Sunday, August 31, 2008

Sun Ra Arkestra Mannheim, West Germany June 24, 1982

Sun Ra Arkestra
Mannheim, West Germany
June 24, 1982

aud recording > ? > shn > Dime
I have Flac this for my own benefit and created new md5 with traders little helper

1st set:
Introduction (Allen-kora; and perc only)
Astro Black (Ra) (Jacson-Ancient Egyptian Infinity Drum; Tyson-voc)
Along Came Ra (Ra) (Tyson-voc)
Discipline 27 (Ra) (Brown-tp and Hill-tb; conducted ens; Allen- as; Omoe-bcl; Hill-tb; Ra-syn; conducted ens; Gilmore-falsetto ts)
Fate in a Pleasant Mood (Ra) (Ra-p)
unidentified blues (Ra) (Ra-p)
Big John's Special (H. Henderson)
Prelude to a Kiss (Ellington)
Happy as the Day Is Long (Arlen-Koehler)
Watusa (Ra)
Space Is the Place -- We Travel the Spaceways (Ra)

2nd set:
unidentified drum ensemble
unidentified slow theme (Trent says this is a "remarkable" piece that never appeared on a released recording) Discipline 27-II -- Bad Truth -- Sea of Immortality (Ra)
The Fight of All Humanity (Ra)
'Round Midnight (Hanighen-Williams-Monk) (Ra-org; Gilmore- ts)
Solitude (Ellington-Mills) ("turbocharged"; Gilmore-rutilant ts)
Sophisticated Lady (Carney-Mills-Ellington) (Ra-org)
What's New? (Burke-Haggart) ("even more breathless", Brown-tp solo is "fired up"; Gilmore-ts, is likewise)
Queer Notions (Hawkins) (Gilmore-ts; Brown-tp; Gilmore-ts)
Love in Outer Space (Ra) (Ra-org)
Moonship Journey / Do the Thang / Sun Ra and his Band from Outer Space (Ra) (Tyson and ens voc; Moonship is calypsoish)
They'll Come Back (Ra)
I'll Wait for You (Ra)
A Lost Horizon (Ra) (encore; Tyson and ens. voc.; freakout solos)

The Arkestra:
Ronnie Brown-tp;
Longinieu Parsons-tp;
Tyrone Hill-tb;
Marshall Allen-as, fl, ob, kora;
John Gilmore-ts, cl, timbales;
Danny Ray Thompson-bs, fl;
James Jacson-bsn, fl, Ancient Egyptian Infinity Drum;
Eloe Omoe-as, bcl; contra-alto cl;
Sun Ra-p, org, keyb, voc;
Rollo Radford-b;
Hayes Burnett-b;
Tommy "Bugs" Hunter- d;
Clifford Jarvis-d;
Eric "Samurai" Walker-d;
June Tyson-voc;
Beverley Parsons-dance;
Carla Washington-dance;
Greg Pratt-dance.


[Trent; personnel taken from a newspaper article covering a concert in Manchester from this same tour plus a handout from the Glasgow

Trent says "it's one of the best live recordings, including the LP issues." I agree. Sound (check out JacsonUs drum; check out those ensembles) and performance are better than Sunrise in Different Dimensions, Love in Outer Space, or Live at Praxis. Needs issuing now! [rlc]

Trying to identify all the Ra titles on these concerts (like the hymn- like slow theme that appears on no known releases and, supposedly, on no other concert tapes) is undoubtedly hopeless. Here's what John Gilmore has to say: "I've got drawers full of music.... For a period of time, we would go to different towns and Ra would write something special for the town. Like Silver Spring, Maryland. He'd write maybe seven compositions about Silver Spring and, man, the stuff was so beautiful. But we only played them when we played in Silver Spring, you know? We'd go back over tapes and say, 'Wow, what is that and what is this?'" We even forgot the names of some of them, because we only played them that one time." [John Gilmore, quoted by John Corbett]

Calling Planet Earth

The Jimi Hendrix Experience July 4 1970 Atlanta International Pop Festival, Middle Georgia Raceway, Byron, GA

To download a lossless version of this performance, sign up to Crosstown Torrents and follow this link:

The Atlanta Reel DVD [aka. "Atlanta Pop Festival"] (ATM DVD 005 / 29.05.2004 / DVD-R) NTSC

(Atlanta International Pop Festival, Middle Georgia Raceway, Byron, GA 04.07.70) Video / Audio Composite *

[* This DVD features the video from the "Jimi Hendrix At The Atlanta Pop Festival" laserdisc put it into correct order. The Audio from "All Along The Watchtower" (10) through the end comes from ATM 114 "The Altlanta Reel", and a mix of "Stages", the laserdisc audio, and a touch of the Space Mix (available ATM 173-174 "Atlanta + Space") has been used for the beginning. The goal in the non-Reel-audio sections was to use sources with the least amount of fake crowd noise added by Alan Douglas. The audience source (also available ATM 173-174 "Atlanta + Space") has been used as an intro and an outro, and also to patch the beginning of "All Along The Watchtower" (10). There is a minute of black screen at the beginning while Jimi tunes up, and the last seven or eight minutes (from "Hey Baby (New Rising Sun" (5) through the end of the audience outro) play over a simple title.]


Thanks Hans-Peter Johnsen for such a great site.


Spanish Castle Magic
Red House
All Along The Watchtower
Foxey Lady
Purple Haze
Hey Joe
Voodoo Child (Slight Return)
Stone Free
Star Spangled Banner
Straight Ahead
Hey Baby

REMEMBER: There is a minute of black screen at the beginning while Jimi tunes up!!!


Hear My Train A Comin':

Spanish Castle Magic:

Red House:

All Along The Watchtower:

Foxey Lady:

Purple Haze:

Hey Joe:

Voodoo Child (Slight Return):

Stone Free:

The Star Spangled Banner:

Straight Ahead:

Saturday, August 30, 2008

Amplitude Modulation Vol. 2

excerpts from
overlayed by


Thursday, August 28, 2008


This is going to be a scavenger hunt with a list of 15 different missions. Some of the items require a digital camera, or camera phone others a dollar or 2. Prizes and BBQ / Potluck in Fairmount park after, there will be a meat & veggie grill. If you bring any food to share there will be an Ice chest to keep your food fresh that will meet you at the park.


Put your car keys away and ride your bike!

Tuesday, August 26, 2008

Dolphinbrain Entrainment Edu-Tainment Presents: Amplitude Modulation Mix from KCAA



Implicate Order "Hanniless"
Terence Mckenna excerpt from "Eros and the Eschaton"
RadioInactive "Pyramidi"
dj Spooky "twilight dub"
Terence Mckenna excerpt from "You are the center of the Mandala"

Friday, August 22, 2008

The Beatles Acoustic Masterpieces The Esher Demos

Essential music...


This is what I consiter one of the most important Beatles Recordings of all time... I'm sure many of you have it already...After the Beatles "John, Paul and George returned from India, they got together, at George's Home to play some of the song's which each had writen in India. this is the first time these songs had ever been played to each other. So Basicaly, The Lads were justhaving a good time, jamming together. This is as close to Un-plugged as you'll ever get. It ran on this sight for about 8 months, getting over 2000 hits...then it got Banned...seem's someone noted some Tracks had been used on The Beatles, Anthology 3. Of corse they had been Over dubbed....I started to wonder which tracks were used. So I read the book which came with The Beatles, Anthology 3. After a very close look, only 3 tracks were used from this set... I checked with the mod's, as of this moment I have permission to reload it, with the 3 tracks deleated. So if you want John, Paul and George sitting in your living room, bring them in, of corse your invited to sing along........


1. Cry Baby Cry
2. Child Of Nature
3. The Continuing Story Of Bungalow Bill
4. I'm So Tired
5. Yer Blues
6. Everybody's Got Something To Hide...
7. What's The New Mary Jane
8. Revolution
9. While My Guitar Gently Weeps
10. Circles
11. Sour Milk Sea
12. Not Guilty
13. Piggies "edited out"
14. Julia
15. Blackbird
16. Rocky Raccoon
17. Back In The USSR
18. Honey Pie "edited out"
19. Mother Natures Son
20. Obla-Di Obla-Da
21. Junk "edited out"
22. Dear Prudence
23. Sexy Sadie

Monday, August 18, 2008

The Vinyl Hours Radio Show with DJ Tina Bold

The Vinyl Hours Radio Show with DJ Tina Bold has been part of KUCR 88.3fm since 1992! Spinning the best in punk, post-punk, d.i.y., jazz, experimental….

