Wednesday, December 9, 2009

Paul Horn

All Music Guide Biography by Scott Yanow

When one evaluates Paul Horn's career, it is as if he were two people, pre- and post-1967. In his early days, Horn was an excellent cool-toned altoist and flutist, while later he became a new age flutist whose mood music is often best used as background music for meditation. Horn started on piano when he was four and switched to alto at the age of 12. After a stint with the Sauter-Finegan Orchestra on tenor, Horn was Buddy Collette's replacement with the popular Chico Hamilton Quintet (1956-1958), playing alto, flute, and clarinet. He became a studio musician in Los Angeles, but also found time during 1957-1966 to record cool jazz albums for Dot (later reissued on Impulse), World Pacific, Hi Fi Jazz, Columbia, and RCA, and he participated in a memorable live session with Cal Tjader in 1959. In addition, in 1964, Horn recorded one of the first Jazz Masses, utilizing an orchestra arranged by Lalo Schifrin. In 1967, Paul Horn studied transcendental meditation in India and became a teacher. The following year, he recorded unaccompanied flute solos at the Taj Mahal (where he enjoyed interacting with the echoes), and would go on to record in the Great Pyramid, tour China (1979) and the Soviet Union, record using the sounds of killer whales as "accompaniment," and found his own label Golden Flute. Most of Paul Horn's work since the mid-'70s is focused on new age rather than jazz.

Sunday, December 6, 2009


-John Dyer Baizley 2009

Like what you see? Did you enjoy the post that's underneath this one? Want the picture above with the record included? Here's about 6 chances how to just over HERE

Tuesday, November 3, 2009

John Dyer Baizley - 2009

John Dyer Baizley
Video Interview found below

Exlusive Video: BARONESS Singer/Guitarist Talks About new Album

Written Interview Taken from Late Night WallFlower found Here


How did the Red Album differ because there’s definitely some overdubs and texturing to it.
John: That was just because we had more studio time booked so we were able to explore any ideas that we had. That meant if we felt like something needed an overdub, we were able to do that. But that said, there’s actually very little overdubbing, very little layering of the vocals or drums. We tried to keep it as natural sounding as possible.

I read on Second that you guys just went in and recorded it like a live recording.
John: Except for the vocals, the whole thing was done in one take. All three songs lead into each other; we basically recorded [the tracks] as one song. [We] didn’t do any overdubs or layering. It was meant to be what we sound like on stage.


I feel you guys are on a few different genre lines. You’ve got a punk and a metal fan base and you are getting a lot of recognition in the indie world – Pitchfork gave you a great review – how do you feel about that? Are those different fan bases showing up at the shows or is it still a metal crowd?
John: It’s actually never really been specifically a metal crowd. It’s always been sort of a cross-genre crowd coming out to see us ever since we first started. I think most of the typically metal kids coming out now is sort of a new thing for us. The early tours we were doing were almost exclusively with punk and hardcore bands. That’s the world we come from.

Especially playing something like the Fest where it’s predominately punk.
John: This is the third time we’ve played in four or five years. The staple of our touring guide is a crowd like this.

It seems like you guys have a strong grasp on the presentation of the band, where as a lot of heavier bands have logos that are just unreadable.
John: I’ve been both an musician and artist as long as I can remember. We were able from the very beginning to craft a visual representation of our band that fell very much in line and was integral to the sound as well. We’ve worked very hard since day one to keep that intact. Keep all the art and visual stuff surrounding our band within the band. It comes from the band, it is ideas from the band. It’s all very personal with us.

I've heard that you do everything by hand, only bringing in a computer towards the end of the process...

John: Yeah, entirely. I was raised and have always had much more facility working in sort of the traditional techniques. Meaning, with a lot of stuff that you'll see, it's mostly pens, inks, watercolors, and ink washes and things like that. I'm also an active oil painter and acrylics and everything like that so, basically, the traditional media is where I'm the most at ease.

But that's not to say that it's 100% that, because I think, you know, considering my medium, considering the ease with which you can work on a computer-- I have had to incorporate a computer into some of the stuff I do, so, essentially I will work on something traditionally until it's at the point where it's ready to get sent to print and at that point I'll incorporate a computer and that's sort of been a trial by fire with me, where it's just been born completely out of necessity.

