albums/b383/profchickenlip/Cassette-1.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 320px;" src="http://i23.photobucket.com/albums/b383/profchickenlip/Cassette-1.jpg" alt="" border="0" /></a>Both staple points of <span style="font-weight: bold;">the thriving Minneapolis scene</span>, this tape was sold during a joint tour during either 2008 or 2009, I don't remember.<span style="font-style: italic;"> Trust me</span> when I say <span style="font-weight: bold;">the Knife World side of the tape</span> is equally enchanting but I've <span style="font-style: italic;">leaked way too much of John Nielsens' classic works</span> to the internet (see <span style="font-weight: bold;">the Knife World and Voyager albums</span>...<span style="font-style: italic;">if you can find em</span>...).<br /><br /><span style="font-weight: bold;">Skoal Kodiak</span> consists of two former members of <span style="font-weight: bold;">the Cows </span>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 <span style="font-weight: bold;">Gang of Four</span> or <span style="font-weight: bold;">Public Image Limitedesque</span> grooves. Unbelievably tight bass work, outright astounding drumming, and a charismatic, noise generating frontman who mostly sings through<span style="font-weight: bold;"> a circuit bent bleach bottle while wearing a lamp around his neck</span>. Hands down some of the best and most functional drone and oscillator work I've seen in recent time, particularly in <span style="font-style: italic;">underground "experimental" dance music</span>. Skoal Kodiak seems to be a step above with well orchestrated parts and catchy, yet unintelligible, hooks.<br /><br />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 (<span style="font-style: italic;">Three People Keep Having Grape Emegencies</span>) doesn't nearly capture <span style="font-weight: bold;">their brilliant live show</span>, although a new album is <span style="font-style: italic;">rumored</span> to be on the way.<br /><br /><div style="text-align: right;"><a style="font-weight: bold; font-style: italic;" href="http://anonym.to/?http://www.mediafire.com/?ln7m4yiacf59cw5">------SKOAL KODIAK/KNIFE WORLD SPLIT SIDE A </a><br /></div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6541386875698752504.post-19155004941191726612010-12-09T11:36:00.004-05:002010-12-10T15:56:40.930-05:00Donald Fagen - the Nightfly<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.afilmcanon.com/storage/DonaldFagen_TheNightfly.jpg?__SQUARESPACE_CACHEVERSION=1247758698117"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 320px;" src="http://www.afilmcanon.com/storage/DonaldFagen_TheNightfly.jpg?__SQUARESPACE_CACHEVERSION=1247758698117" alt="" border="0" /></a>One of the first fully digitally recorded albums finds the front half of <span style="font-weight: bold;">Steely Dan</span> exploring similar territory albeit without <span style="font-weight: bold;">Walter Becker</span>. Backed by <span style="font-style: italic;">a lengthy list of popular studio musicians</span> (Michael & Randy Brecker, <span style="font-weight: bold;">Larry Carlton</span>, Rick Derringer, Anthony Jackson (the <span style="font-style: italic;">inventor of the six string bass-guitar</span>), <span style="font-style: italic;">Marcus Miller</span>, Paul Schaffer, Roger Nichols (<span style="font-style: italic;">inventor of digital drum replacement</span> made popular on<span style="font-weight: bold;"> Gaucho</span>), <span style="font-weight: bold;">Chuck Rainey</span>, and many more) and produced by perennial Steely Dan producer <span style="font-weight: bold;">Gary Katz</span>, Fagen explains in the liner notes the album being about:<br /><br /><span style="font-style: italic;"> "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."</span><br /><br />The music itself is considerably similar to <span style="font-weight: bold;">Gaucho </span>(the Nightfly coming only two years later), going as far as to reuse passing sections from <a href="http://throughever.blogspot.com/2010/08/steely-dan-gaucho-outtakes.html"><span style="font-weight: bold;">songs cut from Gaucho</span></a> ("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 <span style="font-weight: bold;">Thriller</span>, The Nightfly is a popular album for testing stereo monitors due to it's deft use of early digital recording equipment.<br /><br />The highlight of this record is the track is the second single "<span style="font-weight: bold;">New Frontier</span>". It finds an aging Fagen confused over contemporary shifts in culture over a delightfully dicey keyboard.<br /><br /> "<span style="font-style: italic;"> Well I can't wait 'til I move to the city </span><br /><span style="font-style: italic;"> 'Til I finally make up my mind </span><br /><span style="font-style: italic;"> To learn design and study overseas </span><br /><br /><span style="font-style: italic;"> Have you got a steady boyfriend </span><br /><span style="font-style: italic;"> Cause honey I've been watching you </span><br /><span style="font-style: italic;"> I hear you're mad about <span style="font-weight: bold;">Brubeck</span> </span><br /><span style="font-style: italic;"> I like your eyes, I like him too </span><br /><span style="font-style: italic;"> He's an artist, a pioneer </span><br /><span style="font-style: italic;"> We've got to have some music on the new frontier</span>"<br /><br />Beyond this finds Donald covering Leiber & Stoller's Drifter's hit "Ruby Baby" with a groove quite similar to that of "<span style="font-weight: bold;">The Way You Make Me Feel</span>" by <span style="font-weight: bold;">Michael Jackson</span>. "Green Flower Street" relies on themes taken from "<span style="font-weight: bold;">Green Earrings</span>" from Steely Dan's <span style="font-weight: bold;">The Royal Scam</span>. 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.<br /><br /><br /><a href="http://anonym.to/?http://www.mediafire.com/?z2jg0dj5nme"><span style="font-weight: bold; font-style: italic;">-----DONALD FAGEN THE NIGHTFLY</span></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6541386875698752504.post-80774945155449070632010-12-08T10:55:00.008-05:002010-12-08T11:42:55.269-05:00Crack (Man Bites Dog)<p style="margin-left:0.2in"> <i>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.<br><br> 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:</i></p><p style="margin-left:0.5in">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.</p><p style="margin-left:0.2in"> <i>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</i> [sic] <i>(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.</i></p><small>Streatfeild, Dominic. <i>Cocaine : an unauthorized biography</i>. 