Fun Stuff > BAND
The M/F Thread 2009: The Quickening
bedhead138:
The Doors - Live in New York ~ Mp3 V0
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--- Quote ---This six-disc compendium contains the complete run — four sets over two nights — by the Doors' at the Felt Forum in New York City January 17 and 18, 1970. Although previously unavailable in its entirety, music from these programs has shown up prominently throughout several live packages — namely Absolutely Live (1970), and Alive She Cried (1983). Additionally, over an hour was excerpted to create the "Live in New York" CD within The Doors Box Set (1997). Most any unissued live material from the original quartet of John Densmore (drums), Robbie Krieger (guitar), Ray Manzarek (keyboards/vocals) and Jim Morrison (vocals/percussion) could be considered cause for celebration. However, the experience of hearing the band's ebb and flow as they organically develop the performance in real-time — as opposed to hearing a package of material that has been cherry-picked after the fact — is one of several advantages that the Live in New York (2009) anthology has over its predecessors. Another is the stunning fidelity throughout, thanks to the work of Doors' original producer/engineer Bruce Botnick and the exhaustive processes of restoring the eight-track, open-reel master tapes. With so much territory to cover — over seven hours in all — there are, inevitably, a few audio dropouts. In those rare instances, very good quality substitutions from other sources (of the exact same material) almost seamlessly fill in any moments that might be missing due to reel changes and the like. Always a question mark in terms of performance quality, Morrison is on pretty good behavior and in exceptional voice. Immediate evidence can be found on the soulful reading of "Blue Sunday" from the first show. However, by the final outing, his husky and raspy vocals make it clear that he is rapidly losing his range. Morrison has also cleaned up his stage prattle in the wake of the infamous occurrence where it was alleged that on March 1, 1969 in Miami, FL Morrison exposed himself during the show. A warrant was subsequently issued for his arrest on one felony count of lewd and lascivious behavior and three misdemeanor counts of indecent exposure, open profanity, and drunkenness. Certainly far from scared straight, he seems to have gotten the message, and was actually awaiting trial at the time of these recordings. He even jokingly refers to it during the spoken "Only When the Moon Comes Out" interlude on the 18th. On paper, there is little variance between each of the four set lists. However, the energy and vibe vacillate significantly from version to version and show to show. The core inclusions of "Roadhouse Blues," "Ship of Fools," "Alabama Song," "Light My Fire," and a combo pairing "Back Door Man" with "Five to One" were played every time. While "Alabama Song (Whisky Bar)," "Break on Through (To the Other Side)," and "Who Do You Love" were done a bit less frequently. On the other hand, there are rarities aplenty as "Blue Sunday," "Love Hides," "Little Red Rooster," "Crawling King Snake," a half-hearted "Wild Child," "The End," "Celebration of the Lizard," "Close to You" (sung by Manzarek) — plus the four-song encore on the 18th that includes "Rock Me Baby," "Going to N.Y. Blues," "Maggie M'Gill," and "Gloria" were only unleashed once. During that same finale, former Lovin' Spoonful co-founder John Sebastian (harmonica) is invited on-stage. According to Bruce Botnick's "technical note" found in the accompanying liner notes booklet: "When John came onstage to join The Doors for the Sunday second show encore, he was handed a microphone that was only going through The Doors' sound system, and not plugged into the Fedco Audio Labs mobile truck. As a consequence, John's harmonica didn't get recorded. So, earlier in 2009, we arranged for John to join Ray Manzarek and myself at Skywalker Sound in San Rafael. John replayed his parts as closely as possible against the PA leakage from the audience tracks on the original recorded 8-track masters." Purists will be able to use a code on the Rhino Web site (www.rhino.com) to download the untampered versions.
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Disc 1: January 17, 1970 (First Show)
01. Start Of Show
02. Roadhouse Blues
03. Ship Of Fools
04. Break On Through (To The Other Side)
05. Tuning
06. Peace Frog
07. Blue Sunday
08. Alabama Song (Whisky Bar)
09. Back Door Man
10. Love Hides
11. Five To One
12. Tuning/Breather
13. Who Do You Love
14. Little Red Rooster
15. Money
16. Tuning
17. Light My Fire
18. More, More, More
19. Soul Kitchen
20. End Of Show
Disc 2: January 17, 1970 (Second Show)
01. Start Show 2
02. Jim “How Ya Doing?”
03. Roadhouse Blues
04. Break On Through
05. Ship Of Fools
06. Crawling King Snake
07. Alabama Song (Whisky Bar)
08. Back Door Man
09. Five To One
10. Pretty Neat, Pretty Good
11. Build Me A Woman
12. Tuning/Breather
13. Who Do You Love
14. Tuning/Breather
15. Wild Child
16. Cheering/Tuning
17. When The Music’s Over
Disc 3: January 17, 1970 (Second Show) continued
01. Tuning/Breather
02. Light My Fire
03. Hey, Mr. Light Man!
04. Soul Kitchen
05. Jim’s Fish Joke
06. The End
07. End Of Show
Disc 4: January 18, 1970 (Third Show)
1. Start Show 3
2. Roadhouse Blues
3. Ship Of Fools
4. Break On Through
5. Tuning/Breather
6. Universal Mind
7. Alabama Song (Whisky Bar) – False Start
8. Alabama Song (Whisky Bar)
9. Back Door Man
10. Five To One
11. Tuning/Breather
12. Moonlight Drive
13. Who Do You Love
14. Calling Out For Songs
15. Money
16. Tuning/Breather
17. Light My Fire
18. More, More More
19. When The Music’s Over
20. Good Night – End Show
Disc 5: January 18, 1970 (Fourth Show)