“From Patti Smith to Patsy Cline…”

The Vinyl Hours airs every THURSDAY from 7pm -9pm (pst) on KUCR 88.3fm and at (live-stream).

Tune in for special guest interviews, ticket give-aways, and a live music calendar too!

You can also add to

AstroNation Torrent Blog .79

Sun Ra Arkestra, 1984.03.16, Unna (Germany)


Unna, Germany

16. March 1984

Source: SONY ECM 155 > SONY TC-D5M > TDK SA 90 > EDIROL R09 > Audacity > FLAC 6
sound quality: A-

Sun Ra Arkestra

Marshall Allen - as,fl,kora
John Gilmore - ts,EVI,timbales
Eloe Omoe - fl,bcl
Danny Ray Thompson - as,bs,fl
Ronnie Brown - tp
James Jacson - as,fl,cl,bsn,oboe,Ancient-Egyptian-Infinity-dr,voc
Sun Ra - p,keyb,synth,voc
Rollo Radford - b
Don Mumford - dr
Matthew Brown - perc
Myriam Broch - dance
Greg Pratt - dance

01. - 3:10
02. - 14:22
03. - 4:11
04. Children of the Sun (Ra) - 6:33
05. Nuclear War (Ra) - 5:27
06. - 5:30
07. Mack the Knife (Brecht-Weill-Blitzstein) - 8:12
08. Blue Lou (Sampson) - 3:43
08. Springtime Again (Ra) - 6:06
10. Yeah Man! (Sissle-Henderson) 3:08
11. Watusa (Ra) - 4:55
12. Space Is the Place / We Travel the Spaceways / 2nd Stop Is Jupiter / Outer Spaceways Inc. (Ra) 7:03

13. announcement - 3:04
14. Retrospect (Ra) - 13:02
15. 1984 (Ra) - 6:30
16. - 5:15
17. Drop Me off in Harlem (Ellington) - 7:16
18. Daydream (Strayhorn-Ellington) - 4:58
19. Sophisticated Lady (Carney-Mills-Ellington) - 5:38
20. East of the Sun (Bowman) 5:03
21. Big John's Special (H. Henderson) 3:09
22. Fate in a Pleasant Mood (Ra) - 12:14
23. Love in Outer Space (Ra) - 8:01
24. Theme of the Stargazers / Sun Ra and his Band from Outer Space / Angel Race / I'll Wait for You (Ra) - 11:53
25. Enlightenment (Dotson-Ra) / Strange Mathematic Rhythmic Equations (Ra) 9:45

total time 168:03 - complete!


This is another gem from a Ellington collectors archive.
I don't have any details about the lineup's. Maybe the Ellington friends can help me.

By many thanks for your it is:


Unissued Ellington; Broadcast by Danish Radio

Recorded 1956 to 1970

SOURCE: FM (partly in MONO)>probably MASTER REEL>Cassette tape>CDR>trade>EAC Secure Rip>Flac Frontend, level 6

01 RACE 4.02
02 U.T. 3.32
03 WORK SONG 9.00
07 JIGGLING 5.08
08 ISFAHAN 4.10
09 MARCH 19TH BLUES 6.12
12 JUMP FOR JOY 3.34
15 C-JAM BLUES 5.04
17 THE OPENER 2.56
29 M.G. 3.02
20 KELLY'S LICK 5.08


Broadcast # 1 (25 nov 1984)
01 - Race (mix of takes 56 & 5) (6 nov 1968)
02 - A.G. (take 7) also known Race/Racing (same date) these two tracks are from the Degas Suite
03 - Work Song (1 or 4 march 1965)
04 - West Indian Dance (31 march 1965)
05 - Emancipation Celebration (same date)
06 - Night Creature (mix of takes 1 & 2) (31 march 1965)
07 - The Giggling Rapids (10 march 1970), from The River Suite
08 - Isfahan (ELF) (18 jul 1963)
09 - March 19th Blues (19 march 1957)

Broadcast # 2 (2 dec 1984)
10 - Take The A Train (1 may 1962 or 3 jul 1962)
11 - Take The A Train, vocal (1 may 1962)
12 & 13 - Jump For Joy, I Let A Song Go Out Of My Heart, Don´t Get Around Much Anymore (1 may 1962)
14 - Dual HIghway (Something Sexual) (feb 1957)
15 - C Jam Blues (1 may 1962)

Broadcast # 3 (9 dec 1984)
16 - Things Ain't What They Used To Be (17 mar 1965)
17 & 18 - The Opener/Chelsea Bridge (1 mar 1965)
19 & 20- M.G./Killian's Lick (18 apr 1963)

Sunday, August 17, 2008


i can look up too...

hi everyone!

do you like my artwork?
is it hip?

and more importantly...would you like to buy what you see?
its all hand made by me Dr.JERMx.

direct from the laboratory...continually being manufactured within these small walls.

i currently have artwork being displayed and being sold @
The Pharaohs Den
3579 University Ave.

Riverside CA 92501

there are also a few other artists still displaying for this month that i would believe appreciate the support and interest or disinterest of their work as well...depending on your tastes in visual expression.

i would also like to call out to other galleries and shops that are in need of artists with a bit of a new virus to infect some of the modern age through imagination and painting supplies.

because i do believe creative self expression is now becoming somewhat of a novelty.

and i know there are many artists who prove that wrong...

Jermx: Weirderside Artist-Another meaningless day in good old riva

bad livers and junkie tracks...

speed freaks and red cheeks
from the junk and the beer that is sold down the street
the fear from a barfly thats way past her peak
has no clue that life is changing more than once a week.

scared of culture
ignorant to reality
and if it seems a bit strange it is seen as calamity
the aura of hate is permitted by some
just for a beer and a safe place to run
with no lights on your scars
to be seen by another
from the rumors and lies
without those youd go under
never productive so its anger unleashed
and the accused are still moving with pity for beasts
these ones without truth will always be scared
since their lies are the only words shared
i pity the ones who show they cannot
become a true person without having a shot
in the arm
in a glass
they continue to blast.

the honest and true of the underground class
those who create with no need for glory
without needing a fix to continue their story.

its a fight to the finish till 2 am
of course needing more shots starts over again
in the morning the day and the night comes to play
there are those who create and keep it that way
yet its wrong to some and its bad to others
more hard drugs and beer make new unfit mothers
some cash in the til to get your fill
though you dont understand culture and you probably never will
its a game some play with the new change a come
and the loss of your youth makes you angry at some
that are doing the best to expand human minds
but getting them drunk is the best you will find.


We liked to give thanks to all the jerms spreading among this earth...The space aliens will unite an take over the universe...nah we don't need too...we are a part of it all...

John William Coltrane

Biography below comes from this site:

John William Coltrane, Jr., was born in Hamlet, North Carolina, on September 23, 1926. Shortly after his birth, his parents joined his mother’s family in High Point, where he was raised. Coltrane probably received his first instrumental training in the fall of 1939; he played alto horn, then clarinet, then alto saxophone in community and high school bands.

Meanwhile, between 1938 and 1940 the family was devastated by the deaths of five members, including John’s father. After his graduation from high school in 1943, John moved to Philadelphia, where he was eventually joined by his mother, his aunt, and his cousin Mary . While working day jobs, he studied music, inspired by two alto saxophonists — first Johnny Hodges, then Charlie Parker.

Coltrane served as a seaman and musician in the navy from August 1945 until August 1946. Returning to Philadelphia, he freelanced around Philadelphia, often with saxophonist Jimmy Heath’s big band; and toured with other bands. He began to play tenor saxophone professionally in late 1948 with the blues singer and saxophonist Eddie Vinson. He played with Dizzy Gillespie from 1949 to 1951 and with the saxophone virtuoso Earl Bostic in 1952, and in 1954 he joined his early idol Johnny Hodges.

