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Post by Ayinger on Oct 22, 2011 19:45:49 GMT -5
Two cents worth and not a nickle back:          ....as it goes through a weary wearing work week,,,,,the first solo Peter Gabriel album brings back 8-track moments and a fuse of style that "rocked" but had the arty high-brow touch (Fripp?) going on. ohhhh, to hear "Here Comes The Flood" again,,,, The new Steve Wilson (Porcupine Tree) solo project is still being absorbed but treating me right. The comp of The Wipers --- gawd YES! how it hits like a coiled spring unleased in minute doses. John Handy was a stolen d/l that I tripped upon both by thumbing in the stacks and once it was playing. PRIME mid-60's jazz with some of the headiness that Miles was reaching for at the time. Two numbers stretched out to the ethos.... Dr. John --- Creole Moon just has some great few tunes, esp in the tinkle of the title track and that just led to digging out some more of his older stuff. Isaac Hayes to follow with even more of that funk to stoke the soul in a slo'jam way. Joe Henry...his latest Reverie --- I don't care, had his name on it and I'm BUYING IT. And,,,,,just rewarded! This guy just never fails me in delievering the I-just-cut-myself-now-I'm-bleeding-and-I-want-you-to-hear-about-it sort of tunes. This one was recorded right off live that you can hear a hiss between songs as the tape ran. Give me this guy, a short whiskey & water, and I'm off into his dark world! Nick. Mr. Cave. Dug this out last night in wanting to hear something that I hadn't played in a while. AMG calls it " an entire album of deeply tragic and beautiful love songs without irony, sarcasm, or violent resolution" AMEN! I'd so forgotten how easily the song "Love Letter" just takes me to the knees.... |
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Post by upinkzeppelin2 on Oct 22, 2011 20:37:37 GMT -5
I need to hear more Nick Cave. Only familiar with a few songs, which I dig a good bit.
bowiglou,
Please PM me your email address. I've got a mix for you.
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Post by RocDoc on Oct 25, 2011 11:45:14 GMT -5
there's nick cave and there's grinderman - THAT's one hell of a listening experience too! good seein' ya melonius! and i DO still play the 2 john handy discs i 'acquired' thanks to you, don - great player. hey Rn..yes, the big 55..we had a collective 55-bday amongst my old cohorts last week and it was a blast...instead of talking about girls, drinking, and surfing we now measure our manliness via how many mg of Lipitor we take for our cholesterol!!! RN, you prompted me to come back here via your very kind bday message.......and yes, I am a bit of a fan of alt-country/Americana... glad you made it back...and glad that alt.country moves you. just stay away from that progressive bluegrass! once THAT catches you, i'll know you're a goner! 'by bald-headed chreeost, i don't listen to no damn progressive NUTHIN'!' ;D I'll have to give a listen to your buckingham reference..and yes, it is Fiery Furances...interesting they are neighbors..I just adore her solo LP oh everyone ..Ijust bought Real Estate---Days yesterday and it may be in my top 5 for 2011 what, a townhouse? must be pretty nice to be top 5....  *cough* |
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Post by RocDoc on Oct 25, 2011 13:00:34 GMT -5
oh! and for my NP: Liner Notes from THE GUITAR WORLD ACCORDING TO FRANK ZAPPA
cover scan by Knut Skogstad[Posted to alt.fan.frank-zappa by Dave Lane on March 19 1996 [nostalgic internet message header  ], slightly edited and HTML-enhanced for readabilty and clairty by Bossk (R), and annotated by us and our chosen cast.]