2nd ed. New York, NY: Picador, 2001. pp.312–313. Print.</small>bryan reynoldshttp://www.blogger.com/profile/10569097526504867639noreply@blogger.com0tag:blogger.com,1999:blog-6541386875698752504.post-5924699004595027702010-11-01T20:21:00.013-04:002010-11-01T21:04:48.161-04:00Sven Grünberg - Hingus<img src="http://tiny.cc/hinguscover" width="320" height="322" /><br /><br />01 - Hingus (I Osa)<br />02 - Hingus (II Osa)<br />03 - Hingus (III Osa)<br />04 - Hingus (IV Osa)<br />05 - Teekond<br />06 - Valgusõis<hr /><p style="margin-left: 0.2in;"><strong>Sven Grünberg</strong> <i>(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 <a href="http://www.imdb.com/name/nm0626962/"><strong>Olav Neuland</strong></a> and written the soundtracks for the most of his films.<br /><br />In the 1970s Grünberg was the leader of the progressive rock band</i> Mess<i>, which was founded by him in January 1974 together with Härmo Härm. Despite the years of the band's existence and many live performances,</i> Mess <i>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</i> Mess <i>recordings and a full remastered album in 2004.<br /><br />Grünberg is also the Chairman of the Board of the <a href="http://www.budismiinstituut.ee/cv-s.htm">Estonian Institute of Buddhism</a>.</i></p><small>(<a href="http://en.wikipedia.org/wiki/Sven_Gr%C3%BCnberg">Wikipedia</a>)</small><hr /><a href="http://tiny.cc/hingus0"><strong>Sven Grünberg - Hingus</strong></a> <small>[Mirrors: <a href="http://tiny.cc/hingus1">1</a>, <a href="http://tiny.cc/hingus2">2</a>, <a href="http://tiny.cc/hingus3">3</a>, <a href="http://tiny.cc/hingus4">4</a>]</small><hr /><img src="http://img716.imageshack.us/img716/9257/svengrnberg.jpg">bryan reynoldshttp://www.blogger.com/profile/10569097526504867639noreply@blogger.com0tag:blogger.com,1999:blog-6541386875698752504.post-57641942293595462762010-11-01T14:14:00.013-04:002010-11-01T21:56:50.987-04:00Van Der Graaf Generator - Godbluff<object width="320" height="257"><param name="movie" value="http://www.youtube.com/p/B486C24206BDAB4D?hl=en_US&fs=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/p/B486C24206BDAB4D?hl=en_US&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="320" height="257"></embed></object><br /><br /><table border="1" cellpadding="1" cellspacing="1"><tbody><tr><td><a href="http://www.sofasound.com/"><big><strong>Peter Hammill</strong></big></a></td><td>voice, piano, clavinet, electric guitar</td></tr><tr><td><a href="http://www.organworkshop.co.uk/"><big><strong>Hugh Banton</strong></big></a></td><td>organs w/ bass pedals, bass guitar</td></tr><tr><td><a href="http://www.echocity.co.uk/"><big><strong>Guy Evans</strong></big></a></td><td>drums, percussion</td></tr><tr><td><a href="http://www.jaxontonewall.com/"><big><strong>David Jackson</strong></big></a></td><td>saxophones, flute</td></tr></tbody></table><br /><small>01 -</small> Undercover Man <small><i>(Hammill)</i></small> :: <a href="http://tiny.cc/godbluff1"><strong><small>Lyrics</small></strong></a><br /><small>02 -</small> Scorched Earth <small><i>(Hammill, Jackson)</i></small> :: <a href="http://tiny.cc/godbluff2"><strong><small>Lyrics</small></strong></a><br /><small>03 -</small> Arrow <small><i>(Hammill)</i></small> :: <a href="http://tiny.cc/godbluff3"><strong><small>Lyrics</small></strong></a><br /><small>04 -</small> The Sleepwalkers <small><i>(Hammill)</i></small> :: <a href="http://tiny.cc/godbluff4"><strong><small>Lyrics</small></strong></a><br /><small> ~ BONUS ~</small><br /><small>05 -</small> Forsaken Gardens <small><i>(Hammill)</i></small> :: <a href="http://tiny.cc/godbluff5"><strong><small>Lyrics</small></strong></a><br /><small>06 -</small> A Louse Is Not A Home <small><i>(Hammill)</i></small> :: <a href="http://tiny.cc/godbluff6"><strong><small>Lyrics</small></strong></a><br /><hr /><table><tbody><tr><th><small>Cover</small></th><th><small>Back</small></th></tr><tr><td><a href="http://img375.imageshack.us/img375/9961/godbluff.jpg"><img src="http://img375.imageshack.us/img375/9961/godbluff.th.jpg" /></a></td><td><a href="http://img137.imageshack.us/img137/4100/godblu2.jpg"><img src="http://img137.imageshack.us/img137/4100/godblu2.th.jpg" /></a></td></tr></tbody></table><hr /><p style="margin-left: 0.2in;"><b>Godbluff</b> <i>is the first record released by Van der Graaf Generator after they reformed in 1975. It is their fifth disc overall.<br /><br />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.</i></p><small>(<a href="http://en.wikipedia.org/wiki/Godbluff">Wikipedia</a>)</small><hr /><img src="http://img833.imageshack.us/img833/2020/vdggpic2.jpg" width="320" height="214" />bryan reynoldshttp://www.blogger.com/profile/10569097526504867639noreply@blogger.com0tag:blogger.com,1999:blog-6541386875698752504.post-55203141353747486222010-11-01T11:38:00.013-04:002010-11-01T12:08:53.113-04:00Robert Shea, Robert Anton Wilson - "The eye in the pyramid," "The third trip, or binah"<p style="margin-left: 0.2in;"><i>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.<br /> 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.<br /> 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.<br /> 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.<br /> 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.<br /> —Mordecai Malignatus, K.N.S.,<br /> “The Book of Contradictions,” </i>Liber 555</p><small>(Shea, Robert, and Robert Anton Wilson. The Illuminatus! Trilogy. 2nd ed. New York, NY: Dell Publishing, 1975. pp.91. Print.)</small>bryan reynoldshttp://www.blogger.com/profile/10569097526504867639noreply@blogger.com0tag:blogger.com,1999:blog-6541386875698752504.post-22211159929360884832010-10-08T09:44:00.012-04:002010-12-08T11:30:12.715-05:00Miami, c. 1980<p style="margin-left:0.2in"> <i>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 <a href="http://tiny.cc/fl4eu">gave it to the Florida Power and Light Company to burn in their ovens to generate electricity</a>. In 1978 alone, cocaine entering the state was estimated at $7 billion.<br><br> 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 href="http://tiny.cc/cocainecowboys">a mysterious cash surplus of $5.5</i> billion</a><i>—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.<br><br> 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, <a href="http://tiny.cc/smurfs">the Smurfs</a>.<br><br> 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.</i></p><br /><small>Streatfeild, Dominic. <i>Cocaine : an unauthorized biography</i>. 2nd ed. New York, NY: Picador, 2001. pp.237–238. Print.