Mimi & Richard Farina - The Complete Vanguard Recordings (1965-68)

Mimi & Richard  Farina - The Complete Vanguard Recordings (1965-68)

rock, folk | 3cd | eac-flac-cue-log-cover | 110MB

Vanguard 2001

Allmusic:
This is a straightforward three-CD set of the Fariñas' Vanguard recordings, each disc containing one of their three albums: Celebrations for a Grey Day, Reflections in a Crystal Wind, and the posthumous outtakes collection Memories. For Richard & Mimi Fariña fans who already have all of those albums, the chief interest lies in the seven previously unreleased bonus tracks that have been added to the Memories disc, all of them taken from their appearance at the 1965 Newport Folk Festival. Those songs, in which the duo played in an acoustic setup with some help from onstage guests (including Bruce Langhorne and Fritz Richmond), are enjoyable but not essential, particularly as the sound quality isn't that great. The new additions, however, make live versions of some their best songs available, among them "The Bold Marauder" (the best of the live cuts), "Sell-Out Agitation Waltz," "Pack Up Your Sorrows" (with Peter Yarrow), and "Celebration for a Grey Day"; Jean Ritchie accompanies them on "Shady Grove" (which is sometimes nearly drowned out by airplane swoops). Overall this is seminal, underrated mid-'60s folk-rock, quite consistent in quality for the most part. It's not an over-investment for the cost-conscious, and if you like any one of their albums, you'll probably like all of them. Note, however, that it's not quite the complete Vanguard recordings since it doesn't have the unreleased version of "Tuileries" that appeared on the compilation Pack Up Your Sorrows: Best of the Vanguard Years. It's also a bit disappointing that no further studio outtakes were found, such as the demos referred to in David Hajdu's book Positively 4th Street.

Tracks
Celebrations For A Grey Day
-01. "Dandelion River Run"
-02. "Pack Up Your Sorrows"
-03. "Tommy Makem Fantasy"
-04. "Michael, Andrew and James"
-05. "Dog Blue"
-06. "V"
-07. "One. "way Ticket"
-08. "Hamish"
-09. "Another Country"
-10. "Tuileries"
-11. "The Falcon"
-12. "Reno Nevada"
-13. "Celebration for a Grey Day"

Reflections in a Crystal Wind
-01. "Reflections in a Crystal Wind"
-02. "Bold Marauder"
-03. "Dopico"
-04. "A Swallow Song"
-05. "Chrysanthemum"
-06. "Sell. "out Agitation Waltz"
-07. "Hard. "loving Loser"
-08. "Mainline Prosperty Blues"
-09. "Allen's Interlude"
-10. "House Un. "american Blues Activity Dream"
-11. "Raven Girl"
-12. "Miles"
-13. "Childern of Darkness"

Memories
-01. "The Quiet Joys Of Brotherhood"
-02. "Joy 'round My Brain"
-03. "Lemonade Lady"
-04. "Downtown (Instr.)"
-05. "Almond Joy"
-06. "Blood Red Roses"
-07. "Morgan The Pirate"
-08. "A Swallow Song (by Joan Baez)"
-09. "All The Wold Has Gone By (by Joan Baez)"
-10. "Pack Up Your Sorrows"
-11. "-1965 Newport Folk Festival (to -15)_ Leaving California"
-12. "Sell. "Out Agitation Waltz"
-13. "Pack Up Your Sorrows (with Peter Yarrow)"
-14. "House Un. "American Blues Activity Dream"
-15. "The Bold Marauder"
-16. "Hard. "Lovin' Loser"
-17. "Dopico"
-18. "Celebration For A Grey Day"
-19. "Shady Grove (with Jean Ritchie)"

 sample & buy: Complete Vanguard Recordings

 

Flying Luttenbachers - Destroy All Music Revisited (2007)

Flying Luttenbachers - Destroy All Music Revisited (2007)

jazz, rock | 1cd | eac-flac-cue-log-cover | 555MB

Skin Graft GR85CD

Allmusic:
Originally released in 1994, the Flying Luttenbachers' Destroy All Music was the group's final session with saxophonist Ken Vandermark. The album is defiantly unclassifiable - veering between the breathless energy of free jazz and the fevered intensity of punk, it also possesses a wild experimental noise streak outside the boundaries of either genre.
Allaboutjazz:
Still as uncompromising as it was at its release almost ten years ago, The Flying Luttenbachers Destroy All Music Revisited is an amalgamation of so many disparate styles of music that it continues to remain virtually unclassifiable. Formed by percussionist and Hal Russell protégé Weasel Walter in 1994, the group went through numerous personnel changes before arriving at the one that would record this, the group's best conceived and must successful effort.
The album features a line-up that pulled from all corners of the experimental Chicago music scene of the 1990s. Joining Walter is saxophonist Chad Organ (who doubles on Moog synthesizer), reedist and free jazz staple Ken Vandermark (who served as Walter's co-leader as a member of the group), trombonist, bassist and Vandermark 5 member Jeb Bishop, and guitarist Dylan Posa. This unique combination of jazz virtuosity and punk rock aestheticism tore apart the walls between No Wave, noise, metal and jazz to create a sound not unlike saxophonist Peter Brotzmann's Last Exit, though The Flying Luttenbachers may be even more relentless and jugular.
The album opens with the grinding "Demonic Velocities/20,000,000 Volts," whose initial single-note saxophone line leads the way into a percussive onslaught of stop-start rhythms, manic genre switches, and all-out chaos. The chaos continues with "Fist Through Glass," which may have even more punk influence. This is an adrenalin releasing mess, complete with thrash guitars, driving drums, and horns that sound more suited to demolition than music.
The original release signaled a regrouping of the ensemble, and consisted of tracks recorded in the studio, live, and in Walter's garage. The noisy freak-out of "(In Progress)" is an improvised piece recorded to 4-track cassette in a shed behind Walter's apartment, while "Tiamat en Arc" is pulled from a live show. The latter features an opening not dissimilar to the deranged lounge that John Zorn's Naked City treads into, but the sudden instrumental break quickly disavows any allegiances this group has to genre.
The original album closed with "Final Variation on a Theme Entitled 'Attack Sequence,'" a piece the group had already released in various manifestations four times. This particular version contains the broken fragments of speed metal, downtown experimental and, of course, jazz, leaving all of them scorched and smoldering on the floor by the end.
The reissue appends seven tracks, six of which are live performances. All of these add further depth to a recording already unmatched in its relentless destruction of musical conformity. Destroy All Music Revisited still fulfills its title's mission statement, and is an important reminder of a group that, despite its under-recognition, is perhaps more relevant than ever.