In late September 1955, he was working in Philadelphia with organist Jimmy Smith when he was "discovered" by Miles Davis. Coltrane began to record prolifically with Davis and others. Reviewers mostly praised him, though often with reservations, while a minority violently dismissed his work. In either case, it was clear that he had developed a distinctive style. But, like many of his generation, Coltrane had developed addictions that interfered with his performance. After Davis fired him at the end of April 1957 because of his unreliability, he rid himself of heroin by quitting "cold turkey" during a week gigging in Philadelphia.

He immediately began a crucial association with Thelonious Monk, who asked Coltrane to join his group at the Five Spot in Manhattan from July through the end of 1957. The engagement was a turning point for both of them — Coltrane’s playing drew raves from most. Afterward, in early January 1958, Davis rehired Coltrane.

During the spring of 1959, Coltrane appeared on two of the most famous jazz albums ever made, representing two very different approaches: Davis’s Kind of Blue and his own Giant Steps. The former was an attempt to strip the backgrounds behind the soloists, the bases for their improvisations, down to the most bare, uncluttered scales. The latter was an essay in the most difficult and challenging backgrounds possible.

Coltrane left Davis in April 1960 and from then on led his own group. He performed with various musicians but soon settled on McCoy Tyner on piano and Elvin Jones on drums. The bass chair changed around — Reggie Workman played for most of 1961, sometimes in tandem with Art Davis — before finally going to Jimmy Garrison at the end of 1961.

Coltrane had purchased a soprano saxophone around February 1, 1959, and began using it regularly in May 1960. His recording of "My Favorite Things" that October (issued in March 1961) re-established the soprano, which had rarely been used in modern jazz, as a favored instrument.

He was becoming increasingly popular: Down Beat honored him as "jazzman of the year" in its review of the year 1961. He won the magazine’s critic and reader polls that year for best tenor saxophonist and for miscellaneous instrument (soprano saxophone); the critics also voted his group the "new star" combo. But his detractors grew louder with the addition of Eric Dolphy to the group for most of 1961. English critics lambasted him on his European tour that November, while Down Beat’s John Tynan wrote of "a horrifying . . . anti-jazz trend." After Dolphy left, Coltrane’s best-known quartet — with Tyner, Garrison, and Jones — remained intact from April 1962 through the fall of 1965, except for some periods when Jones was absent.

For some years Coltrane had been exploring the music of other cultures — India, parts of Africa, Latin America. He arranged to meet the master sitar player Ravi Shankar in New York in December 1961 for the first of a handful of informal lessons, and named his son after him. It wasn’t only the sound of world music that attracted John Coltrane; he was interested in all kinds of religion, and in astrology, numerology, and mysticism. His mystical, spiritual interests are explicit in A Love Supreme, his best-known album and still his best-selling one as well. It was voted album of the year by both Down Beat and Jazz magazine in 1965.

But he continued to ignite controversy because of his involvement in the so-called avant garde. He regularly let younger players sit in with his group. In June 1965, he gathered ten musicians together for a recording session that produced the landmark album Ascension. By September, tenor saxophonist Pharoah Sanders was a regular member of the group, and Coltrane soon also hired Rashied Ali as a second drummer. Uncomfortable with Coltrane’s new style, Tyner and Jones left shortly after that, and Alice McLeod Coltrane became the group’s new pianist.

John Coltrane had met Alice McLeod in July 1963. His marriage to Naima was then on the rocks, and he and Alice were soon living together. That fall, Coltrane began to cut back on touring and made plans to stay around New York, mostly for family reasons. (He was not yet aware of any serious illness.) He had begun to take control of his own business affairs, forming his own label imprint and planning some self-produced concerts. He spoke of opening a space where rehearsals and performances would be open informally to the public.

But by the spring of 1967 his health was failing rapidly. On April 23, he appeared at the Olatunji Center in Harlem (available on The Olatunji Concert: The Last Live Recording Impulse CD 314 589 120-2). His final performance was in Baltimore on May 7. He died of liver cancer in Huntington Hospital on July 17, 1967. His death was unexpected, it was shocking, and in a very real sense the jazz world never fully recovered from the loss.

Excerpted from: John Coltrane Legacy
Lewis Porter - August 2001

Listen to the album Ole Coltrane:

Wikipedia Page

John Coltrane Video Timeline:

1956: Miles Davis Quintet - 'Round Midnight

1957: Blue Train

1958: Kenny Burrell & John Coltrane - Why Was I Born?

1959: Miles Davis & John Coltrane Live

1960: On Green Dolphin Street Live

1961: My Favorite Things Live

1962: I Want To Talk About You Live

1963: Alabama Live

1964: Afro Blue Live

1965: Naima Live

1966: John Coltrane Inteview in NYC Park

John McLaughlin & Carlos Santana September 1, 1973 Chicago, IL SBD "A Live Supreme Brothers Of The Spirit"

Not my rip, taken from another site, thanks to the original seeder. Files intact, but added .md5s. Art included.

John McLaughlin & Carlos Santana
Chicago Ampitheatre, Chicago, IL
September 1, 1973
"A Live Supreme Brothers Of The Spirit"

Disc 1

01 - Meditation
02 - The Life Divine
03 - A Love Supreme
04 - Afro Blue
05 - Introductions
06 - Naima

Disc 2

01 - Flame Sky
02 - Taurian Matador
03 - Armando Peraza Solo
04 - Billy Cobham Solo
05 - Taurian Matador Reprise
06 - Let Us Go Into The House Of The Lord

Devadip Carlos Santana - Guitars
Mahavishnu John McLaughlin - Guitars
Doug Rauch - Electric Bass
Billy Cobham - Drums
Armando Peraza: Congas, Percussion
Khalid Young - Organ


Saturday, August 16, 2008

Pink Floyd 1967 Dolls House Darkness


1. Pow R Toc H/Intro by Robert Robinson (0:46)
2. Hans Keller Intro (1:06)
3. Astronomy Domine (3:56)
4. Roger & Syd Interviewed by Hans Keller (3:53)
5. Set The Controls For The Heart Of The Sun (3:34)
6. Reaction In G (0:40)
7. Flaming (2:47)
8. The Gnome (2:26)
9. The Scarecrow (2:14)
10. Matilda Mother (3:28)
11. Vegetable Man (3:35)
12. Scream Thy Last Scream (3:47)
13. Jugband Blues (3:53)
14. Pow R Toc H (4:32)

Tracks 1 to 4: Recorded BBC TV Centre, London, 14th May 1967; broadcast 14th May 1967.

Tracks 5 to 10: Recorded at BBC Playhouse Teatre, Northumberland Avenue, 25th September 1967; broadcast 1st October 1967 and 5th November 1967

Tracks 11 to 14: Recorded at BBC Studios, Maida Vale, London, 20th December 1967; broadcast 31st December 1967.

Transferred from the Sodium Haze Records LP "Dolls House Darkness" (SODA 69)

Lineage: LP record > Audio CD-R > WAV > FLAC Level 8 > You!

TURNTABLE: Linn Sondek LP12 (1987) with Lingo 2 power supply, Cirkus suspension
ARM: Linn Ittok LVIII
CARTRIDGE: Linn Klyde rebuilt by Expert Stylus Co
PRE-AMP: Naim NAC 72 with K phono boards
CONNECTS: Naim black SNAICs, Chord Chrysalis
CD RECORDER: Marantz DR700

Recorded straight from the turntable. I have not altered the sound in any way. There is some surface noise but generally I always think by trying to take it out you make things sound worse! So I left it in.

Special thanks to mrmars069!


Rare & unedited BBC 1 footage.
Crystal clear video.Nice resolution.
Pink Floyd Live on BBC 1 1967.
Doing Astronomy Domine.
Interviewer/Host Hans Keller.
Hans Keller interviews Roger and Syd

"The Shock Doctrine: The Rise of Disaster Capitalism" by Naomi Klein

The info below comes from the official site for this compelling and must read book.

The Shock Doctrine: The Rise of Disaster Capitalism

In THE SHOCK DOCTRINE, Naomi Klein explodes the myth that the global free market triumphed democratically. Exposing the thinking, the money trail and the puppet strings behind the world-changing crises and wars of the last four decades, The Shock Doctrine is the gripping story of how America’s “free market” policies have come to dominate the world-- through the exploitation of disaster-shocked people and countries.