When I started to use a computer I didn't know any of the programs-- like the, you know, your photoshop, illustrator and stuff like that. I've had to teach myself as I go along with that-- no formal training whatsoever.

I like the traditional approach-- everything seems more 'warm', you know?

Yeah, and I think that's where I'm comfortable but I think that's also something that separates me from a lot of, you know, who I consider my contemporaries who have skills on computer with graphic design that I can only work towards at this point."
As an artist, how do you manage it because it seems like you are doing a lot more work these days or at least more high profile stuff, like the Darkest Hour cover. With the touring schedule, are you sitting in the van drawing?
John: Yeah, basically. It’s, to say the least, been a very busy year for me. I basically work seven days a week, as many hours of the day as I’m awake. I’m still typically about a month or two behind schedule. It’s been good but it’s been tough.
All your artwork is drawn by hand, correct?
John: My entire process is entirely traditional. Pens, pencils, watercolors, inks; everything like that. The computer is absolutely the last step.

Most people aren’t like that these days.
John: Yeah because it’s time consuming; leaves much more room for error. It’s sort of a self-imposed thing for me but it’s worked out nicely for me.
Any future plans for the band?
John: We’ve already started writing the second record. I would say it’s close to fifty percent completed. We’re musicians, so when were not out on the road, we still practice. Once we recorded and toured with something so much, it’s not so fun to practice. We get our creative thing happening so we’ve been writing a lot since we finished recording Red Album. Other than pushing that forward, we plan on touring all through the next year, as much as possible.

Baizley's latest art for his band's newest record Blue Record

Thomas Pridgen

From Wikipedia:

Pridgen won the Guitar Center Drum-Off at age 9 and at age 10 was the youngest recipient for a Zildjian endorsement in the nearly 400 year history of the company. Thomas has studied with David Garibaldi, Walfredo Reyes Jr, Troy Luketta, and Curtis Nutall. He endorses DW Drums, Zildjian Cymbals, Evans Drumheads, ProMark Drumsticks. Thomas was also the recipient of a 4 year scholarship to Berklee College of Music in 1999 at the age of 15; he was the youngest musician to ever receive this scholarship. He has played in clinics with Walfredo Reyes, Jr. and Dennis Chambers. By his teenage years he had already done studio sessions with many Bay Area Gospel artists.

In 2007, Pridgen received a call from Omar Rodriguez-Lopez of The Mars Volta:

“ “Omar asked if I wanted to come check out the band,” Pridgen recalls from his home in El Cerrito, California. “We talked on the phone for a couple of hours, and then I went to Ohio to meet them. Omar invited me to a back room, where the whole band was set up. We jammed for a good thirty minutes. He then said, ‘We’re going to play that groove tonight in front of everybody.’ This was for a huge show in Cleveland, when the band was touring with the Red Hot Chili Peppers.”

In 2007, Pridgen became the new permanent drummer for The Mars Volta. Pridgen's first appearance was at the March 12th show in New Zealand, where the band debuted the song "Idle Tooth" which was later renamed "Wax Simulacra" for the forthcoming album. After shows in New Zealand and Australia, The Mars Volta toured a few West Coast venues as the headliner, then entered the studio to record their fourth LP, The Bedlam in Goliath. Pridgen's style on Bedlam in Goliath used "blistering 32nd-note full-set combinations, stunning single-stroke rolls, and blazing single bass drum patterns" along with creative and precise paradiddle technique.

Thomas Pridgen has been voted as Best Up and Coming Drummer by Modern Drummer magazine.

Besides his work with The Mars Volta, he has also been involved with Christian Scott and Wicked Wisdom. Thomas for some time, was working with singer Keyshia Cole as her live and session drummer and being her music director. He also was featured alongside with Tony Royster Jr., Eric Moore and others in drumming DVD entitled "Shed Sessions", a Gospel Chops DVD.

Thomas was also featured on the Modern Drummer 2008 DVD with footage from his performance at the festival.