Tracks
-01. Demonic Velocities / 20,000,000 Volts"
-02. "Fist Through Glass"
-03. "Sparrow's Thin Lot"
-04. "Splurge"
-05. "(In Progress)"
-06. "Ver aus Dun 'Turbo Scratcher'"
-07. "Necessary Impossibility of Determinism"
-08. "Dance of the Lonely Hyenas"
-09. "Tiamat En Arc"
-10. "Final Variation on a Theme Entitled 'Attack Sequence'"
-11. "One-Two Punch"
-12. "Improvisation"
-13. "Critic Stomp"
-14. "Clammer + Sprint"
-15. "Coffeehouse in Flames"
-16. "Eaten By Sharks"
-"17. "Throwing Bricks"

Personnel
Chad Organ: tenor & baritone saxophones, Moog synthesizer; Dylan Posa: electric guitar; Weasel Walter: percussion; Jeb Bishop: bass guitar, trombone, Casio keyboard; Ken Vandermark: tenor saxophone, clarinet, bass clarinet (1, 4, 8, 9, 10, 11, 12).

 sample & buy: Destroy All Music Revisited

 

Biota - Tumble (1989)

Biota - Tumble (1989)

rock, electronic, avangarde | 1cd | eac-flac-cue-log-cover | 495MB

RéR

Allmusic:
This album contains two distinct projects from Biota recorded between the fall of 1988 and the spring of 1989. Tumble, the longer of the two, has recurring hints of various flavors of American pop music, and in particular the music of the American West. Fingerstyle guitar is at the center of "Things Seem Like Just Happen," and the first half of "Wire Talker" is a twisted jig with bagpipes, kazoos, and concertina. Other pop influences include a jazzy saxophone line at the beginning of "House of Suitcase" and early rock on "Operator for Cataract" and a greater interest in melody than any previous work. But enumerating the various influences and elements barely scratches the surface of this album, as with all of their work. While there may be a recognizable instrument or two in the foreground, the listener is hard-pressed to pull specifics out of the murk that backgrounds the entire album. Biota's working methods almost always start with more or less traditional instruments, but electronic processing starts early and continues throughout the recording process. The slow concertina waltz that constitutes "Finder," for example, is accompanied by acoustic guitar and a simple percussion, but there is a big unspecified cloud out of which this material emerges. It is this cloud that gives Biota its instantly recognizable aura. Throughout Tumble, episodes succeed each other, presenting more different pieces than the track listing would suggest. "Ghost Shirt" is more abstract but still episodic, with clattering noise and percussion sections alternating with quiet melodies, reverb guitar, and demented blues riffs, and uses the same source material as "Operator for Cataract" and "Shadows Appear to Do."

Tracks
-01. "New Lookout" - 2:58
-02. "One Eye Open" - 3:17
-03. "Things Seem Like Just Happen" - 5:16
-04. "Wire Talker" - 6:32
-05. "Shadows Appear To Do" - 7:05
-06. "Picture By Accident" - 7:21
-07. "House Of Suitcase" - 4:58
-08. "Finder" - 1:22
-09. "...Buffalo Come Back" - 5:44
-10. "Operator For Cataract" - 6:39
-11. "When They Know" - 5:55
-12. "The Less Said" - 7:14
-13. "(silence)" - 0:14
-14. "Ghost Shirt" - 9:15

Personnel
* Guitar, Banjo, Harmonica, Flute – Tom Katsimpalis
* Guitar, Psaltery, Banjo, Ukulele, Recorder, Trumpet, Percussion [Balafon], Tape – Mark Piersel
* Saxophone [Alto], Clarinet [Bass], Clarinet [Bass], Flute, Guitar, Autoharp, Bells – Steve Scholbe
* Tapes - William Sharp
* Piano, Accordion, Guitar – Gordon Whitlow
* Kit drums, bongos, bodhran, side drum - Larry Wilson
* Concertina - Randy Yeates
* Violin - Deborah Fuller

 sample & buy: Tumble

 

Biota - Invisible Map (2001)

Biota - Invisible Map (2001)

rock, electronic, avangarde | 1cd | eac-flac-cue-log-cover | 500MB

RéR

Allmusic:
The fifth album by the collective Biota (if one doesn't count the LPs under the name Mnemonists), Invisible Map carries on with the change of direction instigated on Object Holder. This time, instead of having about 20 minutes of pop songs in the middle of the group's usual dreamy landscapes, the pop material is thoroughly integrated to the music. The singer is Montrealer Geneviève Heistek (of Godspeed You Black Emperor's entourage). Her half-alternative, half-trip-hop voice appears on every third or fourth track, starting with "The Rapid Color." In 76 minutes, Biota takes the listener on a beautiful, if tormented, journey through 37 short pieces. Gordon Whitlow's David Thomas-like accordion riffs meet with Tom Katsimpalis' balalaika, William Sharp's hurdy-gurdy, and Chuck W. Vrtacek's delicate piano lines, all wrapped up with audio art fabric. With its wide range covering delicate post-folkish pop songs to ambient soundscapes, Invisible Map may be the collective's most accomplished and accessible release to date. All music styles (folk, jazz, blues, rock, musique concrète, free improv, etc.) coalesce to be filtered through the dreamer's ears: background vocals are slightly treated, soloing instruments are heard from a distance, rhythm tracks are deliberately just a bit out of sync. This way, the simple tunes never really come into focus, giving the whole album an aura of mystery. The 12-page booklet contains beautiful artwork by the Mnemonists collective. Strongly recommended to both fans and curious newcomers.

Tracks
-01 . "Moment" - Biota, Heistek - 0:44
-02 . "The Rapid Color" - Biota - 3:46
-03 . "Port" - Biota - 2:59
-04 . "Call" - Biota - 2:36
-05 . "Landless" - Biota, Heistek, Katsimpalis - 2:39
-06 . "Air on Water" - Biota - 0:29
-07 . "Mineral" - Biota - 3:19
-08 . "Common Broom" - Biota - 2:12
-09 . "Birthday" - Biota, Heistek - 3:29
-10 . "Dustman" - Biota - 0:52
-11 . "Sleeping Car" - Biota - 2:25
-12 . "Snake Out" - Biota - 3:21
-13 . "Occurrence" - Biota - 1:36
-14 . "Top Ray Done" - Biota - 1:58
-15 . "Glass Lizard" - Biota" - 2:08
-16 . "Telegraph Plant" - Biota - 0:56
-17 . "Spoonbender's Visit" - Biota - 0:54
-18 . "Remodel a Whisper" - Biota - 0:32
-19 . "Measured Not Found" - Biota - 3:22
-20 . "The Slow Forest" - Biota - 4:30
-21 . "Canopy" - Biota - 0:46
-22 . "Red's Big Day" - Biota - 1:32
-23 . "Lampblack" - Biota - 1:33
-24 . "There Is Probably Something" - Biota - 0:37
-25 . "Worry Hill" - Biota - 1:28
-26 . "Olive Drab Morionette" - Biota - 1:15
-27 . "Invisible Gap" - Biota - 1:19
-28 . "Yarn" - Biota - 3:18
-29 . "Words Disappear" - Biota, Heistek, Katsimpalis - 1:22
-30 . "Ballad Of" - Biota - 2:05
-31 . "Soil and Token" - Biota - 1:37
-32 . "Glazed Paper" - Biota, Katsimpalis - 3:21
-33 . "Paste" - Biota - 3:08
-34 . "Truth Table" - Biota - 0:56
-35 . "Dual" - Biota, Katsimpalis - 3:23
-36 . "Flicker" - Biota - 2:38
-37 . "Presto the Human" - Biota - 1:03