At the most chaotic juncture in Iraq’s civil war, a new law is unveiled that would allow Shell and BP to claim the country’s vast oil reserves…. Immediately following September 11, the Bush Administration quietly out-sources the running of the “War on Terror” to Halliburton and Blackwater…. After a tsunami wipes out the coasts of Southeast Asia, the pristine beaches are auctioned off to tourist resorts.... New Orleans’s residents, scattered from Hurricane Katrina, discover that their public housing, hospitals and schools will never be reopened…. These events are examples of “the shock doctrine”: using the public’s disorientation following massive collective shocks – wars, terrorist attacks, or natural disasters -- to achieve control by imposing economic shock therapy. Sometimes, when the first two shocks don’t succeed in wiping out resistance, a third shock is employed: the electrode in the prison cell or the Taser gun on the streets.

Based on breakthrough historical research and four years of on-the-ground reporting in disaster zones, The Shock Doctrine vividly shows how disaster capitalism – the rapid-fire corporate reengineering of societies still reeling from shock – did not begin with September 11, 2001. The book traces its origins back fifty years, to the University of Chicago under Milton Friedman, which produced many of the leading neo-conservative and neo-liberal thinkers whose influence is still profound in Washington today. New, surprising connections are drawn between economic policy, “shock and awe” warfare and covert CIA-funded experiments in electroshock and sensory deprivation in the 1950s, research that helped write the torture manuals used today in Guantanamo Bay.

The Shock Doctrine follows the application of these ideas though our contemporary history, showing in riveting detail how well-known events of the recent past have been deliberate, active theatres for the shock doctrine, among them: Pinochet’s coup in Chile in 1973, the Falklands War in 1982, the Tiananmen Square Massacre in 1989, the collapse of the Soviet Union in 1991, the Asian Financial crisis in 1997 and Hurricane Mitch in 1998.

DIRECTED BY JONÁS CUARÓN. Alfonso Cuarón, director of "Children of Men", and Naomi Klein, author of "No Logo", present a short film from Klein's book "The Shock Doctrine: The Rise of Disaster Capitalism."

Ricci Rucker

Gunkhole - Ricci Rucker solo - 2006

Gunkhole Ricci Rucker Freestyle

Ricci Rucker and D-Styles part 1

Ricci Rucker and D-Styles part 2

Thursday, August 14, 2008

Jimi Hendrix & Curtis Knight: "Birth of Success - The Bargain Bin Collection"

The info text provided below along with a link to the torrent can be located here

Big thanks to TOMC for providing the files.

Jimi Hendrix & Curtis Knight

"Birth of Success - The Bargain Bin Collection"
(Collector's compilation, 2003, 4CDR)

- Vinyl to CD transfer of Astan's 5 LPs released in 1981:
01. "Last Night"
02. "Second Time Around"
03. "Mr. Pitiful"
04. "Welcome Home"
05. "My Best Friend"

- Vinyl to CD transfer of the LP "Birth of Success" (MFP 50053):
06. "Birth of Success"

- Vinyl to CD transfer of HörZu's LP:
07. "Jimi Hendrix Live - Birth of Success"

- Vinyl to CD transfer of two more tracks, "No Such Animal pt.1 & 2"
(Jimi's earliest published composition) from Carrere's LP:
08. "Cosmic Turnaround"

- Transfer of several tracks from Capitol's cassette tape
(the rest contains fakes or non-Hendrix/Curtis Knight material):
09. "Early Instrumentals"

- Precise lineage is unknown (transferred to CD from vinyl and tape).
- Artwork included.

Track list:

Disc 1

LP "Birth of Success" (MFP 50053)

01. I'm A Man
02. Sugar Pie Honey Bunch
03. Get Out Of My Life Woman
04. Ain't That Peculiar
05. Last Night
06. Satisfaction
07. Land Of 1000 Dances
08. U.F.O.

LP "Jimi Hendrix Live - Birth of Success" (HörZu SHZE 293)

09. Driving South
10. I'm A Man
11. On The Killing Floor
12. California Night
13. Ain't That Peculiar
14. What'd I Say
15. Bright Lights Big City

Disc 2

LP "Last Night" (Astan 201016)

01. Money
02. You Got Me Running
03. Hang On Sloopy
04. Running Slow
05. Last Night
06. I've Got A Sweet Little Angel
07. You Got What It Takes
08. Walking The Dog
09. Bright Lights Big City
10. My Fault

LP "Second Time Around" (Astan 201018)

11. Torture Me Honey
12. Mercy Lady Day
13. Hard Night
14. Second Time Around
15. Got To Have It

Disc 3

LP "Mr. Pitiful" (Astan 201019)

01. Wolly Bully
02. Left Alone
03. Have Mercy
04. Something You've Got
05. Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini
06. Stand By Me
07. Hold On To What You Got
08. Mr. Pitiful
09. I Should've Quit You

LP "Welcome Home" (Astan 201020)

10. Sugar Pie Honey Bunch
11. Get Out Of My Life Woman
12. Ain't That Peculiar
13. Welcome Home
14. Not This Time
15. What'd I Say
16. I'll Be Doggone
17. Driving South
18. It's Not My Fault

Disc 4

LP "My Best Friend" (Astan 201017)

01. Get That Feeling
02. Happy Birthday
03. Hush Now
04. Day Tripper
05. Odd Ball
06. Sleepy Fate
07. My Best Friend Cassette "Early Instrumentals" (Capitol Special Markets 4XL-57282)
08. Love Love
09. Hush Now
10. Knock Yourself Out
11. Hornet's Nest
12. Level

LP "Cosmic Turnaround" (Carrere CA 693-64000)

13. No Such Animal pt.1
14. No Such Animal pt.2

'Hush Now' + 'Flashing' recorded in 1967:

Terence McKenna Video Collection

Coming of the Strophariad

Gods Other Devil - We Are The Future

Your Future in your Imagination

The Sacred Mushroom and the Divine Feminine

Terence McKenna's message to Artists

Awake in the Dream

Wednesday, August 13, 2008

August 13, 2008: Album of the Day Vol. 033: Miles Davis - 1969 - Bitches Brew

Side one
"Pharaoh's Dance" (Joe Zawinul) – 20:06

Side two
"Bitches Brew" – 27:00

Side three
"Spanish Key" – 17:34
"John McLaughlin" – 4:26

Side four
"Miles Runs the Voodoo Down" – 14:04
"Sanctuary" (Shorter) – 11:01


Miles Davis - trumpet
Wayne Shorter - soprano saxophone
Bennie Maupin - bass clarinet
Chick Corea - electric piano (solo on "Miles Runs The Voodoo Down")
John McLaughlin - guitar
Dave Holland - bass
Harvey Brooks - electric bass
Lenny White - drum set
Jack DeJohnette - drum set
Don Alias - congas, drum set
Juma Santos (credited as "Jim Riley") - shaker, congas
Larry Young - electric piano on "Miles Runs the Voodoo Down" "John McLaughlin" "Spanish Key" and "Pharaoh's Dance"
Joe Zawinul - electric piano on "Bitches Brew" "Sanctuary" "Spanish Key" and "Pharaoh's Dance"
Billy Cobham - drum set
Airto Moreira - percussion

Additional personnel:

Teo Macero – producer
Frank Laico – engineer (November 19, 1969 session)
Stan Tonkel – engineer (All other sessions)
Mark Wilder – mastering
Mati Klarwein – cover painting
Bob Belden, Michael Cuscuna – reissue producer

All Music Guide Review by Thom Jurek:

Thought by many to be the most revolutionary album in jazz history, having virtually created the genre known as jazz-rock fusion (for better or worse) and being the jazz album to most influence rock and funk musicians, Bitches Brew is, by its very nature, mercurial. The original double LP included only six cuts and featured up to 12 musicians at any given time, most of whom would go on to be high-level players in their own right: Joe Zawinul, Wayne Shorter, Airto, John McLaughlin, Chick Corea, Jack DeJohnette, Dave Holland, Don Alias, Benny Maupin, Larry Young, Lenny White, and others. Originally thought to be a series of long jams locked into grooves around one or two keyboard, bass, or guitar figures, Bitches Brew is anything but. Producer Teo Macero had as much to do with the end product on Bitches Brew as Davis. Macero and Davis assembled, from splice to splice, section to section, much of the music recorded over three days in August 1969. First, there's the slow, modal, opening grooves of "Pharaoh's Dance," with its slippery trumpet lines to McLaughlin's snaky guitar figures skirting the edge of the rhythm section and Don Alias' conga slipping through the middle. The keyboards of Corea and Zawinul create a haunting, riffing groove echoed and accented by the two basses of Harvey Brooks and Dave Holland. The title cut was originally composed as a five-part suite, though only three were used. Here the keyboards punch through the mix, big chords and distorted harmonics ring up a racket for Davis to solo over rhythmically outside the mode. McLaughlin is comping on fat chords, creating the groove, and the bass and drums carry the rest for a small taste of deep-voodoo funk. Side three opens with McLaughlin and Davis trading funky fours and eights over the lock-step groove of hypnotic proportion that is "Spanish Key." Zawinul's trademark melodic sensibility provides a kind of chorus for Corea to flat around, and the congas and drummers working in complement against the basslines. This nearly segues into the four-and-a-half minute "John McLaughlin," with its signature organ mode and arpeggiated blues guitar runs. The end of Bitches Brew, signified by the stellar "Miles Runs the Voodoo Down," echoes the influence of Jimi Hendrix; with its chuck-and-slip chords and lead figures and Davis playing a ghostly melody through the shimmering funkiness of the rhythm section, it literally dances and becomes increasingly more chaotic until about nine minutes in, where it falls apart. Yet one doesn't know it until near the end, when it simmers down into smoke-and-ice fog once more. The disc closes with "Sanctuary," a previously recorded Davis tune that is completely redone here as an electric moody ballad reworked for this band, but keeping enough of its modal integrity to be outside the rest of Bitches Brew's retinue. The CD reissue adds "Feio," a track recorded early in 1970 with the same band. Unreleased — except on the box set of the complete sessions — "Feio" has more in common with the exploratory music of the previous August than with later, more structured Davis music in the jazz-rock vein. A three-note bass vamp centers the entire thing as three different modes entwine one another, seeking a groove to bolt onto. It never finds it, but becomes its own nocturnal beast, offering ethereal dark tones and textures to slide the album out the door on. Thus Bitches Brew retains its freshness and mystery long after its original issue.

The Complete Bitches Brew Sessions

Review By David Beckman:

No other musician in the 20th Century explored the possibilities of music as fiercely as trumpeter and bandleader Miles Davis. He frustrated critics and fans alike as he opened himself up to unexpected directions in musical thinking while continuously shaping and refining his remarkable skills on trumpet. Critics tried and tried to squeeze his musical journeys into a box called “jazz,” but Miles would have none of it. And then, in August of 1969, Miles decided he'd put all of us in an impenetrable box and dare us to break out.
While Miles did warn us with the electronic dabblings of his mid-sixties quintet and In A Silent Way, there is really no way to be prepared for the complete realignment of one's musical schematic that is Bitches Brew. To even begin to understand what was created in these sessions, we need to get a little perspective on what led up to them: a phenomenally talented composer and trumpet player; a true musical seeker who squeezed every last morsel of musical information out of Charlie Parker, Dizzy Gillespie, Bud Powell, Gil Evans, Mingus, Coltrane; a jazz cat for hire who barely clawed his way out of heroin's grip; a man who influenced the evolution of an art form with his astonishing collaborations on recordings like Round About Midnight, Milestones, Miles Ahead, Sketches of Spain, Kind of Blue and In A Silent Way among many others arrives at the vortex of Jimi Hendrix and James Brown surrounded, as he'd always been, by the visionary musicians of the times: Herbie Hancock, Joe Zawinul, Chick Corea, Bennie Maupin, Wayne Shorter, Dave Holland, John McLaughlin—just a few of who would participate in Bitches Brew. Clearly, Miles Davis was at the precipice of something massive, something almost unsettling in its hugeness. Sure enough, this sprawling team of talent would create with Miles the most impenetrable, incendiary, and finally revelatory musical experiment of his lifetime.

When listening to the music of Bitches Brew and the Bitches Brew sessions, space and time tremble, quiver, and become elastic. One moment, you're traveling rapidly, furiously backward toward the Big Bang—the next, you've stopped and hang suspended, a million light years from nowhere, curling dangerously across some cosmic bump. Then, all at once, you're surging forth, speed increasing, any ability to gauge time lost in the burn, spinning and tumbling upward, downward, outward. Images—the elapsed time of an orchid in bloom, pixilated fast-motion fragments of urban decay—careen, stop, rewind at another speed, only to flicker forth cautiously. There is a feeling of expanding, contracting, implosion, stillness. The rules of physics have become open to interpretation. The grid upon which the universe is mapped ripples slightly—patterns shift. Towering creatures of color and light groan and sway. The thread between the first cell and the end of time coils and uncoils wildly like a snapped powerline in a hurricane, twisting and spewing energy. . . What was created in this music—in its probing, tentative tempo, its evolving rhythms, its blasts and blurts and belches of melody—was something strangely familiar yet entirely original, entirely its own thing. What coalesced as these ten to twenty musicians fed frenzy-like off the brash impulses of one another was a music that literally lifted itself away from their conscious control and began making its own decisions. At times fearsome, others breathtaking, Bitches Brew is music as liberated organism, surging and soaring, gorgeous and terrifying, taking you dark and fantastical places to which only it holds the map.

Much like the music contained within it, this box set feels mythical, a lot like some otherworldly text unearthed halfway across the cosmos. The construction of the 148-page book along with the art and the graphic design throughout is intensely aesthetic. The photographs of Miles and the essay by Carlos Santana are the jewels of the package. One complaint is that the track information is buried amidst the many pages and clumsily found—I recommend photocopying those pages, drawing or painting on the copies while listening to the music, and then posting them someplace accessible. And while Miles biographer Quincy Troupe's expansive 70-page essay is flush with compelling insights, ranging from the influence of Jimi Hendrix priestess Betty Mabry on Miles' flow to the significant use of overdubbing and other new postproduction techniques, his lengthy track-by-track analysis feels belabored and seems to miss the point. Suffice it to say that much of the previously unreleased material travels along similar time wrinkles, some of it leaving unanswered questions for the listener to forever puzzle over. That's both the punishment and the reward. The haunting riddles of Bitches Brew rip at us and taunt us—however, the willingness to engage those riddles and ghosts, fully and with heart, produces thevisceral joy that can shatter the box Miles put us in. That joy, while exhausting and unnerving, is his legacy and his gift to us.

Miles Davis performing Spanish Key live at Antibes Jazz Festival, Antibes, France, 1969

AstroNation Torrent Blog .78

Albert Griffiths & The Gladiators with Yabby You
Locker Room Pub
Clarke University
Worcester, MA
Dec 4, 1985

sbd recording, low generation

Yabby Performs the first half of the recording
Albert Griffith comes on for the second half. Albert's
regular band, The Gladiators back up both artists.


The Gladiators, with opener Yabby You
Caribbean Culture Club, Bud Brown's Barn, Phoenix, AZ
October 23, 1985

Master soundboard cassette > ? > CD > Plextor PX-708A extraction (EAC v0.95 prebeta 5) > tracking (CD Wave) > sector boundary verification (shntool v2.0.3) > .flac encoding (flac v1.1.0)

EAC and FLAC encoding by Jack Warner (jackmw1ATsbcglobalDOTnet)

Disc 1 (9 tracks) [42:22]
--Yabby You, backed by the Gladiators--
1 Introductions [1:56]
2 Fire, Fire [4:18]
3 Why Them a Fight[5:11]
4 [4:29]
5 Fire Deh A Mus Mus Tail [6:16]
6 Acting Strange [7:52]
7 Chant Down Babylon [6:00]
8 Stranger To My Bredrin [5:33]
9 Intermission [0:45]

Disc 2 (9 tracks) [46:43]
--Gladiators set--
1 Introductions [0:58]
2 Reggae//Jamboree [6:23]
3 Not Afraid to Fight [4:38]
4 Take Your Time [5:30]
5 Hello Carol [5:20]
6 Dreadlocks the Time Is Now [6:18]
7 Mister Goose [6:44]
8 Stick a Bush [8:48]
9 Getty Getty// [2:03]

-D2T2 tape flip at 3:26
-D2T9 cuts before the end


Bob Marley & The Wailers
Paul's Mall
Boston, MA
11 July 1973

This show was seeded here:
by Wonderboy.