The Guitar World According to Frank Zappa
A Special Guitar World Audio Presentation
CrO2 Cassette
Barking Pumpkin Records GW002, 1987
Side 1
* Sleep Dirt
* Friendly Little Finger
* Excerpt from "Revised Music for Guitar & Low-Budget Symphony Orchestra"
* Things That Look Like Meat [shorter than on Guitar]
Side 2
* Down in de Dew
* A Solo from Heidelberg [otherwise unreleased]
* A Solo from Cologne [longer version of "But Who Was Fulcanelli?" on Guitar]
* A Solo from Atlanta [longer version of "For Duane" on Guitar]
Side 1
Sleep Dirt (03:17)
December 1974, recorded at Caribou Studios, Colorado
originally released without permission by Warner Brothers on the album Sleep Dirt
engineer: Kerry McNabb
original recording medium: 24-track analog tape
musicians: Frank Zappa, acoustic lead / Bird-Legs Youmans, acoustic rhythm
guitar: Martin steel-string acoustic with classic-width neck
Sleep Dirt was one of several disputed releases involved in the infamous Warner Brothers/Cohen Brothers law suit. The retail copies that eventually reached the marketplace were distinguished by unattractive covers, miserable disc mastering and non-existent promotion. Consequently, few fans have heard this cut. I seldom play acoustic guitar, and this performance (the only complete take from the session) is a rare example of a performance in this setting. The tune itself was composed in a hotel room in Stockholm, Sweden, sometime in November, 1971, as a result of borrowing the Martin guitar (owned then by Mark Volman) and experimenting on a day off during the tour. I eventually traded Mark a Telecaster for the Martin. It now sits unused in a dark corner of the studio.
Friendly Little Finger (04:17)
1975, recorded in a dressing room at Hofstra University and over-dubbed at the Record Plant, Los Angeles, California
originally released on the Warner Brothers album Zoot Allures
engineer: Davey Moire
original recording medium: 24-track analog tape
musicians: Frank Zappa, various guitars and bass / Ruth Underwood, percussion & ARP 2600 /Roy Estrada, drone bass / Terry Bozzio, drums
guitars: Gibson acoustic-electric, Custom fretless, Hofner bass
This is one of the earliest examples of a technique I developed called Xenochrony (strange synchronizations). Other examples include "Rubber Shirt" on Sheik Yerbouti and every guitar solo on Joe's Garage except "Watermelon in Easter Hay". In this technique various tracks from unrelated sources are randomly synchronized with each other to make a final composition with rhythmic relationships unachievable by other means. In ordinary polyrhythmic terms we speak of 5 in the space of 4, or 7 in the space of 6. In Xenochrony we deal with larger units of time; a complete solo at one metronomic rate in the space of a track at another ... sort of like Monday and Tuesday crammed into the space of Wednesday. The solo and drone bass was recorded on a 2-track Nagra, 15 ips, with a pair of Neumann U-87 microphones in a rather wet-sounding dressing room, warming up before a concert at Hofstra University on Long Island. This pair of tracks was later Xenochronized to a drum track out-take from "The Ocean Is the Ultimate Solution". The introductory orchestration was added next, and then the Hofner bass (recorded at half-speed), rhythmically splitting the difference between the two different track tempos. [1]
Excerpt from "Revised Music for Guitar & Low-Budget Symphony Orchestra" (02:21)
1975, originally released without permission on another one of those law-suit albums [2]
engineer: Kerry McNabb
original recording medium: 24-track analog tape
musicians: Frank Zappa, guitar & percussion / Bruce Fowler, all brass / George Duke, piano / Tom Fowler, bass / Chad Wackerman, drums
guitar: Ovation nylon-string acoustic-electric, DI into the recording console
This is an excerpt from a short chamber orchestra piece originally composed as a vehicle for violinist Jean-Luc Ponty, re-orchestrated here as a solo vehicle for guitar. The original recording featured Chester Thompson's drums. Chad's part has been over-dubbed as part of the ongoing UMRK digital refurbishment project. [3] The segment began as an improvised solo, played in the studio to the existing track. Bruce Fowler transcribed it and quadrupled it with trombone parts recorded at various speeds. Other examples of transcribed doubling can be found on the Waka/Jawaka and Man from Utopia albums.