Personnel
Genevieve Heistek; lead vocals, violin: Steve Scholbe; slide guitars: Tom Katsimpalis; guitars, Clavioline, balalaika: Gordon Whitlow; accordion, pump organ: William Sharp; electronics, hurdy gurdy: Larry Wilson drums: James Gardner; Rhodes, noe, trumpet: C.W. Vrtacek; piano: Randy Yeates; Biomellodrone keyboard: Mark Piersel; acoustic & lap steel guitars: Andy Kredt; electric guitars

 sample & buy: Biota: Invisible Map

Foetus - Male (1990)

Foetus - Male (1990)

rock, electronic | 2cd | eac-flac-cue-log-cover | 620MB

BigCat

Allmusic:
Recorded at a show at legendary New York venue CBGB's in late 1990, the two-disc Male shows Foetus and a crack band ripping through songs old and new, plus a few fun surprises along the way. Engineered by Martin Bisi, the recording packs all the brutal, unrelenting punch and atmosphere of Foetus' studio work, while the band itself avoids slouching at any and all points. The band membership itself is worthy of note, containing as it does a number of worthy names, many of whom also worked with Foetus' friend and sometime collaborator Michael Gira of Swans -- bassist Algis Kizys, guitarist Norman Westberg, and drummer Vinnie Signorelli are present and fully accounted for. Matched thus by similarly minded aesthetic souls (and with longtime underground type David Ouimet contributing samples for that particular Foetus touch), Foetus himself lives up to the proceedings. Starting with the virulent burn of "Free James Brown," which makes the similarly-minded song by Big Audio Dynamite seem like an effete whine, Male captures Thirlwell in over-the-top insane-preacher, end-is-nigh mode. Matching the band both in total calamitous rage or slow, doomy jazz-noir crawl (and even a bit of country psych on the Elton John-quoting "Puppet Dude"), he makes a perfect frontman for a trip through hell. His affinity for Tom Waits' own raspy voiced delivery is clear, but Foetus is his own man throughout, not a soundalike. The one-two punch of "Butterfly Potion" and "I'll Meet You in Poland, Baby," the latter's vicious conflation of romance and World War II extremely chilling, makes for a particular highlight. Two creative covers surface -- a vicious take on the Sensational Alex Harvey Band's obsessive glam classic "Faith Healer" and, reflecting a nicely open listening sensibility, a rumble through cult grunge band Tad's "Behemoth."

Tracks
cd1
-1. "Free James Brown" – 4:36
-2. "Fin" – 1:56
-3. "Hot Horse" – 5:08
-4. "English Faggot" – 6:25
-5. "Faith Healer" (Alex Harvey / Hugh McKenna) – 7:20
-6. "Honey I'm Home" (Thirlwell / Roli Mosimann) – 9:25
-7. "Butterfly Potion" – 3:09
-8. "I'll Meet You in Poland Baby" – 7:43
cd2
-1. "Anything (Viva!)" – 8:41
-2. "Death Rape 2000" – 1:59
-3. "Puppet Dude" (Thirlwell / Don Fleming / Jay Spiegel / Jim Dunbar) – 4:56
-4. "Stumbo" (Thirlwell / Mosimann) – 7:55
-5. "Someone Drowned in My Pool" – 9:25
-6. "Behemoth" (TAD) – 8:05
-7. "Your Salvation" – 14:24
All songs by J. G. Thirlwell unless noted.

Personnel
* Clint Ruin - vocals
* Algis Kizys - Bass
* David Ouimet - Samplers, Trombone
* Norman Westberg - Guitar
* Hahn Rowe - Violin, Guitar
* Vinnie Signorelli - drums

 sample & buy: Male

 

Biota - Object Holder (1995)

Biota - Object Holder (1995)

rock, electronic, avangarde | 1cd | eac-flac-cue-log-cover | 470MB

RéR

Allaboutjazz:
“Object Holder” is Biota’s 12th release and as we celebrate the origins of Biota with the re-release of the Mnemonists “Horde” (see AAJ April 99’ review) it seems appropriate to shed some light on Biota’s latest release. Analogous to the music and era depicted on “Horde” which was recorded 20 years ago, “Object Holder” is a fascinating endeavor that illustrates the impetus and cutting edge strides this band has made since the early 1980’s.
Released in 1995 and recorded between 1992 and 1994, “Object Holder” contains 23 tracks that interweave, ultimately representing a series of dreamlike pieces as the musicians incorporate a vast array of acoustic, electronic and exotic instruments. Forever Einstein’s C.W. Vrtacek lends a helping hand on piano along with percussionist-composer Chris Cutler who handles percussion and electronics duties.
The press kit alludes to the music being that of “a half remembered dream”. Prior to reviewing this CD and reading the press release, this writer immediately conjured thoughts or impressions that parallel that notion. Vocalist Susanne Lewis of the fine band “Thinking Plague” makes her debut with Biota on this release and supplies an angelic and multi-colored balance that rides on top of the textured yet highly abstract thematic developments and unusual rhythmic patterns. Unusual instrumentation such as Steve Scholbe’s use of a marxophone and rubab compliment the guitars, electronics, horns, accordion’s and pump organs. A hodgepodge of diverse instrumentation all add to the uniqueness of these pieces yet the blending, coloration and skillful implementation is what makes it all work. The music is dense yet prone to delve into ephemeral passages that catch the listener off guard.
Biota explore different diatonic and chromatic regions by fusing or meshing sounds of instruments that emit unorthodox voicings as the outcomes are frequently compelling and quite interesting. Overall, Biota provides enchanting dreamscapes supplanted by odd thematic developments that contain elements of elasticity and musical shaping which adhere to a formula that is unique to this band. Comparisons are tough. Biota has created a deeply personalized style that has evolved over many years and needless to say; the music is enticing and picturesque which coincides with the colorful CD artwork by the Mnemonists.