Here it's the Alternate Version "Remastered" with less hiss and better sound. This version was seeded here in 2005. It is my view and it engages only me and I think that the work which was made on the Remaster is a good job. Now you have the choice and I wait for your comments.

Source: SBD > ? > SHN
Remaster: SHN > mkw > WAV > Audition > CDWave > shntool > FFE > Flac16
Size: 258MiB
Length: 37:42m

[1] Lively Up Yourself [5:27]
[2] 400 years [3:34]
[3] Stir It Up [4:21]
[4] Slave Driver [3:31]
[5] Stop That Train [3:59]
[6] Kinky Reggae [5:03]
[7] Concrete Jungle [5:52]
[8] Get Up Stand Up [5:52]

Here's a tastey show for you Reggae fans, a classic from The Wailers, featuring Bob Marley, Peter Tosh, and the Barrett brothers, their first concert in the United States. The performance is an A+.

The Wailers Band

Lead vocals, guitar - Bob Marley
Bass, vocals - Aston Barrett
Guitar, vocals - Peter Tosh
Drums - Carlton Barrett
Keyboards - Earl Lindo
Percussion - Joe Higgs

Originally downloaded from Furthurnet in 2002. Seeded to STG Oct. 2003 with TAO gaps. Remastered via Audition to remove the gaps, retracked in CDWave, shntool verified for SBEs, and compressed to Flac. The tracking changes were very slight in an attempt to remove the occasional shouts.

The usual buzz and hiss that's present in many Marley shows starts towards the end of t1 and continues throughout to varying degrees. The original text file from Furthurnet claimed the source was "SBD", but is uncertain considering the loud applause. Then again, this show was in a basement. Also you'll find the following:

t4 2:43 low static for about 10 sec.
t6 0:52 small stutter and level drop in the L channel for 1 sec.

Thanks to Shunga1 who seeded this show the first time and Wonderboy for the Artwork

The Artwork is included.




Prince Far I
with Creation Rebel
B.B.C. John Peel session
First broadcast 4th July 1978

1 Spoken Introduction
2 Black Man Land
3 No More War
4 The Dream
5 Foggy Road
6 Frontline

Recorded 7th June 1978
Prince Far I - Lead Vocals
Clinton Jack - Bass
Vernon - Guitar
Charlie - Drums
Clifton Morrison - Keyboards
Dr. Pablo(Augustus) - Melodica

Rebroadcast 13 November 2005
Producer - Jeff Griffin

Hope you all enjoy this as much as I do.
Love and Peace to all.

Cass > CDWave > DBPoweramp > Flac8

Friday, August 1, 2008

Wolfgang's Vaults: Weather Report November 29, 1973 Cornell University Ithaca, NY

All of the content in this posting comes from this page:

Greg Errico - drums
Dom Um Romao - percussion
Wayne Shorter - soprano and tenor sax
Miroslav Vitous - electric and acoustic bass
Joe Zawinul - electric and acoustic piano, synthesizer

When Weather Report formed, the credentials of Joe Zawinul and Wayne Shorter were already well established. Both had been major contributors to Miles Davis' most groundbreaking and controversial albums, In A Silent Way and Bitches Brew, both as musicians and composers. When they teamed up to form Weather Report shortly thereafter, it was they who most closely continued the musical aesthetic set forth on those landmark albums. The similarities to that music were immediately apparent on their first two albums, but there were also distinct differences. Like the work they recorded with Miles, they began fusing the dynamics of rock music into a jazz context, adding electronic instrumentation and exotic percussion elements to the musical pallet. However, Weather Report relied less on the bassist as an anchor and had a distinct ethereal electronic quality, primarily colored by Zawinul's eerie synthesizer embellishments. Their compositions were even more open-ended than their work with Miles, with more focus on free improvisation approaching the avant-garde. Weather Report's rhythm section, which included the brilliant bassist Miroslav Vitous and during this period, ex-Sly & the Family Stone drummer Greg Errico, who were given equal creative freedom to Zawinul and Shorter. This allowed them to break free of the rhythmic paradigm that anchored so much of Miles Davis' music during this era. Rather than soloing over an accompanying rhythm, the five musicians achieved an ongoing musical dialogue, where the dominant instrument was often changing or all instruments were soloing simultaneously. The fact that they could achieve this without degenerating into thoughtless noise is a testament to these highly accomplished musicians.

In 1973, when they began recording their third breakthrough album, Sweetnighter, Zawinul had consciously decided to change the approach. He wanted to expose the group's music to a broader audience without alienating the band's hardcore fan base. He was well aware that casual music listeners were often put off by the esoteric and self-consciously serious forms of jazz. The non-traditional rhythmic elements that characterized much of the group's earlier music were also difficult for many listeners to fathom. To begin overcoming these obstacles, he began introducing funkier rhythm and blues grooves into the soundscape. This was a vitally important ingredient that gave this new music a propulsive fluency and in the process made their esoteric music far more accessible. Although quite successful in terms of the album, this opened up a new set of challenges in live performance. As incredibly talented as Vitous and Gravatt were, they were not inherently funky musicians. This led to Errico replacing Gravatt, but there was still tension and struggle when the band began performing in a live context. This wasn't necessarily a bad thing, as it often led them into uncharted territory, much of it highly captivating.

Which brings us to this previously unheard live recording of Weather Report's set at Cornell University, opening for Mahavishnu Orchestra. This concert captures the group as they were integrating this new approach into live performance. There is still an abundance of free playing here but the rhythmic grooves are also becoming more prominent, thanks in no small part to the dynamic drumming of Errico.

The set begins with a percussion improvisation by Dom Um Romao. This features a variety of unusual elements, including Romao's own vocals as he hand drums on his own body as well as his instruments. His sense of humor comes across clearly, particularly on the talking drum sounds and one can clearly hear the delight of the audience as he humors them. This precedes a sparse but lovely improvisation on "Orange Lady," led by Zawinul. The music begins building in intensity as they venture into "Dr Honoris Causa." More rhythmically oriented than the version they released, this clearly shows the direction they would be heading in the future. Appropriately enough, this piece includes quotes from "Directions" toward the end, prior to them segueing into a jam on "Boogie Woogie Waltz." Bluesy melodic fragments surface over the hypnotic grooves. Zawinul interjects oddly placed modulations that often surprise the listener and propel the group along and Shorter becomes more prominent and adventurous. Zawinul's instincts, in terms of both placement and timbre, enhance the overall canvas of the music. Unfortunately, a tape change at the 30-minute mark leaves questions as to where exactly this went. When the recording resumes, they are headed in a distinctly different direction, with Errico's drumming clearly dominating the final 18 minutes of this performance. This may indeed be the continuation of the previous composition, but as the group picks up on Errico's propulsive rhythm, this soon becomes the most consistently exciting sequence of the show, featuring plenty of soloing from Shorter and the entire band playing in a far more aggressive up-tempo manner. Drummers will be astounded at the sheer stamina displayed here, as Errico doesn't let up for a second throughout this nearly 18-minute long improvisation.

As with most Weather Report performances prior to 1974, a look at the setlist doesn't begin to describe the musical content here, as this group is essentially improvising, with only a tenuous grasp on the original compositions. While this may be disconcerting to fans of particular album tracks, the open-minded listener will find much to enjoy here, as this lineup of the group was at their most creative and unpredictable. Although this particular lineup never recorded an album, many consider this to be the most exciting era to have caught the band live, as they were certainly blazing new territory and were playing with great spontaneity.