</small>bryan reynoldshttp://www.blogger.com/profile/10569097526504867639noreply@blogger.com0tag:blogger.com,1999:blog-6541386875698752504.post-30504483496364461112010-10-04T09:34:00.006-04:002010-10-04T10:23:15.405-04:00Todd Rundgren's Utopia - "The Ikon"<object width="320" height="257"><param name="movie" value="http://www.youtube.com/p/FB3D9E45CB29B683?hl=en_US&fs=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/p/FB3D9E45CB29B683?hl=en_US&fs=1" type="application/x-shockwave-flash" width="320" height="257" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><br /><big><big><strong>An epic 30 minutes of prog!</strong></big></big><p style="margin-left:0.2in"><i>Still we are here.<br />We are still.<br /><br />Will we sing sweet?<br />Sing we will.<br /><br />Still we are here.<br />We are still.<br /><br />Nil is a fear.<br />All is nil.<br /><br />Still we are here.<br />We are still.<br /><br />Spill it, let go.<br />Let it spill.</i></p>bryan reynoldshttp://www.blogger.com/profile/10569097526504867639noreply@blogger.com0tag:blogger.com,1999:blog-6541386875698752504.post-78787945960299290902010-09-24T13:41:00.011-04:002010-09-24T15:08:55.725-04:00Prog rock at the BBC: 1971<table><tbody><tr><td align="center"><img src="http://img80.imageshack.us/img80/3103/progrockatthebbc.png" width="320" /></td></tr><tr><td align="center"><big><big><strong><big>1971</big><br />EDITION</strong></big></big></td></tr></tbody></table><hr /><table border="" cellpadding="3"><tbody><tr><th colspan="2">ATOMIC ROOSTER</th></tr><tr><td align="right"><a href="http://website.lineone.net/~jean.cheesman/"><strong>Vincent Crane</strong></a></td><td>keyboards</td></tr><tr><td align="right"><a href="http://en.wikipedia.org/wiki/John_Du_Cann"><strong>John Du Cann</strong></a></td><td>guitar, vocals</td></tr><tr><td align="right"><a href="http://www.angelfire.com/ar2/vincentcrane/paul.htm"><strong>Paul Hammond</strong></a></td><td>drums</td></tr></tbody></table><br /><object width="320" height="257"><param name="movie" value="http://www.youtube.com/v/O75iSwHnx-Y?fs=1&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/O75iSwHnx-Y?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="320" height="257"></embed></object><hr /><table border="" cellpadding="3"><tbody><tr><th colspan="2"><strong>CARAVAN</strong></th></tr><tr><td align="right"><a href="http://www.dave-sinclair.co.uk/default.asp"><strong>Dave Sinclair</strong></a></td><td>keyboards</td></tr><tr><td align="right"><a href="http://www.richardsinclair.net/Index.htm"><strong>Richard Sinclair</strong></a></td><td>bass, vocals</td></tr><tr><td align="right"><a href="http://calyx.perso.neuf.fr/mus/hastings_pye.html"><strong>Pye Hastings</strong></a></td><td>guitar</td></tr><tr><td align="right"><a href="http://en.wikipedia.org/wiki/Richard_Coughlan"><strong>Richard Coughlan</strong></a></td><td>drums</td></tr></tbody></table><br /><object width="320" height="257"><param name="movie" value="http://www.youtube.com/v/xfJMhxHUGsQ?fs=1&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/xfJMhxHUGsQ?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="320" height="257"></embed></object><hr /><table border="" cellpadding="3"><tbody><tr><th colspan="2"><strong>FAMILY</strong></th></tr><tr><td align="right"><a href="http://www.johnhodson.me.uk/index.html"><strong>Roger Chapman</strong></a></td><td>vocals</td></tr><tr><td align="right"><a href="http://en.wikipedia.org/wiki/John_%22Charlie%22_Whitney"><strong>John "Charlie" Whitney</strong></a></td><td>double neck guitar</td></tr><tr><td align="right"><a href="http://en.wikipedia.org/wiki/John_%22Poli%22_Palmer"><strong>John "Poli" Palmer</strong></a></td><td>keyboards</td></tr><tr><td align="right"><a href="http://en.wikipedia.org/wiki/John_Weider"><strong>John Weider</strong></a></td><td>bass</td></tr><tr><td align="right"><a href="http://en.wikipedia.org/wiki/Rob_Townsend"><strong>Rob Townsend</strong></a></td><td>drums</td></tr></tbody></table><br /><object width="320" height="257"><param name="movie" value="http://www.youtube.com/v/GGF2e5JFdRI?fs=1&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/GGF2e5JFdRI?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="320" height="257"></embed></object><hr /><table border="" cellpadding="3"><tbody><tr><th colspan="2">GENESIS</th></tr><tr><td align="right"><a href="http://www.petergabriel.com/"><strong>Peter Gabriel</strong></a></td><td>vocals, flute, percussion</td></tr><tr><td align="right"><a href="http://www.hackettsongs.com/"><strong>Steve Hackett</strong></a></td><td>guitar</td></tr><tr><td align="right"><a href="http://www.worldofgenesis.com/Biography-MikeRutherford.htm"><strong>Mike Rutherford</strong></a></td><td>guitar</td></tr><tr><td align="right"><a href="http://www.worldofgenesis.com/Biography-TonyBanks.htm"><strong>Tony Banks</strong></a></td><td>keyboards, acoustic guitar</td></tr><tr><td align="right"><a href="http://www.philcollins.co.uk/"><strong>Phil Collins</strong></a></td><td>drums, bg vocals</td></tr></tbody></table><br /><object width="320" height="257"><param name="movie" value="http://www.youtube.com/v/Xn1z9FYnTMA?fs=1&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/Xn1z9FYnTMA?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="320" height="257"></embed></object>bryan reynoldshttp://www.blogger.com/profile/10569097526504867639noreply@blogger.com0tag:blogger.com,1999:blog-6541386875698752504.post-84763542712542017022010-09-23T01:46:00.008-04:002010-09-23T08:22:48.308-04:00Genesis - Foxtrot<img src="http://i382.photobucket.com/albums/oo267/piotrassek/genesis-foxtrot.jpg" width="320"><br />I got into this album after I saw<a href="http://www.youtube.com/watch?v=wQPh2EM0Ack"> a video of <span style="font-weight: bold; font-style: italic;">Phish</span> playing "<span style="font-weight: bold;">Watchers of the Skies</span>" at Genesis' induction to the <span style="font-style: italic;">Rock "n" Roll Hall</span></a>. The song (<span style="font-weight: bold;">and record itself</span>) opens with a lengthy <span style="font-weight: bold;">mellotron solo</span> (which keyboardist Tony Banks claimed to have written by stringing together the best sounding chords on the touchy Mark 2 model). By the time <span style="font-weight: bold; font-style: italic;">Phish</span> began singing, they had already panned over several shots of <span style="font-weight: bold; font-style: italic;">Phil Collins</span> looking very angry that they opened with a <span style="font-weight: bold;">Peter Gabriel era Genesis</span> tune as well as <span style="font-style: italic;">Eddie Vedder</span>, <span style="font-style: italic;">Meryl Streep</span>, <span style="font-style: italic;">Bruce Springsteen</span>, and other <span style="font-style: italic;">TOTALLY classy celebs</span> looking bored and confused as shit. " Forward in the song, the band goes into a tight single-note staccato pattern in a <span style="font-weight: bold;">6/4 time signature </span>(reminiscent of the <span style="font-weight: bold;">5/4 rhythmic pattern</span> from "Mars" in Gustav Holst's <i><a href="http://en.wikipedia.org/wiki/The_Planets" title="The Planets">The Planets</a></i> suite) played over a pattern of sustained organ chords. <span style="font-weight: bold; font-style: italic;">Phish</span> played it extra <span style="font-style: italic;">tangy</span> and <span style="font-style: italic;">bouncy</span> (they later played "No Reply At All") In the song Peter Gabriel eventually declares:<br /><br />"Judge not this race by empty remains<br />Do you judge God by his creatures when they are dead?