 Tracks
-01. "Bumpreader - 7:52
-02. "Spillway - 4:15
-03. "Eavesdrop - 1:46
-04. "Blind Corner - 2:21
-05. "Under the Hat - 1:33
-06. "Flatwheel - 2:08
-07. "Reckoning Falls - 2:40
-08. "Swallow - 0:39
-09. "Move - 1:14
-10. "Steam Trader - 2:49
-11. "Understander - 2:43
-12. "Private Wire - 3:03
-13. "Cinder - 1:25
-14. "Distraction - 5:41
-15. "Signal - 3:33
-16. "This Ridge - 0:44
-17. "Idea for a Wagon - 3:21
-18. "More Silence - 4:02
-19. "Coat - 1:58
-20. "Gate Climbing - 5:31
-21. "Protector - 3:03
-22. "Visible Gap - 1:38
-23. "The Trunk - 4:03
-24. "[Untitled Track] - 2:08

Personnel
Susanne Lewis (vocals); Steve Scholbe (guitar, hurdy-gurdy, clarinet, reeds, saxophone); Gordon Whitlow (guitar, mandolin, whistle, accordion, Fender Rhodes piano, organ, xylophone); Tom Katsimpalis (guitar, keyboards); Andy Kredt (guitar); James Gardner (flugelhorn, piano); C.W. Vrtacek (piano); Randy Yeates (keyboards, kalimba); Larry Wilson (drums, congas, bongos, percussion); Chris Cutler (percussion, electronics); William Sharpe (tapes).

 sample & buy: Object Holder

 

Wiseblood - PTTM (Pedal to the Metal) (1991)

Wiseblood - PTTM (Pedal to the Metal) (1991)

rock | EP | eac-flac-cue-log-cover | 200MB

BigCat

wikipedia:
Wiseblood is an electronic noise-rock band formed by Clint Ruin (aka J. G. Thirlwell) and Roli Mosimann. In Ruin's words, Wiseblood is "violent macho American [music] made by non-Americans." The material tends toward the realm of the darkest and most sexual Foetus songs, with Mosimann's Swans lineage showing in the slow, crushing pacing of many tracks. Thematically, Wiseblood's lyrics center around the misanthropic exertion of power, typically via murder, sex or assault. Wiseblood existed on-and-off from the mid 1980s through early 1990s.
CMJ:
Ol’ Jim Foetus/J.G. Thirlwell strikes again, this time as Clint Ruin with former Swan Roli Mosimann for another Wiseblood effort, which finds them fusing blustery noir swing with enough sleaze to maintain an underside edge. PTTM opens with the jitterbug pummel of “Pedal To The Metal” (which could be construed as a title track-check the abbreviation), whose jazzy broadness gets exponentially magnified by the scat seaminess of the closing track, “Grease Nipples.” In between are the hip-hoppish wrenching rant of “Stop Trying To Tie Me” and the standout 9:50 “Hey Bop A Ree Bop”-a seething, creeping blues crawl where Ruin’s voice stretches from growl to screech, augmented by Dan Hovey’s eerie guitar, evoking an oppressive atmosphere Hazel Motes would feel at home in.

Tracks
-1. "Pedal to the Metal" - Mosimann, Ruin - 4:47
-2. "Stop Trying to Tie Me" - Mosimann, Ruin - 5:50
-3. "Hey Bop a Ree Bop" - Mosimann, Ruin - 9:50
-4. "Grease Nipples" - Mosimann, Ruin - 4:30

 sample & buy: PTTM (Pedal To The Metal)

Fred Frith - Prints (1987–2001)

Fred Frith - Prints: Snapshots, Postcards, Messages and Miniatures (1987–2001)

rock, avantgarde | 1cd | eac-flac-cue-log-cover | 230MB

Fred Records 2002

Allmusic:
The short story: Prints is Fred Frith's first album of songs in 20 years. The long story: it is actually a collection of compilation tracks and unreleased studio sessions recorded between 1987 and 2001. No matter if you already own a few of these, a pop album by this man is a rarity -- and that is truly a shame. Of course, as a respected improviser, serious composer, and educator, anything lighter from this pillar of modern music will meet with severe criticism from people who take themselves too seriously. Lighten up! Cheap at Half the Price was the best tongue-in-cheek take at the New Wave. If Prints lacks its thematic focus, it still makes a very fine album, much friendlier to the listener, and truly enjoyable. The known material includes two cover songs for Tzadik tribute CDs to Burt Bacharach and Serge Gainsbourg, "Life of a Detective" recorded with 5uu's in 1990, and "True Love" released in 1987 on a Shimmydisc comp (and later included as a bonus track on RecRec's reissue of Cheap at Half the Price). The new material consists of seven pieces recorded for the WDR (German radio) in 1997. These multi-tracked songs were written and recorded spontaneously. Frith derives his lyrics from the newspapers of the day, uses samples to provide rhythm tracks, and pulls off a couple of excellent songs ("I Want It To Be Over," quoting Bill Clinton in an interview related to the Monica Lewinsky scandal, is a highlight) and instrumental pieces. "Reduce Me" was recorded in 2001 using the same method. The album has been carefully constructed to tone down its "collection" nature and it works well, thanks of course to Frith's humor and pop sensibility. Come on, surely you can live with that! Highly recommended.

Tracks
-01. "Trains & Boats & Planes" (Bacharach, David) – 5:07
---From Great Jewish Music: Burt Bacharach (1997, Tzadik)
---Recorded at Jankowski Studio, Esslingen, Germany, 1996
-02. "Stones" (Frith) – 2:02
---Recorded at Jankowski Studio, Esslingen, Germany, January 1997
---Text: International Herald Tribune, 27/01/97, "Palestinian independence celebrations in Hebron"
---Sample: "Ligueyou Ndeye" by Doudou N'Diaye Rose
-03. "Fingerprints" (Frith) – 3:50
---Recorded at Jankowski Studio, Esslingen, Germany, January 1997
-04. "Life of a Detective" (Frith, Brookings) – 3:13
---From Place of General Happiness (1993, Modern Variety Music)
---Recorded at Triple Helix, Denver, Colorado, 1990 (engineer: Bob Drake)
-05. "The Ballad of Melody Nelson" (Gainsbourg) – 2:01
---From Great Jewish Music: Serge Gainsbourg (1997, Tzadik)
---Recorded at Jankowski Studio, Esslingen, Germany, 1997
-06. "Trocosi" (Frith) – 4:36
---Recorded at Jankowski Studio, Esslingen, Germany, January 1997
---Text: International Herald Tribune, 28/01/97, "Enslavement of women in Ghana"
---Sample: "Where Do You Want to Go" by Kahil El'Zabar
-07. "Reduce Me" (Frith) – 5:48
---Recorded at Jankowski Studio, Esslingen, Germany, 2001
---Text: The Guardian, July 2001, "Afghan woman returns home after ten years of exile"
-08. "Levity" (Frith) – 2:36
---Recorded at Jankowski Studio, Esslingen, Germany, January 1997
---Sample: "Kattajait" from Inuit Games and Songs (UNESCO Collection)
---Sample: applause for Helmut Kohl speech, Brandenburg Gate, Berlin
-09. "True Love" (Frith) – 2:56
---From The 20th Anniversary of the Summer of Love (1987, Shimmy Disc)
---Recorded at Noise, New York City, 1987 (engineer: Mark Kramer)
-10. "I Want it to be Over" (Frith) – 3:01
---Recorded at Jankowski Studio, Esslingen, Germany, January 1997
--- Text: International Herald Tribune, 27/01/97, "Bill Clinton interviewed about Monica Lewinsky"
---Samples: Escher-loop, broken glass
-11. "Spot" (Frith) – 4:38
---Recorded at Jankowski Studio, Esslingen, Germany, July 2001
-12. "In the Winter of '64" (Frith) – 1:48
---Recorded at Jankowski Studio, Esslingen, Germany, January 1997

Personnel
* Fred Frith – all instruments (except those listed below), voice
* Bernd "Lönsch" Lehmann (2,3) – clarinet, tenor saxophone
* Mike Johnson (4) – principal voice
* Dave Kerman (4) – backup voice
* Sebastian Gramms (6) – acoustic bass
* Alexandra Schulz (7) – additional voice
* Sheena Dupuis (9) – backing vocal

sample & buy: Prints

Can - Monster Movie (1969)

Can - Monster Movie (1969)

rock | 1cd | eac-flac-cue-log-cover | 240MB

SACD 2004

Allmusic:
Can's debut is the only full-length, proper release to feature original vocalist Malcolm Mooney, whose free-form ranting is matched by a raw, aggressive dynamic unlike anything else in the group's canon; driving, dissonant songs like the extraordinary "Father Cannot Yell" and "Outside My Door" even owe a rather surprising debt to psychedelia and garage rock. More indicative of things to come is the closer, "Yoo Doo Right," a 20-minute epic built on the kinds of hypnotic motifs and minimal rhythms that quickly became Can trademarks.