On one of the last dates of the Bedlam Tour in Mexico, Thomas and the band 'wrecked' the kit and cracked the 20"x24" acrylic bass drum, the kit has never been used or seen since, Thomas has not replaced it as he now uses DW Maple drums live.

Thomas used a four piece Tama Starclassic Bubinga kit during the recording of the 'acoustic' album Octahedron, but is still endorsed by DW drums.

Check out a few more different internet sites detailing Pridgens career:

Modern Drummer

Thomas Pridgen: Namm 2009 Interview

Friday, October 30, 2009

Mati Klarwein

From the official Mati Klarwein site:

Behind the world-famous painting 'Annunciation', used by Santana for the cover of their album Abraxas, hides the incredibly rich, but little known, universe of Mati Klarwein. Although Mati produced some of the most iconic images of the 60's and 70's, his name, and much of his work, remains unknown to many. Mati was a prolific artist whose range encompassed still life paintings, a great many portraits, and a wide variety of landscapes, both real and imagined, as well as the surreal and visionary art that he is most often associated with.

A true citizen of the world, Mati Klarwein did not have strong roots in any one country. Born of Jewish parentage in pre-war Germany, he escaped with his parents, to Palestine, when just two years old, where he later adopted the name Abdul as a gesture of empathy with his Arab neighbours. Growing up as a Westerner in what was then Palestine (later Israel), Mati was always something of an outsider and never knew the comfort of an unchallenged belief system. Perhaps no surprise then that in his work he likes to challenge our assumptions on everything from religion and sexuality to the perceiver and the perceived.

"Abdul Mati Klarwein is a visionary poet of the sublime. He is an artist of amazing technical virtuosity. He is also an enigma that an ever widening audience is trying to solve."

- Ronald A. Kuchta

Director, Everson Museum of Art, Syracuse, New YorkLiving, working and travelling at various times in Paris, New York, Spain, Italy, Greece, Turkey, India, Morocco, Niger, Haiti, Jamaica, Indonesia, Brazil, Mexico, Bahamas, Kenya, Senegal, Gambia, Cuba and Guatemala, Mati drew widely on these travels in his art, distilling this rich experience into an even richer visual imagery.

With artistic influences as diverse as his travels, Mati Klarwein's work combines a remarkable vision of the world about us, with a technical mastery of his craft that enables him to vividly communicate that vision.

From his early work, which already exhibited this technical mastery, through the psychedelic surrealism of the sixties and seventies, to the later landscapes of his beloved Mallorca, much of Mati's work displays an enhanced perception of beauty that most of us experience only occasionally in our lives.

Here is a sample of some of Mati Klarwein's work:

Thursday, October 29, 2009

Holographic Myth Language

...ancient legend tell us that one day, when the illusion of the SCREEN holds humanity on the brink of self destruction, a band of mystic meta-warriors will emerge wielding the ancient power of the HOLOGRAPHIC MYTH LANGUAGE. witness here, for the first time, as the epic legend unfolds before humanity's ears and the HOLOGRAPHIC MYTH LANGUAGE restores the thought forms of humanity to the long-forgotten harmonic wavelengths...

music has to be the key to the spaceship. words open universes. a gathering of tone-scientific boom-bap neopyramidic spaceship breakbeat sculptors and image-signal telekinetic transmitter navigation wordsmith warriors. the battlefield for the unlimitedness of the human potential is the playground of the imagination. the will of mighty magicians manifests poetic food for the ardent consciousness. who needs history when words appear in synchronization with the landscape of the moment? enter the myth as senses turn inward and life on the other side of the mirror of illusion blossoms in fountains of song.

HOLOGRAPHIC MYTH LANGUAGE is available to all, an open concept. the future of our race depends upon it... how much can YOU imagine to the music?!?