Things That Look Like Meat (06:06)
December 1981, recorded live in some place that's not there anymore in Salt Lake City, Utah [4]
previously unreleased - will be included in the next guitar box set [5]
engineer: Mark Pinske
original master: 24-track analog tape
musicians: Frank Zappa, lead guitar / Steve Vai, rhythm guitar / Ray White, rhythm guitar / Ed Mann, percussion / Tommy Mars, Hammond organ / Bobby Martin, Jupiter 8 clavinet / Scott Thunes, bass / Chad Wackerman, drums [6]
guitar: Gibson Les Paul Custom
This is a fairly representative example of my style and approach in a live setting circa 1981. Recorded within three days of the end of the '81 tour, it captures the band in an unusually consistent groove, wending its way home to Los Angeles. Video tape of this solo exists and may be released in conjunction with the next guitar solo box collection. [7]
Side Two
Down in de Dew (02:54)
1975, recorded at Paramount Studios, Hollywood, California
previously unreleased - will be included in the next guitar box set [8]
engineer: Kerry McNabb
original recording medium: 24-track analog tape
musicians: Frank Zappa, all guitars and bass / Jim Gordon, drums
guitars: Gibson acoustic-electric, Custom fretless, Hofner bass
This piece began as a recorded jam session at Electric Lady Studios in New York City. The only thing that remains from the original recording is the drums. Everything else was layered on in over-dubs at subsequent sessions in Los Angeles. This selection was an out-take from the Apostrophe (') album. [9] Another example of fretless guitar soloing can be heard on the song "San Ber'dino" on the One Size Fits All album. Unfortunately, the fretless guitar was stolen several years ago.
A Solo from Heidelberg (05:26)
1977, recorded live in concert, Heidelberg, West Germany [10]
previously unreleased - will be included in the next guitar box set [11]
engineer: Davey Moire
original recording medium: 4-track analog tape
musicians: Frank Zappa, lead / Tommy Mars, piano / Ed Mann, percussion / Patrick O'Hearn, bass / Terry Bozzio, drums
guitar: Custom Gibson SG
This type of solo was a nightly feature of live shows during that period. It's not the best of its kind, but I like the atmosphere and little noises from the audience. I didn't own a recording truck then, and all live concert tapes were being done on a Scully 4-track at 30 ips with Telefunken C-40 noise reduction. We were printing two stereo pairs taken ambiently with AKG stereo mics. Audible background hiss is the result of a whole stage full of amplifiers idling, combined with residual noise inherent in the recording. [12]
A Solo from Cologne (05:11)
Summer [13] 1982, recorded live in concert, Cologne, West Germany
previously unreleased - will be included in the next guitar box set [14]
engineer: Mark Pinske
original recording medium: 24-track analog tape
musicians: Frank Zappa, lead / Steve Vai, rhythm guitar / Ray White, rhythm guitar / Ed Mann, percussion / Tommy Mars, keyboards /
Bobby Martin, keyboards / Scott Thunes, bass / Chad Wackerman, drums
guitar: Custom Stratocaster
This is fairly typical of the Strat solos during the '82 European tour. Video also exists for this cut. I am considering the production of a 1-hour video version of the next guitar box. Let me know if you are interested ... call 818-PUMPKIN and tell Dottie or Mariel or Gerald if you think there's a market for such an item.
A Solo from Atlanta (04:05)
Autumn [15] 1984, recorded in concert, Atlanta, Georgia
engineer: Mark Pinske
original recording medium: 24-track digital tape
previously unreleased - will be included in the next guitar box set [16]
musicians: Frank Zappa, lead / Ike Willis, rhythm guitar / Ray White, rhythm guitar / Bobby Martin, keyboards / Allan Zavod, keyboards / Scott Thunes, bass / Chad Wackerman, drums
guitar: custom Stratocaster
There weren't very many people at this concert. Too bad they missed it. This was toward the end of the 1984 tour. The last concert of the tour was the Universal Amphitheater in Los Angeles, December 23. I haven't played the guitar at all since then.