Tracks
-1. "Father Cannot Yell" 7:06
-2. "Mary, Mary So Contrary" 6:21
-3. "Outside My Door" 4:11
-4. "Yoo Doo Right" 20:27

Personnel
* Irmin Schmidt – keyboards
* Jaki Liebezeit – drums
* Holger Czukay – bass
* Michael Karoli – guitar
* Malcolm Mooney – vocals

sample & buy: Monster Movie

 

Julian Cope - The Unruly Imagination (2009)

Julian Cope - The Unruly Imagination (2009)

rock, alternative | 1cd | eac-flac-cue-log-cover | 320MB

HH24

This commemorative CD contains 50 minutes of music, including two songs from the unreleased E.P. DIGGERS, RANTERS, LEVELLERS, several brand new pieces especially recorded for this project, and songs from Cope’s vinyl-only 7” PREACHING REVOLUTION E.P. The CD features the same sumptuous packaging as Head Heritage’s Urthona album, replete with two poems printed on individual cards. This delightful package is a highly limited edition that will enjoy only this sole pressing.

> more info <

Tracks
-01. Preaching Revolution [7m12s]
-02. Militant Feminist Dream [3m12s]
-03. Mother, Where Is My Father? [2m34s]
-04. I Wanna Know What's In It For Me [2m20s]
-05. Fuck Me U.S.A. [2m13s]
-06. Gang Of Four (At Home He Feels Like A Tourist [4m6s]
-07. Alexei Sayle Driver Improvement Course [2m35s]
-08. Creedist Blues [3m51s]
-09. James Naylor Enters Bristol On A Donkey: 1656 [5m2s]
-10. Chairman Mao [14m4s]
-11. Spitfire Boys (British Refugee [3m19s]

buy CD on HH

Captain Beefheart - London 1974

Captain Beefheart - London 1974
rock, blues, avantgarde | 1cd | eac-flac-cue-log-cover | 220MB

MPG 74025

Allmusic:
This live recording of Captain Beefheart & the Magic Band was taken from a London date during one of the more fierce peaks of the band's existence, the same period that produced the overlooked classic masterpiece Clear Spot. Though the session was intended to produce a live album for Virgin, the release never materialized, though the versions of "Mirror Man" and "Upon the Me Oh My" came out of the 1975 Virgin sampler V. Thanks to the obscure Portuguese imprint Movie Play Gold, highlights from the concert made it onto CD at a concise 40 minutes. The disc features nine tracks of full-tilt Magic Band mayhem on "Full Moon Hot Sun," "Sugar Bowl," "Crazy Little Thing," "This Is the Day," "New Electric Ride," as well as older '60s classics like "Abba Zabba" and "Peaches." The CD has exceptional sound quality, while some other live Captain Beefheart from the same period fares a little rough in recording quality. This comes highly recommended as an opportunity to hear the Magic Band at an all-time high.

Tracks
-1. "Mirror Man" - Van Vliet - 4:48
-2. "Upon the Me Oh My" - Di Martino, Van Vliet, Van Vliet - 4:07
-3. "Full Moon Hot Sun" - Di Martino, Van Vliet, Van Vliet - 3:29
-4. "Sugar Bowl" - Di Martino, Van Vliet, Van Vliet - 2:55
-5. "Crazy Little Thing" - Van Vliet - 3:45
-6. "This is the Day" - Di Martino, Van Vliet, Van Vliet - 7:48
-7. "New Electric Ride" - Di Martino, Van Vliet, Van Vliet - 3:20
-8. "Abba Zabba" - Van Vliet - 3:16
-9. "Peaches" - Di Martino, Van Vliet, Van Vliet - 6:03

Personnel
* Captain Beefheart (Don Van Vliet) / harmonica, vocals
* Del Simmons / Tenor saxophone, flute
* Dean Smith / guitar
* Fuzzy Fuscaldo / guitar
* Michael Smotherman / keyboards
* Paul Uhrig / bass
* Ty Grimes / drums

sample & buy: London 1974

Cramps - Flamejob (1994)

Cramps - Flamejob (1994)
psychobilly, rock | 1cd | eac-flac-cue-log-cover | 320MB

Creation

Allmusic:
Something of a return to form, Flamejob features the band's most committed, energetic performances in quite some time, with wild, crazed vocals from Lux Interior and sizzling guitar work from Poison Ivy enlivening some of the band's most entertainingly stupid and crude offerings, including "Let's Get Fucked Up" and "Inside Out and Upside Down (With You)." The failed stylistic experiments of some then-recent work are gone, replaced by simple, straight-ahead vintage Cramps psychobilly. Also featured is a cover of "Route 66."

Tracks
-01. "Mean Machine" - 3:57
-02. "Ultra Twist!" - 3:48
-03. "Let's Get Fucked Up" - 3:55
-04. "Nest of the Cuckoo Bird" - 3:26
-05. "I'm Customized" - 3:04
-06. "Sado County Auto Show" - 2:59
-07. "Naked Girl Falling Down the Stairs" - 2:44
-08. "How Come You Do Me?" - 2:17
-09. "Inside Out and Upside Down (With You)" - 2:27
-10. "Trapped Love" - 2:00
-11. "Swing the Big Eyed Rabbit" - 3:39
-12. "Strange Love" - 2:49
-13. "Blues, Blues, Blues" - 2:23
-14. "Sinners" - 2:06
-15. "Route 66 (Get Your Kicks On)" - 3:17

Personnel
* Lux Interior - vocals
* Poison Ivy Rorschach - guitars, theremin
* Slim Chance - bass guitar
* Harry Drumdini - drums

sample & buy: Flamejob

Groundhogs - Solid (1974)

Groundhogs - Solid (1974)

rock, blues | 1cd | eac-flac-cue-log-cover | 315MB

Talking Elephant 2001

Allmusic:
On the surface, the Groundhogs could easily have become one of the dozens of British "blooze and boogie" bands that cropped up in the late '60s and early '70s in the manner of Savoy Brown or Foghat, but Tony (T.S.) McPhee's ideas and ambitions were just eccentric enough to push the band into directions too challenging for most mainstream listeners, and as with much of their catalog it's McPhee's sense of invention that makes 1974's Solid memorable. Recorded in McPhee's home studio with Clive Brooks on drums and Peter Cruickshank on bass, most of Solid's nine numbers are anchored by the sonic overdrive of McPhee's guitar playing, which twists blues figures through psych and progressive frameworks, while the doomy poetics of his lyrics don't so much establish the mood of the songs as reinforce the tone of the music. While Brooks and Cruickshank are a fine rhythm section, giving these songs the muscle and backbone to make the most of their hard rock leanings, this is obviously McPhee's show, and an impressive show it is. Not too many guys would think to lay a Mellotron or a fuzzy synthesizer over a heavy blues jam, or run his recordings through such a remarkable maze of phase shifting and ping-pong panning, but in his own small way McPhee's music is in the grand tradition of the great eccentrics of British rock, and that windmill-tilting spirit is what Solid is all about -- it's not a freak masterpiece like Thank Christ for the Bomb or Who Will Save the World?, but if you dug the twists and turns of those albums you owe it to yourself to give this a listen.

