3.19.2007

The Five Americans Dont You Dare Blame Me




Here is an HBR (#468) single that I picked up over the weekend at a location to remain unidentified. According to the 'Americans discog, this was released in the halcion year of 66, also the best year of the Ford Mustang, but I digress.

Don't You Dare Blame Me starts up with a great tweaked intro freaky warbled organ, that busts into a stomper- this one driven by a stomping bass line...

It has one cool disorted break that ends and the trebly organ comes up and does a break.

"Dont Blame Me for What you've done," the vocals proclaim. The song ends quite abruptly. The mood served up by the track is altered and odd. The lads seem a bit off here.

Shocking how much the a side EVOL Not Love sucks. It charted as high as the Top 40, according to thier site. This is truly a single sided record, but kills it in that regard. Flip this one over and groove, easily the best song they tracked.

3.12.2007

Bay Area Funk V. 2


This comp came to me via a review copy. I would have to say that like the Bay Area as I know it, this comp is all over the place- both in style and in quality.

The first track that grabbed my ears was Acid Lady by the San Francisco TKOs. An unsettling horn intro breaks into a funky soul number grooving to an abreviated Satisfaction progression. "Acid, Acid. Who got the Acid Lady," lyrics come in and then the wah wah goes into massive use. The horns are mixed louder than the guitars... Probably the first knockout on this collection.

The very next track, Si Se Puede, by the Ray Camacho Band lays a more Latin twinged spin on the funk. Some of the horn parts are Love Boat painful, but the basic guitar groove shoves this into the funk gutter and saves the track. It's funny as the sax solo is not painful at all compared to the symphonic sounds from the other horn parts.

Stop Look Listen! by Primevil has a fat Rhodes sound with a loud snare, and tambourine laying it down. The vocals are everywhere in the mix. The bass builds the foundation for this house of funk. This one is basically a jam and ends far too soon via an unfriendly fade out.

Victor Green jams the keyboards home with a low fidelity Hammond jam, punctuated by unruly cymbals and some way loud congas. Creole Girl is also more a fragment than a cohesive track, but cool nonetheless.

The closer, Brute Strength by Mike Selesia, borders on cowbell abuse, in laying the structure for the cut. The bass walks in and out of the pocket and the sax provides a counterpoint to the percussion as the players are kicking the snot out of the drumkit. There is a fuzzy psych guitar solo that seems to be mapped only to the right channel.

I enjoyed this comp overall. The sound quality was sort of uneven, but who knows what sort of raw material the compilers had to work with.

3.08.2007

The Bachs Out of the...



The Bachs were a garage band from Lake Forest IL.

An interesting point about them is that they never released a single, but in 1968 they released an LP, Out Of The Bachs, as a farewell to their fans and each other as they either went to college or to Viet Nam. I recently received a high quality cd burn of this high dollar LP.

This record has been reissued a few times over the years, albeit in sub par sound. This burn is a copy made from an excellent quality original disc.

The album itself has a high level of charm blending a midwest sensibility with copius amounts of jangle, warbley vocals and major dollop of reverb. The vocals deliver an odd message with the originally appearing simple lyrics. No digital f ery has been employed to fix their sound. It is like they were able to contain the Mid Western moodiness and put it into song and are able to carry it off for 12 songs. Pretty amazing for five high school students from Lake Forest High School.

"Eat to to live or is that live to eat?" Minister to a Mind Disceased. There is a screaming guitar buzz that erupts in this song, and then is abruptly cut to go back into the verse. "Don't be concerned, you'll die the same... don't try to fight it, it's all in vain." and with that ends side 1.

I also like the distorted twang that appears in Nevermore. They go from jangle to fuzz and back. Not a pounder by any measure, but damn amazing.

But do they leave the best for last? Quite possibly, with the angst ridden ditty entitled, I'm A Little Boy. More snot drips from this vocal delivery than the rest of this record combined. There is also a great drum pattern that goes into a guitar break of sorts. The boys kick out the fuzz, but it moves at a relaxed pace. Kind of like this lakeside town.

Twisted poetry or high garage art. I think a bit of both. I really dig this lp. They meld folky sounds, garage and MidWestern moodiness to great success.

3.05.2007

One of my favorite things...

With the new and improved setup of the CD reference system, spinning 45s has become even more enjoyable.

3.01.2007

Electrickal Car Redux

Espresso Junky sent me a pic of the new elecktrickal car. Check out the low profile tires and the alloy rims. TRICK, this thing will do 40 MPH no problem. This is not a barney electric car.
I can't wait to take a spin in this one.

Loos Foos update

Inexplicably, I received this picture above in my inbox today of the Loos Foos 45 that I blogged about over one year ago. There was no message or anything, simply LOOS FOOS in the subject line and the photo above as an attachment. Odd. Thanks Ichaseroos.

2.28.2007

Iowahawk February 2007 Short Film

Thrill to the latest installment of Iowahawk!!! Ice racing muscle cars in WI. AND... Deuces at the Petersen Museum. I especially dug the shots of the Watts Towers. And also the shots of the Big Daddy ephemera.

2.26.2007

Maceo US People Records

I came across this LP at Dusty Groove, and while being a bit scared off a bit by the cover, I took a flyer. (Hard to say that buying any early 70s JB related disc is a risk, but still.)

I dig on the spring tremolo tone that starts out side 1. But of course, the track dives right into a Maceo solo. The track is Soul Power 74 and has a little baby crying sound in the background and features a most percolating bassline.

Then Paarty makes its first appearance, as it becomes a refrain between the tracks on this long player. This is another monster with seemingly improv riffs over a tight groove. I think to myself, this reissue sounds great!

Show and Tell takes it down quite a few notches a sensitive sound. This one doesn't do it for me with its female backing vocals.

Then Maceo in the ghetto brother, JB led raps between the grooves before Drowning in the Seas starts. This is another slow track, but it is growing on me with repeated listens. Some nice percussion touches are put in the mix- building to some oddball strings and Moogish wanks underneath Maceo's horn.

Side 2 starts out with a Maceo lead but this one is a bit sappy for my taste. It may be the strings underneath everything else in the mix. A minute or so in, things take off with weird o panning effects and sound effects thus redeeming the song by bathing the music in a sea of wah wah.

Maceo, we want to go to the ghetto brother, where you were born...

Nothing need be said about Doing It To Death, although the flute line and lead over the guitar licks and bedrock bassline gives a choice layered effect. Higher, yes indeed.

The centerpiece and the final track on the record is the 10.37 Soul Of A Black Man, featuring vocals by JB- The Minister of New New Super Heavy Funk. Excellent use of a woodblock under Mr. Brown's spoken intro. This track is like a conversation between JB and Maceo. "Maceo, you're my Brother, play us a little bit more. That's the soul of a black man.

2.20.2007

Beatboxing flute inspector gadget remix

This is wrong on a few levels.
I just found this posted on the front page of youtube.