Wolfgang's Vaults: Mahavishnu Orchestra December 28, 1973 Avery Fisher Hall New York, NY

All of the content in this posting comes from this page:

Billy Cobham - drums
Jerry Goodman - violin
Jan Hammer - keyboards
Rick Laird - bass
John McLaughlin - guitar


You Know, You Know
I Wonder
Vital Transformation

This Mahavishnu Orchestra performance, recorded on the second night of a two-night stand at New York City’s Avery Fisher Hall, captures one of the very last performances ever by the legendary original lineup. Although missing the beginning of the set, what is available here is a fascinating glimpse of the group at the tail end of their existence. In July of 1973, Mahavishnu Orchestra convened at London’s Trident Studios to record their ill-fated third studio album. By this point, the relationships within the band were strained and the resulting recordings, which for the first time featured compositions by band members other than McLaughlin, would not see the light of day for several decades. In August and September, McLaughlin and Cobham embarked on a tour with Carlos Santana, further straining the relationships within the band, which would dissolve by the end of the year. The initial classic lineup of the group lasted less than three years and only released two studio albums and one live recording during this era, but these recordings had a profound effect, redefining the jazz/rock fusion movement in the process. Combining the improvisational elements of jazz with the volume and energy of rock music, Mahavishnu Orchestra created music that was often intricate and complex, performed by musicians whose virtuosity thrilled audiences, musicians and critics alike.

While an argument can be made that the band was more cohesive and eloquent earlier in their all-too-brief career, the performances toward the end of 1973 are simply staggering in their ferocity. This night’s recording begins in progress, with the group exploring the infectious groove of "You Know, You Know," one of the most popular compositions from their debut album, The Inner Mounting Flame. Next up is Jerry Goodman’s composition, "I Wonder." Recorded during the Trident sessions several months prior and recorded again in 1974 by Goodman and Hammer for their Like Children album following the breakup, this version features expansive improvisations, beginning with an emotional solo from McLaughlin that relies more on bluesy string bends and a fat biting tone as opposed to speed. Goodman and Hammer both take impressive solos as well. Shortly after the nine-minute mark, Cobham launches the band into a furious version of "Awakening." A tape change misses a few seconds of this (approximately 1:15 in), but it is otherwise complete. "Awakening” is divided into three distinct sections, each focused around an outstanding solo from one of the band members, bridged together by reinstatements of the original theme. First up is Jan Hammer. The entire band drops out to allow him free reign and he begins by establishing a bubbling foundation with his sequencer and then builds layers of demented synthesizer solos on top of it. This entire section is quite remarkable, not only for its originality and extended length, but also for the fact that only one musician is creating such a barrage of sound. As the band begins joining back in, an intense jam leads into McLaughlin’s solo. This solo is so ferocious that it defies description and is well beyond the usual intensity level, bordering on the transcendent. One of the most fascinating facets of this section is that McLaughlin repeatedly references John Coltrane’s classic "A Love Supreme,” which was fully explored on the recent tour with Santana and obviously still on his mind. Following McLaughlin’s explosive solo, Cobham joins back in for a monumental guitar/drum duel that is simply jaw-dropping. Nearly 20 minutes after it began, the original theme of "Awakening” is reinstated and they bring it to a climactic close.

The version of "Hope” that follows unfolds in an elegant, magisterial way and provides listeners with a brief break in the relentless intensity that preceded it. However, this lasts less than two minutes before Cobham signals one of their classic turn-on-a-dime transitions. To fully pummel the audience into submission, they close the set with "Vital Transformation." In 9/8 time, this contains some of the most furious playing that the band would ever achieve. Charismatic, powerful and blazing with energy, this is a tour-de-force blend of all the elements that comprised the bands music; jazz, rock, funk and R&B condensed into six minutes of pure power. Jerry Goodman’s violin flights are particularly aggressive here, and both he and McLaughlin, who has a deliciously nasty tone to his guitar, are blazing. Herein also lies a distinct difference in the band’s playing toward the end of 1973. While they were always masters of call and response, here they sound like they are engaged in battle, trying to cut each other with every line. While many fans of the group prefer the more cohesive nature of the improvisations earlier in their career, there is no denying that they are playing at a frighteningly intense level here.

They return for an encore and deliver a version of "Dream" that again takes the improvisational approach to the extreme. There is an abundance of exploratory and propulsive playing here, but one of the most interesting aspects of this performance is that McLaughlin plays the first sequence on acoustic guitar. He only did this toward the tail end of the original lineup’s existence and it is far more compelling than the live version featured on Between Nothingness And Eternity, recorded the previous August. Often this initial sequence was merely a dreamy contemplative introduction to the fireworks to come, but here it is absolutely beautiful and McLaughlin’s playing has far more depth and character and Goodman’s haunting violin phrases are all the more compelling for it. As the second, faster section begins, Hammer unleashes his trademark unusual chords and arpeggios on his Fender Rhodes as the band begins building an elegant melody line. This becomes a head-spinning exercise as McLaughlin and Goodman lock together in unison driving the main section of the composition. This is fast and furious playing at its most intense, with various duets emerging in and out of the fray. This is a jaw-dropping performance that is simply overflowing with energy; seemingly superhuman in its seething intensity.

Wolfgang's Vaults: Larry Coryell March 03, 1973 New Paltz, NY

All of the content in this posting comes from this page:

Larry Coryell - guitar, ARP synthesizer, vocals
Mervin Bronson - bass
Mike Mandel - piano, ARP synthesizer
Steve Marcus - tenor and soprano saxophones
Harry Wilkinson - drums, percussion


Yin (#1)
All My Love's Laughter
The Real Great Escape
Lady Coryell
Makes Me Wanna Shout
Yin (#2)

Years before the term jazz-rock fusion existed, American guitarist Larry Coryell was playing a pioneering role. As early as 1966, Coryell co-founded Free Spirits, an early jazz-rock band, before recording three seminal progressive jazz albums with Gary Burton. In 1969, prior to recording the first album under his own name, Coryell toured with Cream bassist Jack Bruce, Jimi Hendrix drummer Mitch Mitchell, as well as keyboardist Mike Mandel, combining the influences of rock into a jazz framework. By the early 1970's, Coryell put together a remarkable band of his own including Harry Wilkinson on drums, Mervin Bronson on bass, Steve Marcus on soprano sax, and Mike Mandel on electric piano. During the next several years, these musicians developed a hybrid of jazz and rock, free of preconceptions. The results displayed plenty of virtuosity, but were also interspersed with enough of the fiery playing style of rock musicians to attract a younger audience not as comfortable with the overly intellectualized forms of jazz. Coryell's group, known collectively as Foreplay, recorded several groundbreaking albums in the early 1970s, proving that these musicians had a gift for invention, some of it quirky, but nonetheless impressive from both a technical and musical standpoint. By 1973, a peak year of creativity in the jazz-rock fusion movement, thanks in no small part to the innovations of Miles Davis, Mahavishnu Orchestra and Weather Report, Coryell continued blazing his own path, free of formulaic limitations. Recording the final album with the Foreplay lineup, 1973's "The Real Great Escape," Coryell embraced jazz, rock, pop, electronics and he was even taking the questionable plunge of singing, a bold move to say the least. By the end of 1973, Coryell would revamp the band, only retaining the services of keyboardist Mike Mandel. Future legendary trumpet player Randy Brecker and the powerhouse rhythm section of bassist Danny Triffin and drummer Alphonse Mouzon fleshed out his next band, The Eleventh House, which would become Coryell's most recognized and commercially successful venture. Their debut album, 1974's "Introducing The Eleventh House," contained some of the most adventurous and technically hypercharged playing of Coryell's career.

Which brings us to this performance, recorded at The State University of New York, when Coryell and Foreplay opened for the Mahavishnu Orchestra. This recording captures Coryell at a crossroads, performing some of the finest material from both "Offering" and "The Real Great Escape," as well as developing material that would feature on the first Eleventh House album the following year. This recording serves as a musical bridge between two of the most memorable stages of Coryell’s career.

They kick things off with Coryell's composition, "Yin" a song that would become a highlight of his next album with Eleventh House. Comparisons to the original Mahavishnu Orchestra are inevitable and Coryell's intensity and compositional framework are elaborate and just as melodically sophisticated. However, the comparisons end on "All My Loves Laughter," a Jim Webb song that not only features Coryell on vocals, but also clearly veers off in a smooth bluesy direction less interested in acrobatic solos than group improvisation. The next three pieces, all of them Coryell compositions, display the exceptional improvisational skills of the group, beginning with "Foreplay," a signature track from 1972's "Offering," and the title track from "The Real Great Escape." Dipping back to 1969 material, they deliver an exceptional reading of "Lady Coryell.” Here, Coryell’s unerring sense of swing, finesse and brilliant, blues-inspired style are undeniable. These performances all display what an impressive band this was. In both tone and execution, Marcus' solos are exceptional, Mandel's processed keyboard playing is humorous and original and the rhythm section of Bronson and Wilkinson are relentlessly inventive.