Tracks
-1. "Light My Light" - McPhee - 6:23
-2. "Free from All Alarm" - McPhee - 5:14
-3. "Sins of the Father" - McPhee - 5:29
-4. "Sad Go Round" - McPhee - 2:55
-5. "Corn Cob" - McPhee - 4:46
-6. "Plea Sing, Plea Song" - McPhee - 3:43
-7. "Snow Storm" - McPhee - 3:28
-8. "Joker's Grave" - McPhee - 8:41
-9 "Over Blue" (Bonus Track) - McPhee - 2:48

sample & buy: Solid

Fred Frith - Speechless (1981)

Fred Frith - Speechless (1981)

rock, avantgarde | 1cd | eac-flac-cue-log-cover | 350MB

ESD 80542

Allmusic:
This is one of the most important experimental guitar-based titles from avant guitarist and founding Henry Cow member Fred Frith. Frith's second solo album, Speechless, includes appearances by Etron Fou Leloublan, Massacre, and Bill Laswell. This is a studio Frankenstein of live clips and found sounds. While Frith attests to the occurrence of many "happy accidents," the album comes across confidently and more often more coherent than merely challenging. Six bonus tracks appear on this CD version. This is often cited as Frith's best solo record, and its inspired manipulations hold up under repeated scrutiny. There is a bit of European folk influence here, too, but not as obvious as on Gravity.

Tracks
-01. "Kick the Can (part 1)" – 2:19
-02. "Carnival on Wall Street" – 2:51
-03. "Ahead in the Sand" – 3:16
-04. "Laughing Matter" / "Esperanza" – 7:47
-05. "Women Speak to Men; Men Speak to Women" (Frith, Curran) – 5:39
-06. "A Spit in the Ocean" – 2:17
-07. "Navajo" – 3:05
-08. "Balance" – 5:04
-09. "Saving Grace" – 1:57
-10. "Speechless" – 3:05
-11. "Conversations With White Arc" (Frith, Laswell) – 1:14
-12. "Domaine de Planousset" – 2:59
-13. "Kick the Can (part 2)" – 2:14
---bonus tracks
-14. "The Entire Works of Henry Cow" – 1:00
-15. "So Schnell Ich" (Frith, Laswell, Maher) – 3:25
-16. "I'm Still Here and I Know What Time It Is" (Frith, Curran) – 1:06
-17. "No More War" (Frith, Gore) – 4:46
-18. "Typical American Family" – 1:01
-19. "Dig" – 3:07
All tracks composed by Fred Frith except where noted.

Personnel
tracks 1-5:
* Fred Frith – guitar, violin, mellotron, organ and bass guitar (track 1), voice (track 3)
* Etron Fou Leloublan:
--Guigou Chenevier – drums, tenor saxophone and voice
--Bernard Mathieu[15] – soprano and tenor saxophones, voice
--Ferdinand Richard – bass, guimbarde, voice
--Jo Thirion – organ, harmonium
* Guests
--Tina Curran – recorders, unusual edits
--Roger Kent Parsons – bagpipes)
--Bob Ostertag – field tape recordings
Recorded at Studio Freeson, Pujaut, France and at Sunrise Studios, Kirchberg, Switzerland in July and August 1980.
tracks 6-13:
* Fred Frith – guitar, violin, keyboards, bass guitar, drums, voice
* Massacre:
--Bill Laswell – bass guitar
--Fred Maher – drums
* Guests
--Steve Buchanan – snake saxophone
--George Cartwright – alto saxophone
--Mars Williams – baritone saxophone
--Tina Curran – recorders, bass guitar

sample & buy: Speechless

Marianne Faithfull - Broken English/Strange Weather (1979&87) (MFSL)

Marianne Faithfull  - Broken English/Strange Weather (1979&87)

rock | 2lp on 1cd | eac-flac-cue-log-cover | 420MB

MFSL

Allmusic:
Broken English: After a lengthy absence, Faithfull resurfaced on this 1979 album, which took the edgy and brittle sound of punk rock and gave it a shot of studio-smooth dance rock. Faithfull's whiskey-worn vocals perfectly match the bitter and biting "Why'd Ya Do It" and revitalize John Lennon's "Working Class Hero."
-
Strange Weather: Faithfull's 1987 release recast her as a nicotine-stained chanteuse, approaching such standards as "Boulevard of Broken Dreams" and "Penthouse Serenade" with a ravaged, world-weary demeanor that recalls the latter-day recordings of Billie Holiday. She also tackles some blues and jazz material and turns "As Tears Go By" into the gut-wrenching torch ballad neither the Stones nor Faithfull could ever have done in the '60s. A dark, challenging masterpiece.
--------
Mobile Fidelity reissued Marianne Faithfull's two dark milestones, 1979's Broken English and 1987's Strange Weather, on one CD. Although there were nearly ten years separating these two records, they share a moodiness and faux-torch arrangements that make them a perfect match. The remastering is terrific, as is the packaging, which means this is the way for serious fans to own this music on disc.