Mixing both the Inspector Gadget theme and a tune that is on the tip o me brain. Is it Beverly Hills Cop Theme...

Man has chops on the flute.

2.17.2007

Ofege Lp


I know very little about this group, other than the fact that they rock. The twist is that they are from the early 70s and were located in Nigeria. I found a needle drop of their early 70s lp on the internets and have been cranking it quite frequently on the reference system.

A simple stroke of the almighty GOOG returns the following"


The Ofege Phenomenon
The 1970s school boy musical band from
St. Gregory's College, Obalende, Ikoyi, Lagos.
Nigeria's most outstanding school boy band of all time !

The Ofege music was largely influenced by the guitar solos of Carlos Santana, Jeff Beck, Robert Plant, Francis Rossi and the criss-cross rhythms of Osibisa. At home they were influenced by the music of ‘BLO’ (Berkley Jones, Laolu Akins and Mike Odumosu), ‘Monomono’ (led by Joni Haastrup), The funkees and Ofo the Black Company. Just before Ofege, there were a few boy bands in existence. ‘Grotto’ a senior Gregorian band featured Skid Ikemefuna on guitar alongside Martin Amenechi and Soga Benson.

At Igbobi College was ‘IC Rockets’ in which Cornelius Tay (CEO of CT & A) played bass guitar. Other popular Gregorians who were accomplished ‘session men’ and could back any fledging band at the time included Sultan Anibaba, a practising architect and project director with the National Health Service (NHS) in England and Koku Konu (also a UK trained architect, but is somewhere in Nigeria). ‘Sultie & Koku’ were like the legendary hard funk duo ‘George & Louis Johnson of Brothers Johnson’ – both graduates of Bill Preston’s School of Rhythm and Lead Guitar.

Other bands on the circuit were ‘Tirogo’ in which Funmi Onabolu (CEO Bates Cosse) played the keyboards and bass guitar. ‘BAC Foundation’ was a fusion of boys from Gregs, Igbobi College and Methodist Boys High School, Lagos. It had Wale Gomez (Gomie States) on drums, Laku Coker on keyboards, Tunde May on lead guitar and Debo Ajayi on rhythm guitar. Ofege was about Afro-funk. At their gigs...it was funk, funk and more funk! Read all about the oustanding group Ofege in the latest edition of Island News.

Culled from NIGERIA TODAY ONLINE MONDAY, MAY 23, 2004 Tel: 01 791 4196-7 E-mail: info@the-islandnews.com


The fuzz that they utlize on the electric guitar is straight from the garage. The polrythmic jams that they work are straight from Africa. It is a great mix of influences.

Soul-sides has the full skinny on Ofege here.

The vocal delivery is a bit weak, but the bass and tones of everything makes up for it. Since they were kids, this may explain a bit of it.

Here is a link for their instro track off their lp:
gbe mi lo

2.13.2007

Lost Astronaut



Here is my tribute to NASA's lost astronaut, Lisa Nowak, who was allegedly involved in a love triangle and some bizarre behavior.

Thanks to the concept of copy left, please find my sound collage entitled Lost Astronaut.

2.10.2007

Chicago Car Show 2007




Well, back to some motor vehicle related adventures. I ventured to the 2007 Chicago Car Show to combat both the winter cabin fever as well as the lack of car related fun that I have been having the last few months.

The highlights for me were seeing the Lexus ISF, which seems to be a pretty hot ride if you are into killing m series beamers, the 2008 xB from Scion, and then my real faves were all of the FOMOCO related stuff, including Mario Andretti's Ford, the various modern Cobras and the GT40.

Pictured above, Toyota had a sleek prototype hybrid, and a ragtop line extension of the popular FJ Cruiser. I also had to get a pic of the 300 hp version of the Honda k20 motor in the new SI Coupe. Jeep had an interesting track showing off its vehicles' offroading abilities.

I can testify that at least the old Wrangler could do anything off road, and it looks like its ugly modern relatives can do so as well.

All in all a great day followed by some record purchases as well as a tasty vegan meal at the Chicago Diner.

Chicago Car Show 2007 pt 2




Chicago Car Show 2007 pt 3


Chicago Car Show 2007 pt 4





2.08.2007

A Buddhist mix for Thursday


I came across this mix on DJ Spooky's site today.

Anything that can mix John and Alice Coltrane, chanting monks, Beastie Boys and Philip Glass is more than OK with me. Very OHHHHHHHHMMMMmmmmm.

I am very late to the party here, but it definitely put a glide in my sub zero frozen stride.

2.07.2007

Hawkwind Motorhead

Building upon yesterday's Hawkwind post, here is another that will discuss the Hawks.
As I mentioned briefly, Lemmy was a member of Hawkwind prior to going off on his own with Motorhead. I recall that early on Lemmy and Motorheard even toured with Hawkwind.

Before he left, he wrote the song Motorhead which showcases his vocal and his bass stylings.
Below please find a link to an mp3.

Motorhead

2.06.2007

Hawkwind Kinetic Playground


Flashback to the mid 1980s...

Mazda GLC moving at a high rate of speed, the tinny speakers in the home made speaker box are rippling with a treble filled, massive sound sending the musical wave forms out the open windows and open sunroof.

The sound is Hawkwind, a space rock band from Britain, that still exists to this day in some form or other.

Their heyday was the early to mid 70s when Lemmy was a crucial figure in the collective, providing his solid bass anchor, wild gruff vocal stylings and general charisma. Above is a picture of The Hawks in action in Chicago (at The Cubby Bear of all places) in 1997.

Coming across this cdr was quite interesting to me as it features Lemmy in the lineup as well as Twink on drums. The sound quality is OK, but it was "recorded by some guy with a tape recorder in the audience" per the tags that came with the sound files. The date of the recording is 6 December 1971.

Part of the whole allure to me of Hawkwind was their general weirdness and the fact that most people, even music geeks hated them back in the day. I am not a fan of scifi per se but I like the spoken word weirdo ramblings that Dave Brock (or whomever) that are performed between songs, add a creepy, lost falling feeling to the music. I always pictured hearing Hawkwind, if I were in space and my line to the ship got severed and I was left to drift into the void.

One of the highlights for me is the intro where they announce that we the technicians of spaceship earth and that they are out of control. The "captain" sounds like he is on something...

You Shouldn't Do That has a nice build, with Twink just rolling on the drums and then pounding out a solid beat to Lemmy's bottom end.

It is followed by The Awakening that is a spoken word weirdo thing into You Know You Are Only Dreaming, which is slow and has a boring, slow, repetitive riff that may have the potential to put you to sleep.

Master of The Universe has the Wind hitting their pocket performance wise, but the tape has distortion and perhaps some dropouts.

On Born to Go, they get downright experimental. The sound is like awkward jazz or something, atonal ramblingness, adorned with feedback.

All in all a great flash back, even thought it is a bootleg and has some sonic deficiencies.