Tonescience by:

TOUCANSTARFLOWER - most of the raps, some beats; and all cuts, instruments, samples, editing, efx, etc

JACK "GORE" WILDER - some beats

DOLPHINBRAIN - some beats

MAJASKULEZ - some raps

OKERASUN - some raps

GILGAMORPH - some raps


TAWEE KIVA - some raps

INTHENI - some beats and some raps

SOPERIFFICK - some raps




Tuesday, October 27, 2009

Moon Turn The Tides...Gently Gently Away

Moon Turn The Tides...Gently Gently Away is a site dedicated to the vastly expansive world Jimi Hendrix created in the short time he was able to professionally record and gig around the world. In this website you will find rare archived material ranging from youtube clips, interviews, photos, concert and studio recording info and other various pieces of information scattered all through out the internet and in books. This is still a work in progress, so there is many more entries to come, please give a moment of your time to check this site out. It is a site that long time fans and new fans of Jimi Hendrix can enjoy. - Erik Otis

Monday, October 19, 2009

3 Hür-El

All Music Guide Biography by Vefik Karaege

3 Hur-El were one Turkey's most popular "Anatolian rock" bands. Comprised of three brothers, Onur (bass), Haldun (drums), and Feridun Hurel (guitar, saz, vocals), they followed the lead of Mogollar and performed some of the best examples of the genre. They wrote their own sometimes folk-driven Anatolian pop/rock, but they also paraphrased some classic folk songs with considerable ingenuity. Although their fame was short-lived, they helped improve the Turkish culture's stance toward rock music. All three brothers were born in Trabzon (Onur in 1948, Haldun in 1949, and Feridun in 1951), the largest city on the northern coast of Turkey. They moved to Istanbul due to their father's business; since they were members of a rather poor family, they were attentive to foreign musical developments but couldn't buy any instruments to play. But their desire to make music was soon realized when their father came home with an accordion, and the seeds of their later musical journey began to take root.

In 1966 they formed their first band, Yankilar, which was later renamed as Istanbul Dortlusu. They performed in small music halls and tried to make their own innovative synthesis of Turkish music and traditional rock forms. The brothers later formed a number of other bands, including Trio Istanbul, Oguzlar, and Biraderler, to name a few.As years went on, the brothers received good reviews from the underground magazine Diskotek and increased their popularity. They tried to live according to their musical philosophy, with long hair and hippie outfits — although they were still in high school. Feridun was even kicked out of school for his inappropriate behavior. After graduation from high school, they were ready to hit it big time, but Feridun chose to play and tour with the Selcuk Alagöz Orchestra. The other two brothers would later join the same band to gain experience and earn money to buy new equipment. In 1970 the brothers decided to embark on their own. They left the Selcuk Alagöz Orchestra and a busload of instruments behind to form 3 Hur-El. The name has always been problematic, as some people wrote the name as "3" and others spelled the number out with the Turkish "Uc."

Also, Hurel is their last name, but as they used it on some of their covers, when written as Hur-El it takes on the meaning "Free Hand" — signifying that the three brothers were now free to do whatever they wanted without any restrictions. Their first achievement was to invent an instrument that would combine an electric guitar and an electric baglama in the same body — the result formed the main ingredient of their signature sound and was dubbed the "double-neck saz-guitar." However, 3 Hur-El's innovations were not limited to this instrument: drummer Haldun Hurel combined traditional rock instruments with custom-made darbukas and other percussion instruments to create a synthesis of East and West.After their first single in 1970, "Ve Olum/Seytan Bunun Neresinde," they released more than ten singles in six years. Although "Madalyonun Ters Yuzu," "Ben Gecerim Gonul Gecmez," and "Seytan Bunun Neresinde" were considerable hits, their most popular song was "Sevenler Aglarmis," which had a rougher guitar tone than their other music to date. They also collected some of their previous singles on two LPs in 1973 and 1974; the initial LP won the first-ever gold status in Turkey. Apart from the band's singles, Feridun Hurel released a solo single, "Bir Sevmek Bin Defa Olmek Demekmis," which also became an instant hit.

In 1977, Haldun and Feridun left the band for mandatory military service, and during their period of service lost their mother in a traffic accident. Onur and Haldun immediately quit music; Feridun traveled to England to make a fresh start, but returned without any significant accomplishments and also decided to abandon his musical career. Subsequently, Onur became an instructor, Haldun started a business in ceramics and textiles, and Feridun chose advertising. However, in 1996 they returned with an album called Efsane... Yeniden (Legend... Again), and they released their latest effort, 1953 Hurel, in 1999. Both albums continued the sounds and song structures of their previous efforts, but they weren't welcomed enthusiastically by the new generation. 3 Hur-El have generally remained out of the spotlight since then, aside from occasional performances.