Tracks
-01. "Broken English" - Faithfull, J. Mavety, Maverty, York… - 4:36
-02. "Witches' Song" - Faithfull, Mavety, Reynolds, Stannard… - 4:45
-03. "Brain Drain" - Brierley - 4:13
-04. "Guilt" - Reynolds, Reynolds - 5:09
-05. "The Ballad of Lucy Jordan" - Silverstein - 4:11
-06. "What's the Hurry?" - Mavety - 3:05
-07. "Working Class Hero" - Lennon - 4:42
-08. "Why d'Ya Do It?" - Faithfull, J. Mavety, Movety, York - 6:51
---
-09. "Stranger Intro" - 0:32
-10. "The Boulevard of Broken Dreams" - Dubin, Warren - 3:05
-11. "I Ain't Goin' Down to the Well No More" - Leadbelly, Ledbetter, Lomax, Lomax… - 1:10
-12. "Yesterdays" - Arkeen, Harbach, James, Johnson, Kern… - 5:19
-13. "Sign of Judgement" - Moore - 2:54
-14. "Strange Weather" - Brennan, Waits - 4:15
-15. "Love, Life and Money" - Dixon, Dixon, Glover, Glover - 4:07
-16. "I'll Keep It With Mine" - Dylan - 3:47
-17. "Hello Stranger" - Carter, Pomus, Rebennack - 2:31
-18. "Penthouse Serenade (When We're Alone)" - Burton, Jason - 2:34
-19. "As Tears Go By" - Jagger, Oldham, Richards - 3:46
-20. "A Stranger on Earth" - Feller, Ward - 4:03

sample & buy: Broken English / Strange Weather

Kevin Ayers - Confessions of Dr. Dream and Other Stories (1974) (2009rem)

Kevin Ayers - Confessions of Dr. Dream and Other Stories (1974)

rock | 1cd | eac-flac-cue-log-cover | 555MB

EMI/Harvest | 2009 remaster

Allmusic:
Kevin Ayers' fifth album, The Confessions of Doctor Dream and Other Stories, is typical of his work. He sings in his distinctive deep voice with his cultured English accent (sounding a lot like John Cale) in songs set in a variety of pop styles, from hard rock to a kind of music hall approach. He is frequently playful and engaging, although his songs don't ultimately add up to much. The album's second side contains an 18-minute suite called "The Confessions of Doctor Dream," featuring a cameo by Nico, which exemplifies Ayers' amiable if unfocused appeal.

Tracks
-01. "Day By Day"
-02. "See You Later"
-03. "Didn't Feel Lonely Till I Thought Of You"
-04. "Everybody's Sometime And Some People's All The Time Blues"
-05. "It Begins With A Blessing / Once I Awakened / But It Ends With A Curse"
-06. "Ballbearing Blues"
-07-10. "The Confessions Of Doctor Dream (a) Irreversible Neural Damage (b) Invitation (c) The One Chance Dance (d) Doctor Dream Theme"
11. "Two Goes Into Four"
2009 reissue
-12. Another Whimsical Song (00:24)
-13. The Lady Rachel (03:53)
-14. Stop this Train (06:14)
-15. Didn't Feel Lonely 'til I Thought of You (04:36)
-16. The Up Song (03:18) (non-LP single A side)
-17. After the Show (02:37) (non-LP single A side)
-18. Thank You Very Much (03:01) (B side of the single 'After the Show')
Tracks 12-15 are recorded 7 July 1974 at the BBC's Maida Vale studios
Tracks 16-18 are B-sides of singles

Personnel
Kevin Ayers - Guitar, Vocals
Mark Warner - Guitar
Cal Batchelor - Guitar
Rupert Hine - Keyboards, Producer
Mike Moran - Piano
Steve Nye - Organ
John Perry - Bass
John Gustafson - Bass
Michael Giles - Drums
Mike Oldfield - Guitar
Nico - Vocals on "Irreversible Neural Damage"
Geoff Richardson - Viola
Mike Ratledge - Organ
Ray Cooper - Percussion
Lol Coxhill - Alto Saxophone
Henry Crallan - Piano
Ollie Halsall - Guitar
Rosetta Hightower - Vocals
Hulloo Choir - Vocals
Trevor Jones - Bass
Sean Milligan - Vocals
Sam Mitchell - Guitar
Doris Troy - Vocals
Joanne Williams - Vocals
The G'Deevy Ensemble - Percussion

sample & buy: Confessions of Doctor Dream & Other Stories

Groundhogs - Blues Obituary (1969)

Groundhogs - Blues Obituary (1969)

rock, blues | 1cd | eac-flac-cue-log-cover | 220MB

Akarma/EMI | 2004 remaster

Allmusic:
Recorded during June of 1969 at Marquee Studios in London with Gary Collins and Colin Caldwell engineering, the trio of Groundhogs put the blues to rest on Blues Obituary in front of a castle on the Hogart-designed cover while six black and whites from photographer Zorin Matic grace the back in morbid Creepy or Eerie Magazine comic book fashion. Composed, written, and arranged by Tony "T.S." McPhee, there are seven tracks hovering from the around four- to seven-minute mark. The traditional "Natchez Burning," arranged by McPhee, fits in nicely with his originals while the longest track, the six-minute-and-50-second "Light Is the Day," features the most innovation -- a Ginger Baker-style tribal rant by drummer Ken Pustelnik allowing McPhee to lay down some muted slide work. As the tempo on the final track elevates along with manic guitar runs by McPhee, the jamming creates a color separate from the rest of the disc while still in the same style. Vocals across the board are kept to a minimum. It is all about the sound, Cream without the flash, bandleader McPhee vocally emulating Alvin Lee (by way of Canned Heat's Alan Wilson) on the four-minute conclusion to side one that is "Mistreated." While Americans like Grand Funk's Mark Farner turned the format up a commercial notch, Funk's "Mean Mistreater" sporting the same sentiment while reaching a wider audience, the Groundhogs on this late-'60s album keep the blues purely in the underground. The pumping beat on "Mistreated" embraces the lead guitarist's vocal, which poses that eternal blues question: "what have I done that's wrong?" Blistering guitar on the opening track, "B.D.D.," sets the pace for this deep excursion into the musical depths further down than Canned Heat ever dared go. While "Daze of the Weak" starts off sludgy enough, it quickly moves like a train out of control, laying back only to explode again. "Times" get things back to more traditional roots on an album that breaks little new ground, and is as consistent as Savoy Brown when they got into their primo groove.

Tracks
-1. "B.D.D." - McPhee - 3:50
-2. "Daze of the Weak" - McPhee - 5:16
-3. "Times" - McPhee - 5:19
-4. "Mistreated" - McPhee - 4:04
-5. "Express Man" - McPhee - 3:59
-6. "Natchez Burning" - McPhee, Traditional - 4:38
-7. "Light Was the Day" - McPhee - 6:53

Personnel
* Tony T.S. McPhee (vocals, guitar)
* Pete Cruickshank (bass)
* Ken Pustelnik (drums)

sample & buy: Blues Obituary

Captain Beefheart - Ice Cream For Crow (1982)

Captain Beefheart - Ice Cream For Crow (1982)

rock, blues, avantgarde | 1cd | eac-flac-cue-log-cover | 270MB

EMI 2006 remaster

Allmusic:
With yet one final Magic Band lineup in place, featuring Richard Snyder on bass and Cliff Martinez on drums alongside returning vets Jeff Moris Tepper and Gary Lucas, Beefheart put the final touch on his recording career to date with Ice Cream for Crow. It's a last entertaining blast of wigginess from one of the few truly independent artists in late 20th century pop music, with humor, skill, and style all still intact (as even the song titles like "Semi-Multicoloured Caucasian" and "Cardboard Cutout Sundown" show). With the Magic Band turning out more choppy rhythms, unexpected guitar lines, and outré arrangements, Captain Beefheart lets everything run wild as always, with successful results. Sometimes he sounds less like the blues shouter of lore and more of a spoken word artist with an attitude, thus the stuttering flow of "The Host the Ghost the Most Holy." "Hey Garland, I Dig Your Tweed Coat" is even more entertainingly outrageous, Beefheart's addictive if near impenetrable ramble about tobacco juice and straw hats and more backed by an insanely great arrangement. Magic Band members each get chances to shine one way or another -- "Evening Bell" in particular demonstrates why Lucas went on to later solo renown, a complex, suddenly shifting solo instrumental that sits somewhere between background music and head-scratching "how did he do that?" intrigue.