2.03.2007

Tribute to WSB and Jajouka

After spending many a college afternoon in the WSB archives at ASU, I have been extremely interested in the thought process developed by him. I won't bore you with more details because he has been discussed to death.

The cut up methodology has been a fave forever, especially the short WSB/Anthony Balch film of the same name.

I also discovered the "4000 year old rock band sound" of Jajouka since I took the Brian Jones record in on trade at a record store that I used to manage. Later that year the Axiom Jajouka release came out and I spun that disc incessantly for personal enjoyment and also as a way to keep the patrons of said store under control. That Adcom speaker controller was put to very good use...

So I felt that after all these years it was time to do a tribute both to WSB and the mighty Jajouka.

Here is a "remix" of Talaha.

Thank so for inspiration both to the Cabinet (and all of the revelant members) as well as my #1 Bro EJ.

1.31.2007

More musings on Finnish Nuggets

After receiving a reprimand for not posting comments in garagepunk.com, here are some more comments...

Some thoughts and musings on this massive comp, ( I received a copy on 4 discs!)

I dig the fuzz on Hey Hey Hey by Blues Section. The Sax riff in response to the vocal is a bit disconcerting. A pretty heavy tune otherwise.

The Ernos bust a moody move with the track Harha. A hypnotic riffs reels the listener in and then returns to continue pushing the song forward. The vocals are more of a harmonic thing, think these folks were influenced by Mamas & Papas?

The Renegades (Birmingham UK) give a hard, Brummie reading of 13 Women. That organ riff still startles me after a few listens. The dog seems to dig it. The guitar break is punctuated by screams, growls and cymbal bashing. Great tone on the axe. Ace.

Jormas scream it out on the keyboard heavy I Can't Break The Habit. Falcetto vocs provide the counterpoint to the distorto guitar that sludges along.

The Roosters shake a soul feather on thier version of See See Rider. I dig the rolling organ at the bottom of the mix.

Topmost gives the Artwoods a run for the money with their reading of I Keep Foregtting. The guitar break is pretty sweet, but could be tough by either turning up the amp, or hitting a distortion pedal.

The Careless hit the garage pocket with Desolate Time. I dig the accent here. Garage vibe from the North. Drum roll intros the tuff guitar solo. The cymbals are smacked hard as well.

The book that Euphonic assembled is also unbelieveable. After all of the comps that I have bought over the years, this surely has to be one of the most complete. Compilers take note...

I hope to print it, sit down with the comps, with a Belgian Ale and fully get the story of Finnish Nuggets.

1.30.2007

Sons of Adam Moxie ep




Ah yes, the soothing sounds of The Sons of Adam. Soothing would not realy be a proper adjective with Randy Holden's blistering guitar. Mr Holden is a master.

This ep starts with You're a A Better Man Than I, the Yardbirds track. While most of the performance of the song has little to improve on the original save for Holden's guitar. The break will bend your mind. Lots of strings bending, sustain and speaker rippling feedback.

The Sons cover an Arthur Lee song called Feathered Fish that Love never recorded. Here Randy builds the base for the entire sound. He pounds it out, and the vocals, in a very 66 LA follow the path blazed by his guitar.

Baby show Me The Way was introduced to me from one of those Tony The Tiger comps from 10 years or so ago. This is a hard number with Mr. Holden playing counterpoint to the vocals. He seems to be trying to keep his axe under control, but his youthful energy and chops demand that he let it rip. "Lets move it down, now... Yeah."

The vibe is the MC5 at their most raw, without the politics. Word is genius.
The sound on this ep is pretty rough, obviously "mastered" from the original 45s themselves.

Here is a link to d/l mp3s. Thanks, Lost In Tyme Blog

1.27.2007

Noise for the people

If you have been paying attention, I have been trying to get my skills together with garageband.
I still have a lot of work to do with the learning curve, but here is a remix of the funk nugget "Hachet."

Hachet

(the link above is to a non compressed 34 M file hosted by our friends in Deutschland at Rapidshare.)

Thanks to the prodding of my friends, hopefully this is just the beginning.

1.23.2007

Nuggets from Finland

Wow, I constantly amaze myself with how much cool music came out in the 60s. It came from everywhere. Last year somebody provided multiple cds of mp3 sourced Portugeuse 60s music.

So here we go with FOUR (!) cds worth of 60s beat from Finland, home of a very heterogenous (and rocking) population.

The sound quality varies on record to record, but what else would you expect. Even the worst disc does not touch the "sound" of earlier Pebbles type comps. There seems to be some digital imperfections at some places in the songlist.

There are tons of tracks here, but I will try to stick to the ones that caught me ear. On disc two, there is Kevat by the New Joys. The fuzz riff is maximum, but then mood is kicked down quite a few notches when the vocals start. Lyrics are in Finn, and add an eerieness to the proceedings. Then a Keith Moonalike makes a quick appearance and smacks his drum kit like a collection of garbage bins. Cool track.

Dance to The Locomotion by Jormas, is wary fast and smokes. How does the drummer play that fast? R&B speeded to the max, the snare solo is crazy, followed by a frantic guitar lead. Their take on California Dreaming aint so hot, though. The tempo is kind of jerky on that song.

The Downwalkers do the moody thang with I Don't Believe You. These gents are from Espoo. There is a bit of the string jangle, but the vocals make the mood here.

Tunnen Sen by The Esquires seems that it may be more of an authentic sound, as it doesn't sound like anything else.

Volume Three kicks off with Call Me on The Telephone by Blues Section. It has more of a tough sound, I liked 80% of this one, excepting the saxaphone, and the cowbell might be a bit abused. The guitar snarls and wheezes trhough a break sounding like nothing else.

The Renegades do a great cover of the Sorrows, "Take A Heart," with a phenomenal harmonica sound.

The Hitchhikers do a track called Meditation with a driving organ. The tempo is all over the place.

I will try to post some more thoughts later.

1.22.2007

Captain Beefheart Bat Chain Puller

This unreleased album from 76 comes my way via the mail. I am not sure why Captain Beefheart and the Magic Band never released this one. But thank you, internet.

The title track that leads this off, makes me say, "What an astonishingly odd way to start a record."

The harmonica "tone" that came out of the speakers gave my dog the inclination to do a double take. Sounded like wounded young elephant.

Maybe as I listen to this I am beinning to understand why this is lost. The third track, Harry Irene with it's sing songy vocals and whistle solo, really makes me this of one Jim Croce. Sorry, Captain.

Poop Hatch, while being a wierd Beefheartian spoken word piece, just kind of sucks.

Bat Chain Puller redeems itself with the track Brickbats. Lots of skronkity skronk horns dueling with some sloppy drums playing in an uncountable time signature. Surely those AZ pizza hut employees the Sun City Girls modeled their music in that style.

Not his strongest effort. I guess the hardest part is getting past Van Vliet's singing style. His famous multi octave voice is nary in view.