<br />For now,<span style="font-style: italic;"> <span style="font-weight: bold;">the lizards</span></span> shed its tail<br />This is the end of mans long union with earth.<br /><br />From life alone to life as one,<br />Think not now your journeys done<br />For though your ship be sturdy, no<br />Mercy has the sea,<br />Will you survive on the ocean of being?<br />Come ancient children hear what I say<br />This is my parting council for you on your way.<br /><br />Sadly now your thoughts turn to the stars<br />Where we have gone you know you never can go.<br />Watcher of the skies watcher of all<br />This is your fate alone, this fate is your own."<br /><br />The strength of early-Genesis as a band as far as this record tells is a tight jazz-fusion ensemble floating between <span style="font-weight: bold;">Pink Floyd</span>/<span style="font-weight: bold;">Queen</span>-esque <span style="font-weight: bold;">progressive art rock</span> and more fantastical <span style="font-style: italic;">Yes</span>/<span style="font-style: italic;">Rush</span>-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. <span style="font-weight: bold;">Peter Gabriel</span>'s bizarre cross of <span style="font-weight: bold;">imaginative, science fiction lyrics</span> are offset by his super-naturally erotic content; with a distinct <span style="font-weight: bold;">folk-prog</span> delivery, sometimes<span style="font-style: italic;"> in character</span>. <span style="font-weight: bold; font-style: italic;">Phil Collins</span> sings tight backing vocals; not to mention <span style="font-weight: bold;">phenomenal jazz-rock grooves</span>, lefty; carry the whole sound to a second level. Not to be secondhand is the incredible guitar work ("Horizons" is a <span style="font-weight: bold;">Satiesque</span> 12-string guitar exhibition comparable to <span style="font-style: italic;">Yes' "The Clap"</span>), 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.<br /><br />The gem of the record is the epic "<span style="font-weight: bold;">Supper's Ready</span>," just short of twenty-three minutes long in seven parts). An extensive <span style="font-weight: bold; font-style: italic;">prog-workout</span> with a variety of varying styles and dynamics, some nasty Steve Hackett guitar solos, lots of sweet keyboard work, and Gabriel proclaiming "<span style="font-style: italic;">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.</span>" 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 <span style="font-style: italic;">Revelation from the bible</span>. The liner notes describe the story as:<br /><br /><span style="font-weight: bold;">I</span><br />In which two lovers are lost in each other's eyes, and found again transformed in the bodies of another male and female.<br /><br /><span style="font-weight: bold;">II</span><br />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.<br /><br /><span style="font-weight: bold;">III</span><br />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.<br /><br /><span style="font-weight: bold;">IV</span><br />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.<br /><br /><span style="font-weight: bold;">V</span><br />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.<br /><br /><span style="font-weight: bold;">VI</span><br />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.<br /><br /><span style="font-weight: bold;">VII</span><br />Above all else an egg is an egg<br />'And did those feet ............' making ends meet.<br />Jerusalem = place of peace.<br /><br /><br /><div style="text-align: right;"><a href="http://anonym.to/?http://www.megaupload.com/?d=LO2VTYAZ"><span style="font-weight: bold; font-style: italic;">----GENESIS FOXTROT</span></a><br /></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6541386875698752504.post-7948575263887110932010-09-18T17:03:00.006-04:002010-09-21T11:04:00.634-04:00Roy Wood & Wizzard - Main Street<img src="http://img842.imageshack.us/img842/493/mainstreetcover.jpg" width="320" height="318" /><br /><br />01 - Main Street<br />02 - Saxmaniax<br />03 - The Fire In His Guitar<br />04 - French Perfume<br />05 - Take My Hand<br />06 - Don't You Feel Better<br />07 - Indiana Rainbow<br />08 - I Should Have Known<hr /><p style="margin-left: 0.2in;"><i>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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />That is only my opinion...<br />What do you think??</i><br /><small> - Roy Wood, <b>Main Street</b> 2000 liner notes</small></p><hr /><p style="margin-left: 0.2in;">Main Street<i>, 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</i> Introducing Eddy & The Falcons <i>in 1974. When they eventually recorded</i> Main Street <i>(or</i> Wizzo <i>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</i> Introducing Eddy & the Falcons<i>, available on CD for the first time.</i><br /><small> - <a href="http://www.blogger.com/post-create.g?blogID=6541386875698752504">Wikipedia</a></small></p><hr /><a href="http://anonym.to/?http://sharebee.com/c160fe63"><strong>Roy Wood & Wizzard - Main Street</strong></a><small> [Mirrors: <a href="http://anonym.to/?http://www.zshare.net/download/8054777036ead93b/">1</a>, <a href="http://anonym.to/?http://depositfiles.com/files/1jxur98ta">2</a>, <a href="http://anonym.to/?http://www.badongo.com/file/24144761">3</a>, <a href="http://anonym.to/?http://rapidshare.com/files/419857385/Main_Street.zip">4</a>, <a href="http://anonym.to/?http://www.megaupload.com/?d=13WNFBGO">5</a>]</small>bryan reynoldshttp://www.blogger.com/profile/10569097526504867639noreply@blogger.com0tag:blogger.com,1999:blog-6541386875698752504.post-6856939240111878112010-09-16T12:40:00.006-04:002010-09-16T12:54:59.720-04:00Jorge Reyes - Live videos<big><strong>Live @ UNAM, 1988</strong></big><br /><object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/1CkooeyErII?fs=1&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/1CkooeyErII?