[general notes & ads]
all songs composed, performed and produced by FRANK ZAPPA
all songs published (C) 1987 MUNCHKIN MUSIC (ASCAP)
engineered and digitally re-mastered by BOB STONE
cover photo by ANN SUMMA
package designed by MICHAEL DIEHL
executive producer for Guitar World Special Audio Presentations: NOE GOLDWASSER
liner notes by FRANK ZAPPA
(C) (P) 1987 BARKING PUMPKIN RECORDS
Distributed by GUITAR WORLD, GUITAR GALAXY and BARKING PUMPKIN
(C) 1987 GUITAR WORLDit is SO fucking cool that this is available! i remember guitar world doing these now and then. and now while i'm reading the biography titled 'zappa' authored by barry miles, i've already run through the zappa i had, which was honestly not that much - and now i'm hitting a few blogs while trying to represent live shows from several periods/bands which zappa put together - mindblowing musicianship contrasting with his relatively smarmy lyrical ideas, but well worth putting up with. great shows, each with bands of slightly different character - '81 halloween show at the ritz, nyc. '84 labor day in saratoga ny. '88 mayday in stockhom. |
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Post by RocDoc on Oct 25, 2011 13:15:49 GMT -5
...stockhoLm...
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JACkory
Struggling Artist
Posts: 167
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Post by JACkory on Oct 25, 2011 14:42:42 GMT -5
Bert... If you were to ask me the best place to start with Nick Cave I would emphatically recommend "Tender Prey". It's worth every penny you spend on it for "The Mercy Seat" alone. "Mercy" tells the story of John the Baptist in a way that's likely never done before. And "Sugar Sugar Sugar" is a classic revenge song.
Actually, if you're looking for a solid Cave beginner's sampler, you should hook up to Spotify and let me send you my playlist.
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Post by bowiglou on Oct 25, 2011 19:43:22 GMT -5
no funny guy (i. e. RN) I'm referring to a wonderful group called Real Estate (though Rn, real estate is a great buy in SoCal these days!)
and today downloaded Fruit Bats--Tripper......as I told ya all, I've been on a minor Iron and Wine/bon Iver/Beard rock kick the past year and these fellas fit right in!!!
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Post by RocDoc on Nov 1, 2011 17:53:06 GMT -5
no funny guy (i. e. RN) I'm referring to a wonderful group called Real Estate (though Rn, real estate is a great buy in SoCal these days!) only if you haven't already put your money into high-priced real estate back in 2006 or so, at the height of the market like we did! hell, real estate is a great deal ANYwhere these days....you can buy it for a song pretty much, just don't plan on selling anytime soon....unless you're allergic to profit. NP: Joey Molland's Badfinger
Black Hills Heritage Festival
Memorial Park
Fifth & Omaha Sts.
Rapid City, South Dakota
July 1st 1998
1 Come & Get It
2 I Don't Mind
3 Suitcase
4 Baby Blue
5 Oh Yeah
6 Happy
7 The Dreamer
8 Midnight Sun
9 Chasing A Dream
10 What Happened
11 Day After Day
12 Vampire Wedding
13 Moolah Rey
14 Money
15 Flying
16 Sweet Tuesday Morning
17 No Matter What
18 Come & Get It (reprise)
The Musicians: (buy their buyable stuff)
Joey Molland-Vocal,Guitar
Mark Healey-Bass,Vocal
John Richardson-Drumslots of great material to choose from, even if molland's the only one here...tho the 'sweet tuesday morning' here (my very fave badfinger toon) is pretty rough for some reason, like the singer (molland himself i think) was preoccupied with something else while he sang it...he flubbed some lines and the phrasing was all bent outta shape. oh well, that's rock n roll. |
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Post by RocDoc on Nov 5, 2011 13:19:17 GMT -5
NP:
Adult Swim Presents Metalocalypse
Dethklok
June 17, 2008
Clutch Cargo's
Pontiac (Detroit), MI
Opening acts:
Soylent Green
Chimaira
Total Time 55:43
Setlist:
01 Intro Video
02 Deththeme
03 Briefcase Full of Guts
04 Brthday Dethday
05 Facebones "behind the scenes" video
06 Awaken
07 Bloodrucuted
08 Facebones "what is moshing" video
09 Duncan Hills Coffee Jingle
10 Dethharmonic
11 Castratikon
12 Go Forth and Die
13 Murderface Takes A Leak video
14 Hatredcopter
15 Murmaider
16 Thunderhorse
17 Video "Kill the Fans!"
18 Go Into The Water
19 band talking to crowd
20 Fansong (massive dropouts)
Deathklok is:
Bredan Small on vocals and guitar
Gene Hoglan on drums
Bryan Beller on bass
Mike Keneally on guitar
Recorder: Sharp MD SR60 Mic: Sony ECM-DS70P --> Sonic Foundry --> WAV --> dBpoweramp --> FLAC --> MP3
Location: in front of the soundboard on the lefthand side
Pictures taken by Roger
The sound quality of this recording is real nice and clear. However,the recorder I used experiences tenths
of a second dropouts on occasion which I'm attributing to movement. The recorder was in my pants pocket and I
got knocked into quite a few times. Near the encore, a couple of drunk douchebags pushed their way through displacing
everyone in the immediate area causing dropouts that lasted several seconds.
There are two of these long dropouts in Thunderhorse (16), one during the last video (17), which was edited out, and a couple
at the end of Go Into the Water (18). At 2:30 in Fansong (20), my recorder went on the fritz and recorded for o
nly a few seconds at a time. I edited these long gaps down to just a second to make it less annoying.
Only about two thirds of the last song was actually recorded.
Listen to the very end after the concert ends and you'll hear another drunk douchebag yell out "hey bootlegger!" when
he notices my microphone.
taped and uploaded by gladcarrot June 20, 2008
this one's weird - for me the ex-zappa 'stunt-guitar' player mike keneally is the draw , but apparently parts of the metapocalypse cartoon gets shown (for continuity of this made-up band) so you hear dialogue(s) in betw songs a few time...the cookie monster vocals rarely get high marks from me and here it's no exception....keneally however DOES pull off some nice work in this context, pro hired gun that he is.
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JACkory
Struggling Artist
Posts: 167
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Post by JACkory on Nov 5, 2011 18:52:13 GMT -5
I outted my wife as a closet Deadhead so I've been listening to a LOT of Grateful Dead. Developing a new appreciation for the band as a whole, as opposed to, say, Jerry Garcia's solos, even though they are blowing me away like never before. Lesh is so awesome...any other band he would be over-playing like crazy but with the Dead it fit's perfectly. And Weir's guitar playing has always been overshadowed.
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Post by Ayinger on Nov 5, 2011 21:59:13 GMT -5
I too need more Dead in my life... Only own LIVEDead and Reckoning (?) but both are great listens. Just as long as I can stay away from "Casey Jones" and the like,,, Speaking of The Grateful, picked up this today:  Bruce Hornsby & The Noisemakers Bride Of The NoisemakersBruce having filled in on keyboards for the Dead on tour for a few years. This is a live outing, the 2nd with 'the Noisemakers' and it really ain't all bad. Lots LOTS of jamming feel to the songs that run the gamut of lengthy piano runs to guitar freakouts to countryish knocks. Some decent overlooked versatility going on here! |
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JACkory
Struggling Artist
Posts: 167
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Post by JACkory on Nov 6, 2011 12:29:25 GMT -5
I can't stand "Casey Jones". I would suggest "Without a Net", a double disc set that I've been playing a lot. The companion piece to "Reckoning", "Dead Set", is pretty solid, with the best "Friend of the Devil" guitar solo I've heard. "Go to Heaven" is not your typical Dead but it may be worth getting for "Althea" alone. Avoid "Mars Hotel" and "Steal Your Face" AT ALL COST. The Grateful Dead is pretty awesome if you can get past the vocals. I mean, I guess the long haul hardcore Dead Heads are enamored of Jerry's warbling and Weir's "can I really sing?" style. I find Jerry's endearing, Not so much Weir's, although I am actually beginning to develop an appreciation. PigPen was great for what he did well, but he wasn't around long enough for his thing to truly incorporate into the style they eventually became known for. The thing is, you gotta listen to the way these guys play off of each other. You can't just sit in front of the speakers and listen, you have to really jump in the waters, so to speak. You have to listen to Jerry 's lines in real time, as if you were the one playing them. Check out the rapport between him and Weir, who may not get the recognition Garcia does but who knows but that Jerry might not have been so inspired without such a great back up. And you probably know that the live albums are infinitely better than the studio ones. The only exceptions, IMO, are "Anthem of the Sun", "Workingman's Dead", "American Beauty", "Blues for Allah" (MAYBE), "Terrapin Station", "Go to Heaven", ""In the Dark" & "Built to Last" (the latter two have a lot of vocals from Brent Mydland, who they were obviously pruning to take over a lot more of the vocal chores until he died). Then again, I guess that is a lot of studio albums so maybe I'm a little bit unfair, preferring the live ones so much. But they went into a real slump with the release of "Wake of the Flood" and it's follow-up "Greetings from the Mars Hotel". Even though I put "Blues for Allah" on the list of good discs it still suffers from a lot of problems and I can't help but hear it as the the third part of the trilogy of dismal records they made for their own label. Donna Godcheaux was singing quite a bit in those days and I can't stand her. Her contributions to "Terrapin Station" definitely bring it down a few notches. "Shakedown Street", if memory serves, is wretched and she's given too many lead vocal spots.