1.15.2007

Handbraking weather

Well, to say that I am a fan of my daily driver whip would be the overstatement of early 2007.

My tonda shivic is quite excellent in the weather as experienced today. We received an inch or so of snow that fell at around 30 degrees, so that the snow was both slippery and fun. This is where the car shines, and I enjoy it the most, outside of the built in reliability.

Here are the main important features of the car:

1. The car is pretty light.
2. The car is front wheel drive.
3. Said shivic has a handbrake (even though it is a 4 speed lame o auto tranny.)

I enjoyed going to a local mall with Cratedigger Sr. holding onto the chicken bar on the headliner, and plunging over the snowplow "drifts" at the edge of each parking row. The look on pop's face was quite priceless as he screamed, "Craaaaaaaaatediggeeeeeeeeerrrrrrr Watch It!"

Another fun routine was forcing the vehicle into right angle turns, by taking my foot off the throttle and then pulling the handbrake, thus slowing front wheel spin whilst at the same time locking the rear brake drums, and jerking the steering wheel in the direction of intended turn.

I really should have taken some shots of the right angle turns in the slush. Good times.

1.14.2007

DJ Shadow Psych Mix

I have been spending time in the cut/paste/edit/repeat zone as noted in recent posts. I finally got around to downloading the DJ Shadow psych mix as discussed on the yahoo group U-Spaces. I have to admit to being a lurker in that group...

This has been of interest to me for awhile, but my MP3 aversion is hard to overcome. I can't pull many of the songs that Shadow uses here, but I did recognize an Alexis Korner record used on the first track, as well as a Zappa voice over, "Suzy Creamcheese, where are you?" I do believe that is from the Mothers' Freak Out record.

For me the source records are not the most interesting part of this sound collage. The film strip from 7th grade sound quality of some of the sampled voice overs is of most interest. In fact some of the snips remind me of real experimental/industrial (not waxtrax) from the 80s. I wish I still had some of those tapes... The snips make mention of UFOs and other appropriate spaced out subject material that well accompanies the light headed feeling that the listener will get from jamming this. The sum of the parts, is much greater as a cliche.

The build from some unknown (to me) record at 4 minutes into track five, would be a great sound track to pumping the pedals up a large uphill ascent on your old roadbike. Then it breaks into "I am so tired and I don't know who I am..." A melancholy come down, go buy a farm in the country, hippie. There was some sound collage here also, but hard for me to make out at volume. Nice touch on the sampled loc groove at the end, scratches and all.

The sound quality is dodgy as I doubt this was ever very hifi and the source>aiff>mp3>aiff sound path has not helped on the highs in the sound spectrum. But I enjoyed splitting my wig to it nonetheless.

Not much in the scratching arena is in evidence here, but there are tons of edits, of that I am sure.

I found this collection of tracks to be highly effective, in additon to my homebrew espresso, to get the Sunday going.

1.13.2007

AR + Machines Echo



What have I been up to? I have been getting lost in the Interzone of cut up music and distorted internet culture. Old WSB's ears may hurt from this $h!T, but he would surely get it from the creative and production level.

Take for example, the double record, AR+ Machines. Apparently, this is a Krautrock masterpiece that will "Never" see the light of day in a proper cd reissue. So the FLAC files that I decoded and burned to a couple of cdrs will be as good as it gets.

The dude behind this release is pictured above. His name is Achim Reichel and he used to be in the Rattles, a beat band with whom I am somewhat familiar. This record is firmly in the progkrautrockcamp. As illustrated in the pic above, Herr Reichel, likes to abuse the Strat and the tape loops. There are even some floot loops on one of the tracks.

Echo is one of those releases that you can put on and start the coffee and go about your Saturday morning, and the noise will put you into an oddly creative mood. I think that volume will make a big difference in what your personal takeaway is from the record.

It is almost useless to out write Julian Cope in regards to this record. He seems to get his Freak On about Echo.

AR+Machines abuses the tape loops and edits and uses phasing in such a way that it makes me wonder where I put my Fripp and Eno records. The mood goes from outer space to inner space and back again. I think that I will listen to this on the headphones the next time that I am on a plane.

1.11.2007

Damm GarageBand is Baaad

Thanks to some of the persistence of one of my bros, I have been abusing the mac program GarageBand. The claw knows...

I have found it incredibly entertaining to abuse the tunes around the house and fill the system with some discombobulating noise. Just drop the noise into iTunes and then find it in GB and bring it in. I am thinking that putting it back out should be just as easy. So far I ahave been mixing live and hurting my garage sale amplification. One of my "tracks" is getting closer to the point that I may be able to record it soon.

Some of my faves are pretty mainstream funk dusties, then busting fills with Dutch noise. I may be onto something, or I may just be lame. But it doesn't matter really.

The program has an extremely easy learning curve. I really know nothing about sound, but GB makes it very easy to make edits, cuts, loops, and add extra tracks without much skill required. I can't believe how much fun this has been, maybe more fun than my tascam 4 track 15 years back.

1.06.2007

The Churchills LP from 68

I had heard a bit about the Churchills LP from 68 a bit as being the one high dollar psych lp that is actually worth the money. They were an Israeli band that challenges Plastic Cloud on the fuzz category.

I am happy to get a cdr of an out of print $5-6000 lp usually, but I have not been able to make that happen yet. Yesterday, I was able to download an mp3 copy of the album from 1992. For mp3, this particular burn makes quite the room filler of sound.

Pictures in my mind has a preponderance of fuzz curlique throught the mid range. The stereo mix is very effective here. The 'Hills use the the panning effect to excellent result. Towards the end the fuzz travels channel to channel, up and down in volume in the mid range. This is all over a pounding blues based rythm stomp. Very cool.

Track four mellows a bit and takes the progression down.

Track 5 starts to pound and the guitar workout would give both Jimi and Ron Asheton a run for the money. Once again the panning effects are used to build tension. The arrangement is spectacular. The bass is tight and the drum kit is spanking out. My listening room is rumbling.

When the Churchills get to Straight People, they lose my attention a bit. The tempo reminds me a bit of Coronado's biggest drunken export, Jimmy Morrison. That f er should have sent more time mowing his lawn instead of "poetry," but I digress. Not a good thing to my ears. They use a preponderance of reverbed sound effects to move the song. The vocals just kill it for me. There is also either more tape hiss or snare rumble on this track.

Subsequent Final betrays their geographical heritage by including local instrumentation (the saz?). Sonically it reminds me of some of the more powerful Turkish psysch that was being reissued in years back. The bass is just doing bass drops. My neighbors must love me this morning. They break it down in an almost bluegrass fashion at the end. Amazing. This is possibly best one of the best arranged songs that I have heard in months. Rumble, rumble rumble oes the electric bass under it all. "Here I go..." Nice test tone at the end.

So Alone Today uses backwards guitar and echo to make chills form on the back of your neck and to make the dog ask to go outside. Freak.