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="320" height="257"></embed></object><br /><br /><big><strong>"Sacrificio" live on television</strong></big><br /><object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/kuaWL11EjFo?fs=1&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/kuaWL11EjFo?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="320" height="257"></embed></object>bryan reynoldshttp://www.blogger.com/profile/10569097526504867639noreply@blogger.com0tag:blogger.com,1999:blog-6541386875698752504.post-74232308096630622412010-09-08T09:47:00.028-04:002010-09-22T13:17:06.767-04:00Miles Davis - Get Up With It<img height="320" src="http://a.imageshack.us/img843/2500/milesdavisgetupwithit.jpg" width="320" /><table cellpadding="6"><tbody><tr><td bgcolor="80cc80"><strong>A1</strong></td><td bgcolor="cc8080"><big><big><strong><i>He Loved Him Madly</i></strong></big></big><td bgcolor="8080cc"><big>Recorded Columbia Studio E, New York City<br />June 19 </big>or<big> 20, 1974</big><small><ul><li>Miles Davis ► electric trumpet w/ wah wah<br /><li>Dave Liebman ► alto flute<br /><li>Pete Cosey ► electric guitar<br /><li>Reggie Lucas ► electric guitar<br /><li>Dominique Gaumont ► electric guitar<br /><li>Michael Henderson ► bass guitar<br /><li>Al Foster ► drums<br /><li>James Mtume ► percussion</ul></td></tr><tr><td bgcolor="80cc80"><strong>B1</strong></td><td bgcolor="cc8080"><big><big><strong><i>Maiysha</i></strong></big></big><td bgcolor="8080cc"><big>Recorded Columbia Studio E, New York City<br />October 7, 1974</big><small><ul><li>Miles Davis ► electric trumpet w/ wah wah, organ<br /><li>Sonny Fortune ► flute<br /><li>Pete Cosey ► electric guitar<br /><li>Reggie Lucas ► electric guitar<br /><li>Dominique Gaumont ► electric guitar<br /><li>Michael Henderson ► bass guitar<br /><li>Al Foster ► drums<br /><li>James Mtume ► percussion</ul></td></tr><tr><td bgcolor="80cc80"><strong>B2</strong></td><td bgcolor="cc8080"><big><big><strong><i>Honky Tonk</i></strong></big></big><td bgcolor="8080cc"><big>Recorded Columbia Studio E, New York City<br />May 19, 1970</big><small><ul><li>Miles Davis ► trumpet<br /><li>Steve Grossman ► soprano saxophone<br /><li>John McLaughlin ► electric guitar<br /><li>Keith Jarrett ► electric piano<br /><li>Herbie Hancock ► clavinet<br /><li>Michael Henderson ► bass guitar<br /><li>Billy Cobham ► drums<br /><li>Airto Moreira ► percussion</ul></td></tr><tr><td bgcolor="80cc80"><strong>B3</strong></td><td bgcolor="cc8080"><big><big><strong><i>Rated X</i></strong></big></big><td bgcolor="8080cc"><big>Recorded Columbia Studio E, New York City<br />September 6, 1972</big><small><ul><li>Miles Davis ► organ<br /><li>Cedric Lawson ► electric piano<br /><li>Reggie Lucas ► electric guitar<br /><li>Khalil Balakrishna ► electric sitar<br /><li>Michael Henderson ► bass guitar<br /><li>Al Foster ► drums<br /><li>James Mtume ► percussion<br /><li>Badal Roy ► tabla</ul></td></tr><tr><td bgcolor="80cc80"><strong>C1</strong></td><td bgcolor="cc8080"><big><big><strong><i>Calypso Frelimo</i></strong></big></big><td bgcolor="8080cc"><big>Recorded Columbia Studio E, New York City<br />September 17, 1973</big><small><ul><li>Miles Davis ► electric trumpet w/ wah wah, electric piano, organ<br /><li>Dave Liebman ► flute<br /><li>John Stubblefield ► soprano saxophone<br /><li>Pete Cosey ► electric guitar<br /><li>Reggie Lucas ► electric guitar<br /><li>Michael Henderson ► bass guitar<br /><li>Al Foster ► drums<br /><li>James Mtume ► percussion</ul></td></tr><tr><td bgcolor="80cc80"><strong>D1</strong></td><td bgcolor="cc8080"><big><big><strong><i>Red China Blues</i></strong></big></big><td bgcolor="8080cc"><big>Recorded Columbia Studio E, New York City March 9, 1972</big><small><ul><li>Miles Davis ► Electric trumpet w/ wah wah<br /><li>Wally Chambers ► harmonica<br /><li>Cornell Dupree ► electric guitar<br /><li>Michael Henderson ► bass guitar<br /><li>Al Foster ► drums<br /><li>Bernard Purdie ► drums<br /><li>James Mtume ► percussion<br /><li>Wade Marcus ► brass arrangement<br /><li>Billy Jackson ► rhythm arrangement</ul></td></tr><tr><td bgcolor="80cc80"><strong>D2</strong></td><td bgcolor="cc8080"><big><big><strong><i>Mtume</i></strong></big></big><td bgcolor="8080cc"><big>Recorded Columbia Studio E, New York City October 7, 1974</big><small><ul><li>Miles Davis ► electric trumpet w/ wah wah, organ<br /><li>Pete Cosey ► electric guitar<br /><li>Reggie Lucas ► electric guitar<br /><li>Michael Henderson ► bass guitar<br /><li>Al Foster ► drums<br /><li>James Mtume ► percussion<br /><li>Sonny Fortune ► flute</ul></td></tr><tr><td bgcolor="80cc80"><strong>D3</strong></td><td bgcolor="cc8080"><big><big><strong><i>Billy Preston</i></strong></big></big><td bgcolor="8080cc"><big>Recorded Columbia Studio E, New York City December 8, 1972</big><small><ul><li>Miles Davis ► electric trumpet w/ wah wah<br /><li>Carlos Garnett ► soprano saxophone<br /><li>Cedric Lawson ► Fender Rhodes electric piano<br /><li>Reggie Lucas ► electric guitar<br /><li>Khalil Balakrishna ► electric sitar<br /><li>Michael Henderson ► bass guitar<br /><li>Al Foster ► drums<br /><li>James Mtume ► percussion<br /><li>Badal Roy ► tabla</ul></td></tr></tbody></table><br /><hr /><p style="margin-left:0.2in"><i><strong>Get Up With It</strong> 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.<br /><br />"He Loved Him Madly" is a track recorded in tribute to Duke Ellington, who had died one month before; <a href="http://www.eno-web.co.uk/"><strong>Brian Eno</strong></a> cited it as a lasting influence on his own work.</i><br /><small> - <a href="http://en.wikipedia.org/wiki/Get_Up_with_It">Wikipedia</a></small></p><hr /><p style="margin-left:0.2in"><i><big>We had [a] machine invented when we were doing a record called</i> Get Up With It <i>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.<br /><br />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.</big></i><br /><small> - </small><a href="http://en.wikipedia.org/wiki/Teo_Macero"><strong>Teo Macero</strong></a><small>, "<a href="http://www.furious.com/perfect/teomacero.html">Interview by Iara Lee</a>," <a href="http://www.furious.com/perfect">Perfect Sound Forever</a> (September 1997)</small></p><hr /><p style="margin-left:0.2in"><i>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.</i><br /><small> - Scott McFarland, "<a href="http://www.furious.com/perfect/miles.html"><i>Miles Davis : The 'Electric' Years</a>", <i>Perfect Sound Forever</i> (August 1997)</small><hr /><p style="margin-left:0.2in"><i>What qualified a piece for inclusion on [<b>Ambient 4: On Land</b>] 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.