Tuesday, October 13, 2009

AstroNation Torrent Blog 93.

Jack Bruce & Friends
Live at The Lyceum Strand
London, England
Jan 25, 1970

Incomplete recording

If anyone has a more complete version - upload it!

"Jack Bruce & Friends" at the time were:
Jack Bruce, Larry Coryell, Mitch Mitchell and Mike Mandel


1 Intro
2 Tickets to Waterfalls
3 Theme For A Imaginary Western
4 Unknown
5 We're Going Wrong - incomplete - cuts off abruptly at 4:41 mins

The sound quality is good, but slightly under par for the times.
You probably have heard much much worse.

taken from hopboys Jack Bruce collection


Amazing show this one. Their second and last show in Spain. They were schedulled to play in san Sebastian too but it never happened. There is said to have been riots for the cancellation of the show...The video footage for this show was aired in one of the best music programmes ever in Spain, and was seeded here by the great Kigonjiro some time ago. The audio is pretty exceptional, too.

Hope you anjoy. Share, don't sell.



The Smiths
Paseo de Camoens, Madrid 1985 May 18th
San isidro Festivities

William, It was Really Nothing
Nowhere Fast
I want the One I Can't Have
What She Said
How Soon is Now
Handsome Devil
That Joke Isn't Funny Anymore
Shakespeare's Sister
Russholme Ruffians
The Headmaster Ritual
Hand In Glove
Still Ill
Meat Is Murder
Heaven Knows I'm Miserable Now
Miserable Lie
Barbarism Begins At Home
This Charming Man
You've Got Everything Now

Monday, October 12, 2009

Savath & Savalas

All Music Guide Biography by Marisa Brown

Started in 1998, Savath & Savalas was created as a way for left-field producer Scott Herren (best known for his work as Prefuse 73) to explore his more instrumental and acoustic tendencies. His first full-length, Folk Songs for Trains, Trees and Honey, an experimental, glitchy affair, came out in 2000, followed by the EP Rolls and Waves in 2002 and the much folkier Apropa't — which featured vocals from Catalan singer Eva Puyuelo, who Herren met when spending time in Spain — in 2004. In 2007 Golden Pollen, which included songs on which only the producer/instrumentalist sang, as well as appearances from artists like Mia Doi Todd and Jose Gonzalez, was released. Two years later, a proper follow-up to Apropa't appeared; La Llama included a new contributing member, Ecuadoran (by way of Florida) Roberto Carlos Lange.

Roy Harper

The biography on Roy Harper provided below comes from the Official Roy Harper site. This web page addition to the Pharaohs Den web library only includes biographical information up to the end of the 70's on Roy Harper, to read about his awards and other fascits of how his musical legacy evolved, follow the link below to get the full story on Roy Harper.

Roy Harper

Early Life

Harper was born in the Manchester suburb of Rusholme, England. Following the death of his mother a few weeks after his birth, he lived in Manchester for a few years before the family moved to Lytham St. Annes. He was raised by his father and step-mother, whose Jehovah's Witness beliefs eventually alienated him. Harper's anti-religious views would later become a familiar theme in his music. At the age of 10, he began playing skiffle music with his younger brother, David Harper, as well as being influenced by blues music, jazz and classical. Leaving school when he was 15, he joined the Royal Air Force only to reject its rigid discipline. He managed to feign madness in order to get a discharge. Harper then busked around Europe until 1964 when he returned to England and gained a residency at London's famous Les Cousins folk club in Soho.