Debka has the freak out award for this record though. Listen to our friends consult the joint chiefs over a rambling stringed arrangement as they build into a more medium tempo. The leader and intro is asking to be sampled.

I won't bore you with the details as they move into Led Zep cover territory.

1.02.2007

Frank Zappa - King Kong (1968)

This was posted, just because it is there.

Many Beefheart collaborators,and FZ kind of stinks up the joint.

1.01.2007

critical mass

Kind of glad that I missed this part of the Mass.

Critical Mass 12.29.06 pt 2

So after riding down Milwaukee, we follwed a couple of fixed gear riders down Lake Street underneath the El to Franklin, where we once again followed the El tracks, but this time south. Manouvering the Dahon amongst the supports for the El tracks and the Friday traffic was quite challenging. The Speed handled very well, I need to take it in for a dialing in, though. The brakes could use some adjusting. Overall, the chrome moly frame feels stiff and the SRAM shifter is a huge improvement over the 5 speed Sturmey Archer failure.

We got to Daley Center and there was a crowd, but not as big as I suspected for a New Year's Critical Mass. The weather was extremely mild and dry. Amazing for late December in Chicago.

We met our two groups of friends, two of the total group were Chicago CM first timers. They seemed pretty psyched. We heard rumors that the ride was going to head south to Hyde Park for a bonfire. None of our group was up for a ride down south and then all the way back north.

We headed out and almost immediately started heading south and west. We went past Greek Town and then headed west on the street directly north of 290. When we got to Ashland, the ride headed south. Our group was definiately not into going to either Oak Park (west) or Hyde Park (south) at that point. We called a group audible and decided to head back north and hit a couple of bars.

Based on a video that I posted, it looks like we are all wrong, and the ride did head north at some point, since the video shows some CM nonsense in Wicker Park at the North/Damen/Milwaukee intersection. We did see more than a few groups of riders heading both east and north as well.

Anyway, we headed north and stopped at a place called the Union Club,, on the edge of the hood. Judging by the bars around the parking lot, I felt that this was a somewhat unsafe place to park our six bikes. We used our Kryptos and some of our friends used a cable.

We mentioned to the door dude to watch our bikes, but I didn't feel that he gave it much priority. I came out the front door of the bar every few minutes to check. Everything was there each time that I checked. After we were done, maybe 45 minutes or so, we settled up and left. I was the first one out the door and was the first to notice that there were only 5 bikes!

f-ing thieves!!!

Our one friend had his mountain bike stolen. Not cool. We talked to the manager, and then we headed the 2 blocks to the police department. We dropped our friends there, they were going to file a report, take the blue line to the red line and go home.

We started heading east though the Loop. It was a great night to be out in the city on a bike. Pretty calm, and the weather was perfect. We went north on Clark, and then took the scenic route through Lincoln Park. Going through the Park at night on a bike is another cool thing to do. All of the familiar sights and smells from my childhood at the Zoo seem so much different. It is a quiet oasis between Broadway and Lake Shore Drive. I also almost ran over two rats that think that they have the park to themselves at night.

We continued up Broadway and evetually ended up at Moodys. Ths place has the 1966 beer joint down. Nothing has changed there since the 60s, a nice dark joint with free peanuts and $9.00 Anchor Steam pitchers! I will be going back.

We continued north and caught the Rogers Park train at 11.52. It was a long night of riding. I can't wait for next month.

12.30.2006

Chicago Critical Mass 12.29.06

So yesterday after taking a short holiday schedule at work, I went to the city to have my new Dahon Vitesse 5 speed tuned up at Rapid Transit Bikes, where I bought it. This was in preparation for the last Critical Mass of 2006.

I used the new Bolsa bike bag to carry the folder on the Metra commuter train to the city. The ride to the Clybourn stop was uneventful.

We got off the train, folded the bikes up and headed down the bike lane on Cortland through the yuppie borough of Bucktown. As I was pedaling amongst the city dweller hoopties and the yupster whips like Mini Coopers and Range Rovers, I detected a major clicking and vagueness coming from the Sturmey and Archer rear hub. This was not a cool feeling coming from any bike much less one that was a week and half old.

We get to the shop and they put the Vitesse on the rack. There was a mood of familiarity that permeated the room as if they had seen problems with this ride in the past.

Apparently Sturmey Archer is now owned by another company and is NOT known for the quality that I am familiar with from vintage Raleigh 3 speed transmissions.

The mechanic replaced the gear selector cable, ground down the adjustment barrel, replaced the cable again, and when I took the Vitesse on a test ride the same problem was evident. The bike couldn't find gears in the rear end and when it could, it could not stay in gear for long. Bogus.

Things were not looking good to use the bike for the final Critical Mass of 06.

After another agonizing hour, I said that it didn't look like the bike could be fixed, as the mechanic had tried everything. He seemed releived, then he shared with me that they had taken back 5 of this model due to similar issues. Dahon had even made a mod that was supposed to rectify the situation.

Strike #1 Dahon company.

I still kept my cool, but I was very determined to have a bike to ride in the Mass, especially since I took time from work and planned to meet a few people from both out of town as well as from the surrounding area.

They are determined to keep customers happy at Rapid Transit, so they let me pick out another Dahon in even exchange. The one that I selected was the Speed 8, which is much more of a performance bike as opposed to the 16" Piccolo and the D5 Vitesse, which are commuters. Also the Speed 8 has a derailleur instead of an internal hub tranny.

While this bike is off the floor, and could still use a few adjustments, I can say that it honestly hauls. The SRAM shifter moves the chain over the cogs pretty consistently with nary a skip.

So after getting a quick felafel at Sultans Market, (in Wicker Park at North and Hoyne), we flew down Milwaukee and enjoyed the bike lane all the way to Lake Street. We were able to see a tall bike and a stereo equipped trailer bike as we stopped for the requisite Old Style 6 pack.

12.27.2006

Abby: Exorcist rip from 74



Here is another winner (loser?) from the CD archives, 1974's Abby. This is a Blaxpolitation version of The Exorcist.

Being an American International picture, it hits on many points in the Blax genre. Also, this is a cratedigger vault member that appears to never have recieved a dvd release. The vhs copy is a multi generational copy from a scratched film print. Some of the scenes are pretty washed out. I would imagine that this is from both the film source as well as the old tape on which the signal is stored, but I digress.

William "Blacula" Marshall co stars in this film and plays a critical part in the plot as well as the resolution. The actor can emote. Not hard to imagine him as Lord Vader in the place of James Earl Jones. He plays Abby's father in law. He is trained in the ways of the Eshu spirits and knows how to deal with them.

This is a real freaky film as it starts all happy and positive with Abby (Carol Speed) moving into a new house with her husband who also happens to be a pastor. Spirits come to visit on the first night and Abby is never the same.

Once she starts to get her posessed freak on, first in a hot shower and then notably while cutting some bloody chicken, the positive tone of the film goes south. I guess this is much like the tone of the US during the early Ford Presidency circa 74.