<br /><br />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.<br /><br />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, <a href="http://www.robertquine.com/">Robert Quine</a> 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 [<a href="http://en.wikipedia.org/wiki/Federico_Fellini">Federico Fellini</a>'s] "Amarcord", it too became a touchstone to which I returned frequently.</i><br /><small> - Brian Eno, <a href="http://music.hyperreal.org/artists/brian_eno/onland-txt.html"><b>Ambient 4: On Land</b> 1986 liner notes</a></small></i></p><hr /><br /><a href="http://anonym.to/?http://qooy.com/files/0ZPM84NRRA/Get_Up_With_It_3.zip"><strong>Miles Davis - Get Up With It <small>1/2</small></strong></a><small> [Mirrors: <a href="http://anonym.to/?http://www.megaupload.com/?d=W37MAICR">1</a>, <a href="http://anonym.to/?http://rapidshare.com/files/420602526/Get_Up_With_It_3.zip">2</a>, <a href="http://anonym.to/?http://www.zshare.net/download/806815386d5edf74/">3</a>, <a href="http://anonym.to/?http://depositfiles.com/files/9iukry3cf">4</a>, <a href="http://anonym.to/?http://www.badongo.com/file/24175785">5</a>]</small><br /><a href="http://anonym.to/?http://qooy.com/files/N26G27OAFC/Get_Up_With_It_2.zip"><strong>Miles Davis - Get Up With It <small>2/2</small></strong></a><small> [Mirrors: <a href="http://anonym.to/?http://www.megaupload.com/?d=6A38NX51">1</a>, <a href="http://anonym.to/?http://rapidshare.com/files/420583452/Get_Up_With_It_2.zip">2</a>, <a href="http://anonym.to/?http://www.zshare.net/download/8067819971921155/">3</a>, <a href="http://anonym.to/?http://www.badongo.com/file/24175126">4</a>, <a href="http://anonym.to/?http://depositfiles.com/files/yf8nmirp0">5</a>]</small><br /><hr /><br /><object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/4bITU0j_6AA?fs=1&hl=en_US"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/4bITU0j_6AA&fmt=18?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="320" height="257"></embed></object>bryan reynoldshttp://www.blogger.com/profile/10569097526504867639noreply@blogger.com0tag:blogger.com,1999:blog-6541386875698752504.post-49599054051359387872010-09-02T12:43:00.004-04:002010-09-02T13:34:15.388-04:00Disney TV - Publicity packet 1989 excerpt<a href="http://img824.imageshack.us/img824/9603/disneytheonlychoice.jpg"><img height="417" src="http://img824.imageshack.us/img824/9603/disneytheonlychoice.jpg" width="320"></a><p style="margin-left:0.2in"><i>Rummaging through some old paperwork, animator Mike Kazaleh recently came across a Disney TV publicity packet he obtained in 1989 while working on</i> Tiny Toon Adventures<i>. This was material sent to TV stations around the country to prepare them for the coming syndicated package</i> The Disney Afternoon<i>. 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.</i><br /><small> - <a href="http://www.cartoonresearch.com/">Jerry Beck</a>, <a href="http://www.cartoonbrew.com/disney/disney-afternoon-vs-tiny-toons-1989.html">Cartoon Brew</a> (September 2, 2010)</small></p>bryan reynoldshttp://www.blogger.com/profile/10569097526504867639noreply@blogger.com1tag:blogger.com,1999:blog-6541386875698752504.post-78815982281136584122010-09-01T12:08:00.004-04:002010-09-01T12:54:29.621-04:00Five Starcle Men - Gomba Reject Ward Japan<img height="320" src="http://a.imageshack.us/img809/4451/lf074mp3front.jpg" width="320" /><table border="2"><tbody><tr><td><img height="142" src="http://a.imageshack.us/img716/2067/fivestarclemen1.jpg" width="160" /><br /><img height="176" src="http://a.imageshack.us/img547/9403/fivestaclemen.jpg" width="160" /></td><td>01 - So Far Backie<br />02 - Follow Me To The Store<br />03 - Yellow Frog Legs<br />04 - Donavon Palsy Master Ward<br />05 - Our House Is Important<br />06 - Bitchen Transmission<br />07 - Spaceman And Human<br />08 - 48 Of Stars<br />09 - Stutterer<br />10 - Ducks Abduct<br />11 - Only Kids Of Nothing Star<br />12 - Pizza Hut Families Rule<br />13 - From Death Trap<br />14 - Ten Foot Barbie Ward<br />15 - I Said Momma<br />16 - Teen Texas Concert<br />17 - Oh My Goodness<br />18 - Electric Valley<br />19 - Mommy On Drugs<br />20 - Broadway World Kids<br />21 - We Come From A Land<br />22 - Starcle Manee Alien<br />23 - Baby FSM<br />24 - Starcle Cartoon Glossolalia<br />25 - Crevice Block Poet<br />26 - Gomblasemba Lumbieca<br />27 - Calm Stay Calm<br />28 - You Will Realize Me</td></tr></table><hr /><p style="margin-left:0.2in"><big><i>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.</i></big></p><hr /><p style="margin-left:0.2in"><i>Meanwhile,</i> Only Kids of Nothing Star <i>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.<br /><br />Two</i> Nothing Star <i>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.</i><br /><small> - George Smith, "<a href="http://www.villagevoice.com/2004-01-20/music/go-ahead-kill-yourself/">Go Ahead, Kill Yourself</a>," in <i>The Village Voice</i> (January 20, 2004)</small></p><hr /><p style="margin-left:0.2in"><i>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.<br />Glen Hobbs soon died by suicide. He left many fabulous artifacts.<br />Luke McGowan now studies science, philosophy, and history at university.<br /><br />They built and played on home made insturments and bent looped electronics from toy stores and Radio Shack.<br /><br />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.<br />They came from Lancaster, Ca. (1991-1998)</i><br /><small> - Rich, <a href="http://losangeles.tribe.net/recommendation/the-Five-Starcle-Men/chinatown-la-ca/1f017e67-5b89-4781-a822-947d23c5f533">tribe.net</a></small></p><hr /><p style="margin-left:0.2in"><i>gonna listen to this later for sure<br />my friend rich polysorbate 60 was really into starcle men mythology<br />apparently you see them on large doses of dxm<br />…<br />yea, i dont know his real last name, he had it legally changed to that<br />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.<br />…<br />ok, so chris (baboon torture division) said this about it:<br />"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."<br />…<br />[<a href="http://www.erowid.org/chemicals/dxm/faq/dxm_paranormal.shtml#toc.8.3">www.erowid.org</a>]<br />a reference to the dxm-alien connection</i><br /><small> - Dr. Rek, <a href="http://www.braindance.co.uk/phorum/read.php?5,3583">braindance! forum</a></small></p><hr /><strong>Five Starcle Men - Gomba Reject Ward Japan : <a href="http://www.archive.org/download/lf074mp3/lf074mp3_vbr_mp3.zip"><big><i>ZIP</i></big></a> / <a href="http://www.blogger.com/post-create.g?blogID=6541386875698752504"><big><i>stream</i></big></a></strong><br /><br /><img height="335" src="http://a.imageshack.us/img121/1869/l12f6c926d1694db88e583c.jpg" width="320">bryan reynoldshttp://www.blogger.com/profile/10569097526504867639noreply@blogger.com2tag:blogger.com,1999:blog-6541386875698752504.post-55985848812875383122010-08-28T04:54:00.005-04:002010-09-21T08:05:46.836-04:00Henry Flynt - Excerpt From The Crystallization of Concept Art in 1961<style>p.b{color:0045cc}p.r{color:cc0045}p.o{color:cc4500}</style><p class="r" style="margin-left:0.5in">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.