Tracks
-01."Ice Cream for Crow" – 4:35
-02. "The Host the Ghost the Most Holy-O" – 2:25
-03. "Semi-Multicoloured Caucasian" – 4:20
-04. "Hey Garland, I Dig Your Tweed Coat" – 3:13
-05. "Evening Bell" – 2:00
-05. "Cardboard Cutout Sundown" – 2:38
-06. "The Past Sure Is Tense" – 3:21
-07. "Ink Mathematics" – 1:40
-08. "The Witch Doctor Life" – 2:38
-09. "'81' Poop Hatch" – 2:39
-10. "The Thousandth and Tenth Day of the Human Totem Pole" – 5:42
-11. "Skeleton Makes Good" – 2:18
-12. "Light Reflected Off The Oceans Of The Moon" - 4:47 [Bonus Track]
All tracks written and composed by Don Van Vliet.

Personnel
* Don Van Vliet (Captain Beefheart) – vocals, harmonica, soprano sax, Chinese gongs, prop horn
* Jeff Moris Tepper – steel appendage guitar, slide guitar, acoustic guitar
* Gary Lucas – glass–finger guitar, slide guitar, guitar, National steel duolian
* Richard "Midnight Hatsize" Snyder – bass guitar, marimba, viola
* Cliff R. Martinez – drums, shake bouquet, glass washboard, metal drums
* Eric Drew Feldman – Rhodes piano, synthesized bass

sample & buy: Ice Cream for Crow

Captain Beefheart - Shiny Beast (Bat Chain Puller) (1978)

Captain Beefheart - Shiny Beast (Bat Chain Puller) (1978)

rock, avantgarde | 1cd | eac-flac-cue-log-cover | 320MB

Virgin

Allmusic:
So titled because the original album, simply titled Bat Chain Puller, had to be ditched and rerecorded after a legal tuzzle involving Frank Zappa's manager, Shiny Beast turned out to be manna from heaven for those feeling Beefheart had lost his way on his two Mercury albums. Then again, what else could be assumed with a song titled "Tropical Hot Dog Night" that sounds like what happened when Beefheart encountered Miami disco and decided to make something of it? When it comes to singing, though, he's still the atypical growler, snarler and more of lore, conjuring up more wonderfully odd lyrical stories than can easily be measured, while the album as a whole gets steadily more and more bent. "You Know You're a Man" is at once straightforward and incredibly weird when it comes to love and gender, while other standouts include "Bat Chain Puller," a steady chugger that feels like a goofy death march, and the nervy freak of "Owed T'Alex." As for the Magic Band in general, keyboardist Eric Drew Feldman, guitarists Jeff Tepper and Richard Redus and drummer Robert Williams lay down the business with appropriately gone aplomb, as a listen to "Suction Prints" will demonstrate.

Tracks
-01. "The Floppy Boot Stomp" – 3:51
-02. "Tropical Hot Dog Night" – 4:48
-03. "Ice Rose" – 3:37
-04. "Harry Irene" – 3:42
-05. "You Know You're a Man" – 3:14
-06. "Bat Chain Puller" – 5:27
-07. "When I See Mommy I Feel Like a Mummy" – 5:03
-08. "Owed t'Alex" – 4:06
-09. "Candle Mambo" – 3:24
-10. "Love Lies" – 5:03
-11. "Suction Prints" – 4:25
-12. "Apes-Ma" – 0:40
All lyrics and music by Don Van Vliet.

Personnel
* Don Van Vliet (Captain Beefheart) - vocals, harmonica, soprano sax, whistling
* Jeff Moris Tepper - slide guitar, guitar, spell guitar
* Bruce Lambourne Fowler - trombone, air bass
* Eric Drew Feldman - synthesizer, Rhodes piano, grand piano, bass
* Richard Redus - slide guitar, bottleneck guitar, guitar, accordion, fretless bass
* Robert Arthur Williams - drums, percussion
* Art Tripp III - marimba, additional percussion

sample & buy: Shiny Beast (Bat Chain Puller)

Marianne Faithfull - A Secret Life (1995)

Marianne Faithfull - A Secret Life (1995)

rock | 1cd | eac-flac-cue-log-cover | 210MB

Island

Allmusic:
For her first studio album comprised of mostly original material in over a decade, Faithfull enlisted noted composer Angelo Badalamenti (who collaborated with David Lynch for the Twin Peaks TV soundtrack) to write music for her lyrics and produce. Faithfull is still in rippingly fine voice, and her words still penetrate. But while Badalamenti's densely orchestral arrangements can be effectively noirish, they can also create an inappropriately cold and detached ambience, despite standout tracks like "Flaming September" and "She."

Tracks
-01. "Prologue" (Badalamenti, Dante Alighieri) – 2:03
-02. "Sleep" (Faithfull, Badalamenti, Frank McGuiness) – 3:43
-03. "Love in the Afternoon" (Faithfull, Badalamenti) – 3:30
-04. "Flaming September" (Faithfull, Badalamenti) – 5:01
-05. "She" (Faithfull, Badalamenti) – 3:24
-06. "Bored by Dreams" (Faithfull, Badalamenti) – 3:08
-07. "Losing" (Foreman, Levine, Badalamenti) – 3:52
-08. "Wedding" (Faithfull, Badalamenti, McGuiness) – 3:16
-09. "Stars Line Up" (Badalamenti, Faithfull) – 3:51
-10. "Epilogue" (Badalamenti, William Shakespeare) – 3:12
All music composed by Angelo Badalamenti. All lyrics written or co-written by Marianne Faithfull except "Prologue", taken from Divina Commedia by Dante Alighieri, "Losing" qritten by D. Forman and D. Levine, and "Epilogue" taken from The Tempest by William Shakespeare.

Personnel
* Marianne Faithfull – vocals
* Carmine D'Amico – guitar
* Vinnie Bell – guitar, mandolin
* Gene Orloff – violin
* Al Brown, Julien Barber, Lamar Alsop, Ann Barak, Mitsue Takayama, Kenneth Fricker, Juliet Haffner, Harry Zaratzian – viola
* Frederick Zlotkin, Clay Ruede, Beverely Lauridsen, Julie Green – cello
* Al Regni, Pamela Sklar, Lawrence Feldman – flute, alto flute
* Shelley Woodworth, Sherry Sylar – oboe, oboe d'amore
* Andre Badalamenti – clarinet
* Robert Carlisle – French horn
* Kinny Landrum, Angelo Badalamenti – keyboards
* Rufus Reid, Mark Egan - bass
* Sam Merendino, Gordon Gottlieb – drums, percussion

sample & buy: Secret Life