Also featuring a vocal from Coryell is "Makes Me Wanna Shout," one of the most overtly non-jazz based pieces on "The Real Great Escape, but incomplete due to tape stock running out. When the recording resumes, the group is blazing into a continuous sequence that begins with a second high velocity reading of "Yin," which then segues directly into an unidentified number, serving as a showcase for Mandel's fresh imaginative keyboard playing. This continuous sequence (nearly 25 minutes altogether) culminates with the Harry Wilkinson composition and title track from "Offering." Wilkinson's crackling and pummeling make for an engaging call-and-response counterpoint to Coryell's solos and at nearly twice the length of the studio recording, contains some of the most free-form performances of the night.

After introducing the band members, Coryell announces that they will conclude the set with another Mike Mandel composition, "Joyride." Considerably different from the version that would surface on the Eleventh House album the following year, the compositional framework is elaborate and melodically sophisticated, with Coryell and Mandel's dynamic interaction and intricate playing at the fore. If one listens closely, hints of Jimi Hendrix’s "Third Stone From The Sun” can almost be discerned amidst the fiery fretwork. This is a blazing conclusion to the set, leaving the audience clamoring for more.

For many, Coryell has never sounded better than during his tenure with these particular musicians. They are all inspired and inventive but Coryell is clearly the front man here. Although his next band, The Eleventh House would become one of the most famous fusion bands of the 1970s, here Coryell still stands independent from the standard jazz-rock approach many musicians were embracing. Although he does emulate certain elements of the Mahavishnu Orchestra, Coryell had long been working in an idiom that pre-dated McLaughlin's innovations. Though Coryell remains one of the most creative and accomplished electric guitarists, he would never achieve the popularity of many less capable but better promoted musicians. Other groups would attain much greater commercial success, but there's no mistaking the fact that Coryell was very much a visionary in his own right. Some of Coryell's most entrancing melodies, lightning fast phrases and spectacular solos can be found right here, in addition to a band capable of playing with guts and urgency. This live recording captures the tail end of an era when Coryell’s music was most free of preconceptions and ripe with creativity.

Wolfgang's Vault: King Crimson November 21, 1969 Fillmore East New York, NY

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Robert Fripp - guitar
Greg Lake - vocals, bass
Ian McDonald - woodwinds, mellotron
Michael Giles - drums


Pictures of a City
21st Century Schizoid Man

This show was taken from King Crimson's first U.S. tour featuring the original quartet lineup, on a night when they were the opening act on a bill with Fleetwood Mac and Joe Cocker. These three songs comprise the complete set.

This set captures the original band shortly after the release of their first album. Opening with a very early arrangement of "Pictures of a City," a song that was destined for their second album, they immediately prove that, as monumentally heavy as their studio recordings were, they were more powerful in live performance. The extraordinarily high level of musicianship combined with Greg Lakes' captivating vocals cannot be ignored.

The version of "Epitaph" is fairly close to the album arrangement, as is "21st Century Schizoid Man," which must have pulverized the audience. King Crimson was known for upstaging many popular acts of the period, and this set, although short, is good evidence why.

According to Robert Fripp, this show was recorded on eight channel multi-tracks, but the masters were stolen and have never resurfaced.

Wolfgang's Vaults: The Isley Brothers Palace Theatre November 7 1973 New York, NY

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Ernie Isley - guitar
Marvin Isley - bass, percussion, background vocals
O'Kelly Isley, Jr. - vocals, percussion
Rudolph Isley - vocals, percussion
Ronald Isley - lead vocals
Chris Jasper - piano, clavinet, synthesizers, percussion, background vocals
George Moreland - drums
Truman Thomas - organ


It's Too Late
Who's That Lady
Summer Breeze
Sunshine (Go Away Today)
Listen To The Music
Who's That Lady (Reprise)

The Isley Brothers have had a long and musically diverse career since they began in the 1950s singing gospel music. During the early 1960s, they initially established their reputation as a fine live R&B act, achieving modest success with several independently released singles and featuring a young Jimi Hendrix playing lead guitar in their touring band. By the mid-1960s, Hendrix had departed and the brothers signed on with Motown Records. They would score a big hit in 1966 with "This Old Heart Of Mine," but despite this success, they grew increasingly frustrated at Motown, where they were relegated to second class status, behind top groups like The Supremes and The Temptations. This eventually found them parting ways with the label and signing with Buddha Records in 1969. Here they attained newfound faith in themselves and began a conscious effort to update their image and sound. They soon hit it big again with the funk anthem, "It's Your Thing," which shot up the charts, earning them their only Grammy Award and going on to sell over five million copies. The group's sound was now more innovative, mixing their R&B roots with the funky soul stylings of James Brown and Sly & the Family Stone. When the older vocalizing brothers added younger musician brothers, Ernie and Marvin, as well as brother-in-law Chris Jasper to the mix, everything really began to jell and this younger blood became an integral factor in redefining the vocal group as a band.

This late 1960s/early 1970s era was a time of growth for The Isley Brothers and they produced some of their most enduring music during these years. In 1973, now signed to Epic, the Isleys recorded the groundbreaking 3 + 3 album, which immediately took off with the reworking of their 1964 original, "Who's That Lady," now re-titled "That Lady, Pt. 1 & 2." When the band hit the stage of Manhattan's Palace Theatre, to record this set for Don Kirchner's Rock Concert television show, it was right at the time 3 + 3 was catching fire. Other than the obvious charms of the revamped "Who's That Lady," what makes this set (and that album) so compelling is the band’s ability to reinvent contemporary rock, pop and folk songs into a funky soulful blend uniquely their own.

From the first number this is apparent, as they vamp on Carole King's "It's Too Late" completely reinventing the song in the process. Thanks to the guitar licks of younger brother Ernie and keyboardist Chris Jasper, the group transforms this song into syncopated funky rock. During this number, Ronald mentions that Hendrix was a former guitarist with the group, followed by a searing guitar solo tribute from Ernie. At the song’s conclusion, the group dives headlong into "Who's That Lady," with Ernie continuously wailing on guitar throughout. This is a blazing performance that proves this band not only had the vocal prowess they were already well known for, but also the instrumental chops to back it up.

The next several numbers are prime examples of the band’s interpretive skills and their ability to completely redefine a song. Seals And Croft’s "Summer Breeze" highlights Ronald's emotive singing and reinterprets the song into a lengthy soulful excursion, allowing the group to stretch out. This also contains a smoking solo from Ernie. Jonathan Edwards’ folky "Sunshine (Go Away Today)" is also radically rearranged, now featuring a deep funk groove that is totally unlike the original. The group then heads into heavier political protest territory, featuring a blend of Neil Young's "Ohio" with Jimi Hendrix's "Machine Gun." This unusual pairing is quite inspired and nearly as captivating as the originals. Needless to say, once again Ernie Isley delivers a blazing solo that finds the middle ground between Jimi Hendrix and Parliament-Funkadelic guitarist Eddie Hazel. This may be the most compelling performance of the set.

This is followed by a cover of The Doobie Brothers' "Listen To The Music." They give it more of an R&B feel, but it's lightweight in comparison to what preceded it, and they stick relatively close to the original arrangement. The actual song only lasts a minute or so before it becomes little more than a call and response party jam with the audience. With only a short amount of time left, they return for a second stab at "Who's That Lady" that cooks even harder than the earlier version. Here it’s a bit more ragged, but Ernie's guitar chops are fully warmed up and he delivers sizzling guitar work that is more expressive and intense. This version also contains an extended vocal coda and wall of controlled feedback near the end that brings the set to a roaring close.

The 3 + 3 album would eventually be certified platinum and would begin a string of gold and platinum record achievements throughout the remainder of the decade. The Isley Brothers continued to explore a wide range of music, but never were they such a compelling live act as they were right here. This is the Isleys at their peak, breaking through racial and musical boundaries.