<sup>1</sup><p class="b" style="margin-left:0.2in"><i>[<a href="http://www.henryflynt.org/index.html"><strong>Henry Flynt</strong></a>] was convinced that [Henry Flynt] had shown this phase of appreciation, strictly, to be delusive.<br /><br />That recognition of structure in music can be delusive was illustrated by <a href="http://en.wikipedia.org/wiki/Sirius_(Stockhausen)#History"><strong>[Karlheinz] Stockhausen</strong></a>'s analysis of a cantata by <a href="http://www.luiginono.it/en/">[Luigi] Nono</a>, and the excuse he subsequently had to make for it.</i><p class="o" style="margin-left:0.5in">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.<sup>2</sup></p><small><sup>1</sup> Jackson Mac Low, <i>KOH</i> (1962, unpublished)<br /><sup>2</sup> Karlheinz Stockhausen, "Music and Speech," in <i>Speech and Music</i> [<i>die Reihe</i> No. 6] (1964), page 49, footnote.</small>bryan reynoldshttp://www.blogger.com/profile/10569097526504867639noreply@blogger.com0tag:blogger.com,1999:blog-6541386875698752504.post-48063851120149923022010-08-25T08:09:00.012-04:002010-09-21T11:27:44.831-04:00Catherine Christer Hennix - Concertzender 06/06/05<img height="320" src="http://a.imageshack.us/img826/8194/omanm.gif" width="320" /><br /><table cellpadding="3"><tbody><tr><td bgcolor="45cccc">01</td><td bgcolor="cc45cc"><big><big>Central - Palace - Music</big></big></td><td bgcolor="cccc45">for solo amplified Renaissance oboe & sine waves</td></tr><tr><td bgcolor="45cccc">02</td><td bgcolor="cc45cc"><big><big>Netori / Hashigakari Chord</big></big></td><td bgcolor="cccc45">for sine waves, shō and oboe</td></tr><tr><td bgcolor="45cccc">03</td><td bgcolor="cc45cc"><big><big>Waves Of The Blue Sea</big></big></td><td bgcolor="cccc45">for sine waves and two Renaissance oboes</td></tr><tr><td bgcolor="45cccc">04</td><td bgcolor="cc45cc"><big><big>The Electric Harpsichord</big></big></td><td bgcolor="cccc45">for Yamaha 3-manual tuned keyboard & sine waves</td></tr><tr><td bgcolor="45cccc">05</td><td bgcolor="cc45cc"><big><big>Five Times Repeated Music</big></big></td><td bgcolor="cccc45">for two amplified Renaissance oboes & sine waves</td></tr><tr><td bgcolor="45cccc">06</td><td bgcolor="cc45cc"><big><big>Silicon Solitone Live-Time (00:49:49 … From 49:49:49…) Or Just Driftin' In The Year Of The Blues For La Monte Young</big></big></td></tr></tbody></table><p style="margin-left:0.2in"><i>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.</i></p><hr /><p style="margin-left:0.2in"><i>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 <a href="http://en.wikipedia.org/wiki/AI_Lab">MIT's AI Lab</a> in the late 1970s and was later employed as research professor of mathematics at SUNY New Paltz. She currently lives in Amsterdam.<br /><br /><strong>Musical Background</strong><br /><i>C.C. Hennix began her musical studies in the 1960s by exploring the music of the art music composers <big><strong><a href="http://www.iannis-xenakis.org/xen/index.html">Iannis Xenakis</a></strong></big> and <big><strong><a href="http://www.stockhausen.org/">Karlheinz Stockhausen</a></strong></big>. Hennix met <big><strong><a href="http://www.melafoundation.org/ly1para8.htm">La Monte Young</a></strong></big> and Hindustani raga master <big><strong><a href="http://www.melafoundation.org/ppn2pbio.htm">Pandit Pran Nath</a></strong></big> 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 <big><strong><a href="http://www.henryflynt.org/">Henry Flynt</a></strong></big>.<br />…<br />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.</p></i><hr /><p style="margin-left:0.2in">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.<br />…<br />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.)<br /><br />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.</i></p><hr />This was a single three hour + MP3 obtained from <a href="http://www.ubu.com/sound/hennix.html">UbuWeb</a>; I've cut it into tracks and inserted a cleaner copy of "The Electric Harpsichord," glory be<br /><br /><strong><a href="http://anonym.to/?http://qooy.com/files/0QCZ450ZSF/Concertzender_06-06-05_1.zip">Catherine Christer Hennix - Concertzender 06/06/05 1/3</a></strong><small> [Mirrors: <a href="http://anonym.to/?http://www.megaupload.com/?d=TCNEBFDQ">1</a>, <a href="http://anonym.to/?http://rapidshare.com/files/420361036/Concertzender_06-06-05_1.zip">2</a>, <a href="http://anonym.to/?http://www.zshare.net/download/806385138351ccba/">3</a>, <a href="http://anonym.to/?http://depositfiles.com/files/5vfeeoouc">4</a>, <a href="http://anonym.to/?http://www.filefactory.com/file/b39192g/n/Concertzender_06-06-05_1_zip">5</a>, <a href="http://anonym.to/?http://www.badongo.com/file/24167302">6</a>]</small><br /><strong><a href="http://anonym.to/?http://qooy.com/files/04I3BTAPY0/Concertzender_06-06-05_2.zip">Catherine Christer Hennix - Concertzender 06/06/05 2/3</a></strong><small> [Mirrors: <a href="http://anonym.to/?http://www.megaupload.com/?d=6GH4HD9V">1</a>, <a href="http://anonym.to/?http://rapidshare.com/files/420365740/Concertzender_06-06-05_2.zip">2</a>, <a href="http://anonym.to/?http://www.zshare.net/download/8063949308ff318f/">3</a>, <a href="http://anonym.to/?http://depositfiles.com/files/48goi2z9r">4</a>, <a href="http://anonym.to/?http://www.filefactory.com/file/b391b62/n/Concertzender_06-06-05_2_zip">5</a>, <a href="http://anonym.to/?http://www.badongo.com/file/24167573">6</a>]</small><br /><strong><a href="http://anonym.to/?http://qooy.com/files/N0AQWZMJ6B/Concertzender_06-06-05_3.zip">Catherine Christer Hennix - Concertzender 06/06/05 3/3</strong></a><small> [Mirrors: <a href="http://anonym.to/?http://rapidshare.com/files/420370318/Concertzender_06-06-05_3.zip">2</a>, <a href="http://anonym.to/?http://www.zshare.net/download/80640393ddfd7d8c/">3</a>, <a href="http://anonym.to/?http://depositfiles.com/files/ckz6kta05">4</a>, <a href="http://anonym.to/?http://www.filefactory.com/file/b391cg1/n/Concertzender_06-06-05_3_zip">5</a>, <a href="http://anonym.to/?http://www.badongo.com/file/24167752">6</a>]</small>bryan reynoldshttp://www.blogger.com/profile/10569097526504867639noreply@blogger.com7tag:blogger.com,1999:blog-6541386875698752504.post-71867042229180804492010-08-20T08:56:00.008-04:002010-08-25T09:48:34.625-04:00Angus