When she freaks out and gets evil, the reverb used and the spooky green face flashed in really freaked out the youthful members of the audience. Sidenote, when I scored this video 10 years ago, a co worker named G 2 tha E said that he saw it on the West Side and had nightmares for the rest of the year. The combination of sound and visual effects remind me of the 70s anti drug film Angel Dust the Wack Attack!

Abby diverts from her training as a marriage counselor mighty quickly as she becomes the soul shaking hootchy mama enticing the brothers with the soul glow with her evil ways. The bar scene where this occurs will make any crate digger of soul quite happy. There are at least two cool shots of an old jukebox spinning the dusties, and afros and wild threads all over the place.

Marshall ends up saving the day and in so doing gives a positive resolution to the film. This is somewhat unconvential for movies from the blax era.

While being a cheapy, I enjoyed viewing this film again for the first time in years. The acting is not too bad for a blax movie and there is a basic plot that is not hard to follow. This would be great for a beer or cocktail fueled viewing party. Find a copy of this and dig it.

Weekend with The Babysitter

With the Holiday season in full effect, I received a dvd recorder as a gift. As part of the process of learning to use the machine and the related technology, I am digging into the cratedigger movie vaults (boxes and crates) to find movies that are trapped in the vhs domain. Many of these gems are way out of print, (if they were ever in print) on vhs, and certainly do not have a proper dvd release. I am wrong-- look here.

So that said, the first film that I pulled out of the basement video vault was Weekend with The Babysitter from 1970.

This Crown International picture opens with a cool scene at the CA / Mexico border that shows the border security in place in 69/70. Great mid 60s cars are all over the place. A hippie-aged young person gets taken down after he tries to run after being selected for a search. As I watch the film, I wonder what this has to do with the plot. I guess it is an attempt to have a teaching concept to this mild explotative time killer. "Sex and Betrayal," I guess...

George E. Carey seems to have done just about everything in this film (write, direct, produce) and Susan Romen stars as the teenaged, Honda Dream riding, gogo boot wearing babysitter named appropriately enough- Candy Wilson.

The babysitter randomly shows up one evening, apparently univited, The dad, Jim, is surprised to see her. The doped out wife, Mona, is "going to see her parents" with Mike, the wee laddie son. That leaves dad and the babysitter alone for youthful shenanigans.

The question remains, did Mona really invite Candy over to husband sit as a distraction?

Candy is soon making Tanqueray martinis ("on the rocks") and taking Jim to Sunset Strip, for some beer drinking/acid rock/lightshow/dancing mayhem.

Really, Mona is going to hang out with Rich, to get some drugs while her mom takes care of Mike. After a bit, Rich entices Mona to use Jim's cabin cruiser to sail to Mexico on a drug run.

Meanwhile, Jim takes Candy to the mountain house in his airplane.

This movie has it all, drugs, sex, some violence, motorcycles, motocross, youth rebellion, "rock" music, and hip lingo. The plot is pretty snore inducing. But the exploitative nature of this film tries to cover all bases. Some of the coolest footage is of the early motocross action.

12.26.2006

JB Update--still b!t$h slappin' from beyond the Grave


























I don't know if this is for real or not, but pretty amazing nonetheless.

It appears that James Brown might have locked his wife out of his GA house after his death.

There must be something to the story based on USA Today's coverage:

"It's not a reflection on her as an individual," lawyer Buddy Dallas told The Associated Press. "I have not even been in the house, nor will I until appropriate protocol is followed."

Brown's partner, backup dancer Tomi Rae Hynie, was already married to a Texas man in 2001 when she married Brown, thus making her marriage to Brown null, Dallas said. He said Hynie later annulled the previous marriage, but she and Brown never remarried.

"I suppose it would mean she was, from time to time, a guest in Mr. Brown's home," Dallas said.

On Monday, after the 73-year-old "Godfather of Soul" died at an Atlanta hospital, Hynie, 36, found the gates to Brown's Beech Island, S.C., home padlocked and said she was denied access."

Ouch, JB. You are still pushing people around, even though you are gone. The world is a much less interesting place without you.

12.25.2006

RIP JB

This will be a lot less funky Christmas this year.

I just got word that James Brown has passed away.
Rest in piece Soul Brother Number One.

You will be missed.

James Brown dies aged 73


By Telegraph staff and agencies
Last Updated: 10:52am GMT 25/12/2006

James Brown, the dynamic, pompadoured "Godfather of Soul", whose rasping vocals and revolutionary rhythms made him a founder of rap, funk and disco, died today in Atlanta, aged 73.

James Brown
James Brown had a complicated and unhappy personal life

Brown, whose career spanned six decades, was taken to hospital yesterday with pneumonia, said his agent, Frank Copsidas, and died with longtime friend Charles Bobbit at his side.

Brown’s music was a major influence on modern music, and his work has been sampled by rap artists from the 1980s to this day, his famous 1960s and 1970s break beats becoming the basis of hip hop.

"The music out there is only as good as my last record," Brown joked in a 1989 interview with Rolling Stone magazine. In 2003, he reaffirmed his impact: "Disco is James Brown, hip hop is James Brown, rap is James Brown; you know what I’m saying? You hear all the rappers, 90 per cent of their music is me."

His hit singles include classics such as Out of Sight, Funky Drummer and Say It Loud - I’m Black and I’m Proud, a landmark 1968 statement of racial pride.

"I clearly remember we were calling ourselves coloured, and after the song, we were calling ourselves black," Brown said in a 2003 interview. "The song showed even people to that day that lyrics and music and a song can change society."

Brown won a Grammy award for lifetime achievement in 1992, as well as Grammys in 1965 for Papa’s Got a Brand New Bag (best R&B recording) and for Living In America in 1987 (best male R&B vocal performance.)

He was one of the initial artists inducted into the Rock and Roll Hall of Fame in 1986, along with Elvis Presley, Chuck Berry and other founding fathers.

He triumphed despite an often unhappy personal life. Brown spent more than two years in a South Carolina prison for assault and failing to stop for a police officer.

Brown, who had his first hit, Please, Please, Please in 1956, earned the nickname "The Hardest Working Man in Show Business" for his tour schedule and number of performances. He was still touring this year, with concerts as far flung as Auckland, New Zealand.

"James presented obviously the best grooves," Chuck D of Public Enemy once said. "To this day, there has been no one near as funky. No one’s coming even close."

Born in poverty in Barnwell, South Carolina, in 1933, he was abandoned as a four-year-old to the care of relatives and friends and grew up on the streets of Augusta, Georgia, in an "ill-repute area", as he once called it. There he learned to wheel and deal. "I wanted to be somebody," Brown said.

His troubled childhood saw him duck in and out of reform school, and it was there that he met Bobby Byrd, a major early influence. While most of Brown’s life was glitz and glitter, he was plagued with charges of abusing drugs and alcohol and of hitting his third wife, Adrienne.