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Post by RocDoc on Nov 9, 2011 12:04:59 GMT -5
NP:
MANASSAS -
Bananafish Gardens 1973 (SBD A)
New York, April 16, 1973
ABC-TV In Concert
Excellent soundboard remastered
Track List:
1. Carry On
2. Know You Gotta Run
3. Word Game
4. Remember The Americans
5. So You Want To Be A Rock'n'Roll Star
6. Go Back Home
7. Pensamiento
8. 49 Bye-Byes
9. For What It's Worth
10. Find The Cost Of Freedom
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Post by RocDoc on Nov 12, 2011 13:42:24 GMT -5
From the veryvery great site h**p://arizjones.blogspot.com
This is a nice recording of Irish singer Maura O'Connel with some great musicians behind her. For me I will listen to anything that has Barenberg, Jerry Douglas, and Edgar Meyer.
MAURA O'CONNELL
Telluride Bluegrass Festival
Telluride, CO
6-25-1989
Soundboard
01 Intro
02 The Scholar
03 Summerfly
04 Western Highway
05 Helpless Heart
06 From Ankara to Izmir
07 Through the Gates
08 Why Don't You Go Back To The Woods
09 Trouble in the Fields
10 Shotgun Down the Avalanche
11 Feet of a Dancer
12 My Irish Molly-O
13 Open Arms
14 Pushed Too Far
15 Keep It Up/Prince Charlie
16 To Be The One ^
17 Nobody Knows ^
18 Crazy Dreams
19 I Don’t Know How You Do It, But You Do
Maura O'Connell - vocals
Russ Barenberg - guitar
Jerry Douglas - dobro
Edgar Meyer - bass
Special Guest:
^ Paul Brady - vocals
Total Time:90:40.00
Mp3/320k
h**p://www.megaupload.com/?d=GUTP1XEF
off the frikkin' hook, this shit!
i'm wondering if jerry douglas's association with alison kraus began just after this show, because the unreal possibilities of what a band of musicians of 3 instrumentalists like these plus an incredibly expressive singer like o'connell could do, whoa!
totally charmingly irish with the lilt when she speaks (ex-lead of deDanaan) but she CAN do the country/bluegrass inflections like nobody's business....THIS coulda been AS&UnionStation, with their grammies and all!
arguably edgar meyer and russ barenburg had their own things going strongly at the time, both with and without jerry douglas, in the classical fields as well, so why pursue money and 'pop' i suppose?
but THIS is just wonderful...and it's a 60-40 split as to knockout pieces with maura and then for their instrumental trio pieces....but they DO seem more than just a picked up backing trio for her.
don, you need this!
backyard music that absolutely soars.
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Post by maarts on Nov 12, 2011 18:12:03 GMT -5
I like Maura's voice but I'm not overly bowled over by it. Douglas/Meyer, now that's different shit...
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], slightly edited and HTML-enhanced for readabilty and clairty by Bossk (R), and annotated by us and our chosen cast.]