MacLise - The Invasion Of Thunderbolt Pagoda<img height="316" src="http://a.imageshack.us/img825/2465/theinvasionofthunderbol.jpg" width="320" /><br /><br />01 - Invasion Of Thunderbolt Pagoda (St. Mark's Epiphany)<br />02 - Shortwave-India<br />03 - Heavenly Blue Pt.4&5<br />04 - Blastitude<br />05 - Humming In The Night Skull<br /><br />Angus MacLise was the original, aurally-undocumented drummer / percussionist for <strong><big><a href="http://en.wikipedia.org/wiki/The_Velvet_Underground">The Velvet Underground</a></strong></big>; he also played in <strong><big><a href="http://www.melafoundation.org/ly1para8.htm">La Monte Young</a></strong></big>'s awesome <big><strong>Theatre Of Eternal Music</strong></big> / <big><strong>Dream Syndicate</strong></big><br />Here, Angus transcends reality, and is joined in doing so on tracks 01 & 03 by the <strong>Universal Mutant Repertory Company</strong>, which includes Angus's wife <a href="http://www.phantomlyoracula.com/">Hetty MacLise</a>, former <big><strong><a href="http://www.planetgong.co.uk/">Gong</a></strong></big> members <a href="http://www.lorenstandlee.com/">Loren Standlee</a> and Ziska Baum, and Raja Samyana<br /><br />Concretely, this sounds like <a href="http://www.last.fm/music/The+Skaters">The Skaters</a>, specifically Spencer Clarke, except 30+ years earlier in time and more earnest<br /><br /><big>“ You are not limited to one room, there are many rooms. ”</big><br /> <small>- Angus MacLise, <i>Smothered Under Astral Collapse</i></small><br /><br /><a href="http://anonym.to/?http://www.uploadjockey.com/download/788679/The_Invasion_Of_Thunderbolt_Pagoda.zip">Angus MacLise - The Invasion Of Thunderbolt Pagoda</a><br /><br /><hr /><br /><i>That this web-log spins around a central mythos, it will manifest to all seeing eyes --<br /><small>Subtitle:</small> <span style="font-family:courier new;">Five easy pieces—one key piece</span></i> // <small><strong><sup>CORVUS CAPRICORNUS</sup></strong></small>bryan reynoldshttp://www.blogger.com/profile/10569097526504867639noreply@blogger.com0tag:blogger.com,1999:blog-6541386875698752504.post-7377003015844020382010-08-18T00:38:00.007-04:002010-09-22T09:49:20.575-04:00Steely Dan - "The Gaucho Outtakes"<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMWi23XbltcjLHqmwpLy-flFy4XAV71AXwk17EE0Ky6D_nBHn4A26eReISx3h0Rl1T3grXWbyAHiVpyqlE0YVV9BOuVCtzQfDdX3Vt3bFGMXCt1H5O8VdvLH8emGNdAo16V1qGiFsSEYg/s1600/steelyd.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 280px; height: 280px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMWi23XbltcjLHqmwpLy-flFy4XAV71AXwk17EE0Ky6D_nBHn4A26eReISx3h0Rl1T3grXWbyAHiVpyqlE0YVV9BOuVCtzQfDdX3Vt3bFGMXCt1H5O8VdvLH8emGNdAo16V1qGiFsSEYg/s400/steelyd.jpg" alt="" id="BLOGGER_PHOTO_ID_5506605349259373458" border="0" /></a>Made under a variety of pressures<span style="font-weight: bold;">, Gaucho</span> was the final album by Steely Dan for almost twenty years. This long <span style="font-style: italic;">unauthorized release reveals</span> 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 "<span style="font-style: italic;">Were You Blind That Day</span>," the titularly themed refrain), as well as several unreleased gems.<br /><br />"<span style="font-weight: bold;">Kulee Baba</span>," (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,":<br /><br /><span style="font-style: italic;">"Brightly colored dancers on-screen</span><br /><span style="font-style: italic;"> Are no more than a prelude to the ritual unfolding</span><br /><span style="font-style: italic;"> No white man's eyes have ever seen</span><br /><span style="font-style: italic;"> The cruel primeval rite that you're beholding!"</span><br /><br />Not secondary is the "<span style="font-weight: bold;">Second Arrangement</span>" famous for not appearing on Gaucho due to being accidentally half erased by an engineer. Reminiscent of a more tender"<span style="font-weight: bold;">Royal Scam</span>"-esque cuckold-romantic endeavors it contains a sweetly bridged-bass line and lyrics not far removed in essence from "Time Out of Mind".<br /><br />Finally, "<span style="font-weight: bold;">The Bear</span>;" a seemingly finished track is a stellar performance all around. "There's a bear that walks like a man, you better shake him fast."<br /><br /><div style="text-align: right; font-style: italic;"><a href="http://anonym.to/?http://rapidshare.com/files/20826277/Steely_Dan-Gaucho_Outtakes.rar"><span style="font-weight: bold;">----STEELY DAN GAUCHO OUTTAKES</span></a><br /></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6541386875698752504.post-41932194011761597672010-08-11T20:56:00.004-04:002010-08-11T21:13:26.838-04:00Faye's Cave - Parts in a Hole<div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmY6QcZfXibEZv4mpql4po_z1JF5N2ejpWdF3N3JJGG1BB5JZEA5FoJEJubvfwqzUZz5DBQvZi2LH0NvHBUqd2JFtOrrbumBA7Ef8ii9JRChmoNfNzvIn3e2a7ghBtJdYlAz_GOY2GAKc/s1600/Parts+in+a+hole.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmY6QcZfXibEZv4mpql4po_z1JF5N2ejpWdF3N3JJGG1BB5JZEA5FoJEJubvfwqzUZz5DBQvZi2LH0NvHBUqd2JFtOrrbumBA7Ef8ii9JRChmoNfNzvIn3e2a7ghBtJdYlAz_GOY2GAKc/s320/Parts+in+a+hole.jpg" alt="" id="BLOGGER_PHOTO_ID_5504322020888346402" border="0" /> <span style="font-size:180%;"><span style="font-family: arial; font-weight: bold;">Parts in a Hole</span></span></a><br /><br /><span style="font-weight: bold;">A Developing Shortfilm Soundtrack by Faye's Cave<br /><span style="font-size:85%;"><br />or<br /><br /><span style="font-size:130%;">The Modernest Sketchbook<br /><br /><span style="font-size:78%;">Pick your Choose<br /><br /><a href="http://www.mediafire.com/?iid0i2m2z3j7v6q"><span style="color: rgb(51, 255, 255);font-size:85%;" >RIGHT HERE</span></a><br /></span></span></span></span></div>Line1Labshttp://www.blogger.com/profile/06012356924221512014noreply@blogger.com0tag:blogger.com,1999:blog-6541386875698752504.post-46750013080932081542010-08-04T21:14:00.006-04:002010-08-05T10:30:11.527-04:00Dave Fischer, Bryan Reynolds & Mariel Oliveira - Reflections<table cellpadding="3" cellspacing="3"><tbody><tr><td bgcolor="3300cc"><object width="660" height="405"><param name="movie" value="http://www.youtube.com/v/oDo_ZP11ZrA&hl=en_US&fs=1?rel=0&border=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/oDo_ZP11ZrA&hl=en_US&fs=1?rel=0&border=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="320" height="257"></embed></object></td></tr><tr><td bgcolor="75cc00"><big><strong><a href="http://www.cca.org/">Center for Computational Aesthetics</a></strong></big></th></tr></tbody></table>bryan reynoldshttp://www.blogger.com/profile/10569097526504867639noreply@blogger.com0