In September 1988, Brown, high on PCP and carrying a shotgun, entered an insurance seminar next to his Augusta office. Police said he asked seminar participants if they were using his private toilet.

Police chased Brown for a half-hour from Augusta into South Carolina and back to Georgia.

The chase ended when police shot out the tires of his truck. Brown received a six-year prison sentence.

He spent 15 months in a South Carolina prison and 10 months in a work release program before being paroled in February 1991. In 2003, the South Carolina parole board granted him a pardon for his crimes in that state.

12.21.2006

The Plastic Cloud

This reissue CD from 68 arrived in the mail the other day. Tonight, being all black and inklike outside seemed to be the perfect time to warm the vacuum tubes and give this CD a spin on the reference system.

Sonically, this record appears to be in early stereo. It is a bit disconcerting, but I guess is part of the trip here. Track 2, Shadows of Your Mind exemplifies the fizz riffing, scale running and balls out jamming appears in the left channel while the plantive vocal attempts to balance coming out of the right channel. A backup vocal appears in the left channel later in the song.

The guitar appears to favor the left channel on Art's A Happy Man as well, the hippy vocal stylings can be a bit trying, but you can feel the build of the song by using multi channel mixing of the various vocals.

Fuzz face or some other cool old pedal appears to be modifying the signal of the guitar at the beginning of the focal point of the LP, You Don't Care. The guitar is mixed into the lower depths here. It moves back and forth. The drums roll and the cymbals are used mercilessly.
"You Don't Care for the morning, you dont care for the sumer rain." Then the guitar takes off. Maybe like a much speeded young Jorma... Everything chills the weird Indian sounding drum tone appears in the right channel, and the master volume of the guitar is somewhat squelched.
Finally the bass moves into an area of the mix where it can be heard.

Bridge Under the Sky, seems like way light after You Don't Care. "Everybody knows, everybody says... might as well be dead." Have to love anti happy hippy lyrics like that. There are some odd tones and hums that leak from various areas of the sound pallette. It is hard for me to tell if it is tape hiss, or what, but it certainly does seem that the system is appropriately grounded.

Dainty General Blues moves the vocals more in the center of the mix. There is a hefty ladel of plate reverb added to the vocals as well. The bass really stomps in the right channel and may bleed a bit into the left. The marching beat matches well with the lyrical matter.

The lp does not end on an easy listening note as they trot to a near sludge beat on Civization Machine. "Finest you've ever seen."

This is a bit off the beaten path, but fans of psych like Love or perhaps West Coast Pop Art Experimental band should dig this. While the fuzz is the element that sticks with the listener, The Plastic Cloud is much more in the psych realm that in garage. This record may contain the highest possible level of fuzz.

In fact, other than the raw production there is nothing garage about this record. The packaging goes to lengths to provide all the material from the original vinyl release. It includes complete lyrics and oddball liner notes that give the feeling that these kids dug their Hobbit.

Plastic Cloud shot a bit of light out of the loudspeakers on this the most dark of nights.

Scoot Cannon


I have always been into scooters, and I even have a pic of this Vespa on the CD listening room wall, but I did not have the full story... until now.

"After World War II, there was little money for defense spending while the nations of Europe rebuilt their industry and society. When there was some cash to spend, one had to be creative to stretch it as far as possible. The French probably accomplished the most astounding example of that with the ACMA Troupes Aeról Portées Mle. 56. Deployed with their airborne forces, this was essentially a militarized Vespa scooter outfitted with a 75mm recoilless rifle. Five parachutes would carry the two-man gun crew, weapon, ammunition, and two scooters safely to earth, and the men would load the weapon on one scooter and the ammo on the other, then ride away. More impressively, the recoilless rifle could be fired effectively on the move by the best of the gun crews. Total cost? About $500 for the scooter and the recoilless rifle was war surplus. Were they successful military machines? Well, the French Army deployed about 800 armed scooters in wars conducted in both Algeria and Indochina."

Kind of like the story of the Vespa scooter itself. Piaggio, was a supplier to the Italian aerospace field, this helps to explain some of the defining features of the Vespa, such as the stub axle and the monococoque integral frame and body structure. The Vespa was very key to the moblization of Europe after the devastation of WWII.

Thanks to Scott for sending the link.

12.20.2006

Captain Beefheart - Ice Cream for Crow (HIgh Resolution)

Since it is raining tonight, it is time for some desert bound Capn'

No Drumbo, but dig the Capn's command "Dont shake my hand Gimme' a Claw."

Are you listening, friends? You know that I am a fan of the claw.

12.18.2006

Chocolate Soup For Diabetics


I have heard about this series of compilations over the years, but it is only in the past week that I have scored a "copy" of sorts. Chocolate Soup is a series of comps that explore British Psyche, similar to the Rubble series.

I am listening to a CDR of the tracks. Looking at an online database, I see that the CDR to which I am rumbling the HQ, is a comp of the Chocolate Soup comps.

One of the tracks that seems new to me, The Nutchez' Open Up Your Mind has a sort of fey, baroque sound , that has a pretty tasty fuzz riff, over a really booming electric bass line.

One In A Million sings about death, "He won't come back... he's dead now, " in the Fredereek Hernando track. Nice backward coda. Odd song with an odd ending. I have to say that as far as psych goes, I appreciate the spooky, creepy, grey skies, twisted, leafless oak tree sound as opposed to the sunny West Coast sound.

Tinturn Abbey in Vacuum Cleaner conjures some moaning tones from their guitar, some sort of electronic sustain that sounds like it is melting both the tubes of the amplifier driving the speaker cabinet as well as the tape stock running across the magnetic recording head. Perhaps it is just my pre amp tubes melting...

The Misunderstood, from Riverside CA, take up 4 tracks on this. While the tracks are great, I have them on other comps as well as on the Ugly Things CD and the other Cherry Red Before The Dream Faded release from the 90s. John Peel really dug them and played The 'Stood a bunch on his radio shows way back then. I Can Take You To The Sun, please do.

Dantalian's Chariot Madman Running Through a Field has a weird vocal, sort of whiny, with an odd slow break that features some backwards sound effects. Instead of a flute solo, a Hammond jam would have been better in my book. There is also a persistent high pitched tone from a Farfisa or something that is turning the dog's ears for pretty much the entire track. Bizarreness.

The Flies (also on Rubble) bust their jamming version of Steppin' Stone. Great power intro riff that leads into the killer bass line and pounding percussion. Are these dudes Brummies? Double tracked vocals add to the general tough sound. The guitar tone rules and just weaves its' way throughout the mix. "Didn't have no shoes- now you're walking around like you was front page news." Indeed.

In my book, Fresh Windows' Summer Sun Shines should jump through the closest one, and end it, please. But they redeem themselves somewhat with the very next track, Fashion Conscious.