The Sixties

His first album, 'The Sophisticated Beggar', was recorded in 1966 after Harper was spotted at the Les Cousins club and signed to Strike Records. It consisted of his sung poetry backed by acoustic guitar using an echoplex tape machine and other effects. CBS Records saw his potential and hired producer Shel Talmy to arrange 'Come out Fighting Genghis Smith', with the 11 minute track 'Circle', marking a widening of Harper's audience away from contemporary folk. Its intended cover was too controversial for CBS at the time, depicting a new born baby, complete with umbilical cord. Unknown to Harper, CBS changed it to a picture of their artwork director's baby, without including the birth scene Harper had intended. Harper and CBS parted company. The cover art was altered to Harper's satisfaction when he regained control of the recording.

Harper recorded 1968's Folkjokeopus with United Artists. Similar to the previous album, one song, on this occasion 'McGooghan's Blues' was 15 minutes long. In those days artists were required to write 3 minute songs with a chorus coming in no later than 30 seconds. At the time, this was the established requirement for radio play. From May, 1968, Harper was making regular appearances at free concerts in London's Hyde Park attracting a cult following of fans from the underground music scene. Harper's first tour of the United States followed the release of the album Flat Baroque and Berserk in 1969 which featured The Nice on one track called "Hell's Angels". Its ethereal sound was achieved by a wah-wah pedal attached to an acoustic guitar. Flat Baroque and Berserk also marks the beginning of Harper's relationship with EMI records, with 8 of his early albums recorded at the Abbey Road Studios and released on EMI's Harvest label. Harvest was formed in 1969 as a response to the growing emergence of 'underground' or 'progressive music'

The Seventies

After the Bath Festival of 1970, Led Zeppelin wrote a song titled 'Hats Off to (Roy) Harper', which appeared on the album Led Zeppelin III. According to Jimmy Page, the band admired the way Harper stood by his principles and did not sell out to commercial pressures. In a mutual appreciation of their work, Harper would often attend live performances by Led Zeppelin over the subsequent decade as well as contribute sleeve photography to the album Physical Graffiti. He also appears, uncredited, in the 1976 film, The Song Remains the Same.

Harper's 1970 critically acclaimed album was the four song epic, Stormcock, featuring Jimmy Page on guitar (credited as 'S. Flavius Mercurius') and David Bedford's orchestral arrangements. David Bedford would collaborate on future releases. In 1972, Harper made his acting debut playing Mike Preston alongside Carol White in the John Mackenzie film 'Made'. The soundtrack for this film appeared in the following year with the title 'Lifemask'. His next album 'Valentine', was released on Valentine's Day, 14 February 1974 and featured contributions from guitarist Jimmy Page. A concert to mark its release was held at London's Rainbow Theatre with Page, Bedford, Ronnie Lane on bass and Keith Moon on drums. The live album 'Flashes From The Archives Of Oblivion' soon followed.

Between 1975 and 1978, Harper spent considerable time in the United States. Pink Floyd's 1975 release 'Wish You Were' Here saw Harper as lead vocalist on the song 'Have a Cigar'. Floyd's David Gilmour returned the favour by appearing on Harper's next album, 'HQ', along with Harper's occasional backing band called Trigger (Chris Spedding on guitar, Dave Cochran on bass guitar, and Bill Bruford on drums) along with Led Zeppelin's John Paul Jones. The single 'When An Old Cricketer Leaves The Crease', taken from the album, is Harper's biggest selling and best known solo record to date. Harper also co-wrote the song, 'Short and Sweet' with Gilmour for Gilmour's first solo record released in 1978. He performed the song live with Gilmour at least once in the 80s singing the lead vocal.

Controversy followed the release of 1977's Bullinamingvase, with Watford Gap service station objecting to the lyrics in the song 'Watford Gap', which criticised their food ("Watford Gap, Watford Gap / A plate of grease and a load of crap..."). Harper was forced under duress to drop it from future UK copies of the album, though it reappeared on a later CD reissue and remained on the U.S. LP. Bullinamingvase also featured 'One of Those Days in England', with backing vocals by Paul McCartney and Linda McCartney, which became a Top 40 hit. 'Flat Baroque And Berserk', 'Lifemask', 'Valentine', 'Flashes from the Archives Of Oblivion', 'HQ' and 'Bullinamingvase' were all top 20 albums. For much of the seventies, Harper co-produced his records with Peter Jenner, who was also his manager