Your boot will definitely tap the carpet to My Father's Name is Dad by The Fire. I have heard this one a bunch, but it has a great simple riff that is punctuated by a pulsing bass. Sappy pop lyrics only help this one.

This comp of comps would be an excellent intro to some of these British psych sounds, akin to an ongoing in the similar Rubble series. The sound on this CDR has a pretty decent range. The (minimal) vinyl surface noise only adds to the listening experience.

12.14.2006

THE CREATION - Painter Man +2 (1966)

More Killer Mod Stuff, the quality here is also excellent. The camera work seems to shy away from Eddie Phillips, for this viewer, but we get to see the late, great Kim Gardner hit the bass and the back up vox. Thanks klemtoon for posting these.

The Electric Prunes - A Long Day's Flight

This is a massively cool clip. While it is lip synched, it is is great quality. Rock The Prunes Brothers and Sisters!!!

12.11.2006

Searching for Shakes Swedish Beat 65-68

Wot a great cd... Got a cdr of this 99 reissue in the past week. It seems that our musical friends from Sverige were very contemporary with the styles from the UK, and pull it off extremely well.

The reference system really seems to dig on the monophonic glory of the 45s on this. One wonders where Benny Andersson appears on this release. A trip over there a few years back suggested that he is still fairly integral with music and even current bands. I wish I had this cd when I was there as I think that the beer and wine fueled singalongs would have been even more fun with these sounds as source material.

The Namelosers start strong with Do-Ao. Much fuzz leads this moody howler, where the vocalist emits quite a howl among the guitar feedback screech and sustain. Strong.

Early fave is track 3 At The Club, where the T-Boones put on their best English r&b strut. A wonderful reverb ladened push moves this song. "You're my secret-- love at the club."

My fave track is The Tages with their freakbeatish The Man You are Looking For. Swirls of sound spit off the disc here. I am not sure if they put their Norsk brethren The Diworced to shame with their sound, but this one does it for theses ears. Nice strong drums that Mitch Mitchell could be jealous of.

The Lee Kings do a massive Whoesque feedback drenched break as part of the coda in On My Way. Darn impressive is the mood that they dish here.

Steampacket II in Take Her Anytime, assemble awesome Hammond under a sustained guitar distortion wash, more please. I love the clearly stated vocal. Even reverb on the snare. She'll be yours, you gotta be the one for her. This one borders on the psychedelic. I can put this in heavy rotation.

Ah hell, most of this stuff is totally correct for your next aquavit session accompanied with the requisite fiske. These groups also understood that if you can't make it happen in under 3:30, son't bother, as most of these songs are in the 1:50 to 2:20 range as it should be.

12.10.2006

Brazilian Funk Experience

Picked this one up yesterday. Not sure what to think... Took a risk and reap the rewards...
Sonically, this cd makes the tubes hum.

The lead track No Baixo Do Separtiero, by Meirelles, pushes with a mad analog synth. Can you sat Moogathon??? The bass percolates and moves the track into symphony territory. I can see a lot of asses shakin to thisn.

Kick the cowbell on track 3, Homenagem A Mongo, into an arrangement that a Mancini on acid would dig. Funkety, funkety, funkety. Great brass accents and killer percussion. I can see someone grabbing some snippets and doing something different with this one.

Cala Boca Menino, has a definitely funky godfather of soul riff to it. The liners say that this had been sampled a ton and I believe it. The bassline is the stuff to lose your brain to, perhaps one could even lose his cool to this track.

The 3rd time through the release, I find myself really starting to get it, and tapping my foot excessively. This is a great way to get immersion into funky Brazilian sounds. The liner notes will even give you some background to help you find more, because we all know that comps are only there to whet your appetite to find more stuff.

Tremendous Audio Action Lately

Cratedigger HQ has been a flurry of activity as of late.

The reference system has undergone a revision and an upgrade. The B&O turntable is now gone, sold at a 330% profit.

Here is the low down on the current setup. Rega Planar 43 turntable, Audio technica cartridge, Dynaco PAS2 preamp, and the Yamaha CR500 bridged, running as an amp. I have upgraded the interconnect between the pre and the amp by going with a Canare interconnect. The loudspeakers are still the AR 2 Axs, running on stands that are 20" off the hardwood floor. For cds, I am still using the AMC CD 8b.

I have also ditched the old vertical format of the stand for the system. The Ikea rack is now in the vault. I now have everything stretched out on an old coffee table between the loudspeakers.

I can detect a definite improvement on the mids and the bass with this new set up. Some of the new tunez have been really shaking the walls.

Baby Huey, esp. Every time the track "Listen To Me" busts out of the break-- the AMC cd8b skips...

12.04.2006

Chubby "Chequered" Checker


YEEE AAAHHHHH!!!!

I have been wanting to hear this LP forever, well at least since I read about it in Ugly Things 23 from a couple of years back. And what did I find in my mailbox this afterlunch, but a copy on CDR from Mockba, no less.

Scott Seward wrote an excellent piece on this record in UT 23, which happens to be Chubby's acid rock album. I know that it sounds crazy, but this is a solid effort, featuring tons of soulful Hammond and acid tinged guitar. His vocal delivery is awesome.

He even uses turned on lyrics- "How does it feel when you smoke by yourself, How does it feel when you trip with someone else?" from the song "How Does it Feel," obviously not anything to do with the Creation track.

The details on how this LP, which Chubby doesn't want to speak about or really acknowledge, are somewhat sketchy. A record company scammer from he 60s, named Ed Chalpin, who also was behind the Hendrix / Curtis Knight chitlin circuit records, released this in Europe and in a cutout version in North America. Money was made on this, but one suspects The Chubbinator did not reap any of the monetary reward.

1971 is listed as the year of release, but since the Moon is such a large part of the lyrical subject matter suggests a possible earlier release (or composition) timeframe.

Wild! The LP leads off with "Goodbye Victoria" a real scorcher. The build of the piano into his haunting acid vocal moves it along.

The pacing of the album ebbs and flows after that, but really "peaks" with the track "Love Tunnel." It is like a more speeded out Arthur Lee with a more heavy acid backing group. "Don't get hung up in the Love Tunnel," Indeed. The drums just pound under the vocals. Just wait until you get to the crazy track that ends it all-- "Gypsy," Chubby sounds like he is really losing it, fast tempo, yelling vocals.

I can't recommend something higher, this is both a novelty and psychotronically entertaining, but also quite good. I can see listening at least to "Goodbye Victoria" and "Love Tunnel" in the future. I am looking for a vinyl version of this one!

12.01.2006

Snow Day

Damn. Quite the wet winter wonderland out there. Above see a shot looking south out of my front door. I am snowed in. I think that I have an hour of shoveling after the snow stops before I will be able to get out the old honda.

There is maybe a foot of wet snow, and the air temp is about 30. Need to clear it as soon as it stops, so that I don't get ice.

The dog, of course, loves it. I will love it, if I get a chance to get out on the XC skis.