01. Start Show 4
02. Roadhouse Blues
03. Peace Frog
04. Alabama Song (Whisky Bar)
05. Back Door Man
06. Five To One
07. We Have A Special Treat
08. Celebration Of The Lizard
09. Alright Let’s Boogie
10. Build Me A Woman
11. When The Music’s Over
12. More, More, More
Disc 6: January 18, 1970 (Fourth Show) continued
01. Soul Kitchen
02. For Fear Of Getting Too Patriotic
03. Petition The Lord With Prayer
04. Light My Fire”
05. Only When The Moon Comes Out
06. Close To You
07. The Encore Begins
08. Rock Me
09. What To Do Next?
10. Going To N.Y. Blues
11. Tuning/Breather
12. Maggie M’Gill
13. Tuning/Breather
14. Gloria/End Of Show
Mr Fantasy:
I'd like to thank everyone for all the great albums. Especially the African Head Charge, Mickey Newbury and the new album leaks that really make me look oh so hip. It's not that there are so many good albums, it's really the fact that there are so few crappy albums to sort through that make this thread special.
Blah, blah.....you're just here for the music aren't you?
The Apartments - Drift
--- Quote ---Drift features a heavier guitar sound than the albums that bookend it, but otherwise fits right into the Apartments' whiskey-soaked, vaguely French universe. Frontman Peter Milton Walsh's obsessions -- old hotels, deserted train stations, haunted women -- are all present, and his songs as melancholy as ever, if less delicate this time out. With such gorgeous melodies and cinematic lyrics, though, it seems silly to complain -- if the Apartments have settled into a groove, at least it's a good one. Drift does not reach the heights of 1995's A Life Full of Farewells, the Apartments' chamber-pop masterpiece. But fans of Tindersticks, Leonard Cohen, and Spain will find it rewarding all the same.
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Not quite as good as Life full of Farewells, but much harder to find.
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Rahsaan Roland Kirk - Volunteered Slavery
--- Quote ---From the stinging blues call and response of the tile track through the killer modern creative choir jam on "Spirits Up Above" taking a small cue from Archie Shepp's Attica Blues. But it's when Kirk moves into the covers, of "My Cherie Amour," "I Say a Little Prayer," and the Coltrane medley of "Afro Blue," "Lush Life," and "Bessie's Blues," that Kirk sets it all in context: how the simplest melody that makes a record that sells millions and touches people emotionally, can be filled with the same heart as a modal, intricate masterpiece that gets a few thousand people to open up enough that they don't think the same way anymore. For Kirk, this is all part of the black musical experience. Granted, on Volunteered Slavery he's a little more formal than he would be on Blacknuss, but it's the beginning of the vein he's mining. And when the album reaches its end on "Three for the Festival," Kirk proves that he is indeed the master of any music he plays because his sense of harmony, rhythm, and melody comes not only from the masters acknowledged, but also from the collective heart of the people the masters touched. It's just awesome.
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Sad Lovers and Giants - Feeding The Flame
--- Quote ---Watford, England's Sad Lovers & Giants made few headlines but some strong LPs, arguably the best of which, and certainly the most somber, is this collection. Its deftly played and arresting post-punk songs are built around Tristan Garel-Funk and David Woods' subtle evocations of mood. Singer Garce Allard's voice is at once brittle-sounding but self-assured. Both factors complement the sophisticated musical structures of songs such as "Imagination" and "Sleep (Is for Everyone)." They should be one of their generation's more celebrated discoveries, but sat out time on a label much less fashionable than, say, Factory. The intricacy of Garel-Funk's guitar on "Big Tracks Little Tracks" certainly puts them on a par with the Durutti Column. "Your Skin and Mine" has an innate grandeur that, keeping indulgence at arm's length, conveys a sense of pain and isolation that echoes Joy Division. It's an album that argues for a reappraisal of one of the '80s' best-kept secrets.
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Modern English - After the Snow
--- Quote ---"I'll Melt With You" will forever be the one specific moment that's Modern English's place in pop history, but the album it came from, After the Snow, isn't anything to sneeze at. Indeed, in transforming from the quite fine but dour young miserabilists on Mesh & Lace to a brighter incarnation who still had a melancholy side, the quintet found exactly the right combination best-suited for their abilities. Like contemporaries B-Movie and the Sound, Modern English used punk and post-punk roots as a chance to introduce a haunting, beautiful take on romance and emotion, while the contributions of Stephen Walker on keyboard helped make the album both of its time and timeless. That said, the secret weapon on the album is the rhythm section of Michael Conroy and Richard Brown, able to shift from the polite but relentless tribal beat clatter on the excellent "Life in the Gladhouse" to the ever more intense punch of the title track, the album's unheralded masterpiece. None of this is to denigrate the contributions of singer Robbie Grey and guitarist Gary McDowell. The former's seemingly mannered singing actually shows a remarkable fluidity at points -- "After the Snow" again is a good reference point, as is the fraught, slow-burn epic "Dawn Chorus" -- while McDowell works around the band's various arrangements instead of trying to dominate them. Some songs, like "Face of Wood," even find Modern English -- often dogged with Joy Division comparisons early on -- predicting where New Order would go before that band got there itself. Still, "I Melt With You" is the main reason most will want to investigate further. A perfect pop moment that didn't have to strain for it, its balance of giddy sentiment and heartfelt passion matched with a rush of acoustic and electric guitar overdubs just can't be beat.
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Failure - Fantastic Planet
--- Quote ---Sometimes it makes one wonder how such similar ingredients can create such different results. Take Failure for example. You get the mourning vocals, the discordant wails of guitar feedback, the Steve Albini production -- yes, just about everything that fits the Nirvana template. Yet Failure seem to miss the point. Because even here on the band's third album out of the fire, Fantastic Planet is ripe with idolized ingredients but low on original flavor. One aspect that seems to be in the band's favor this time around is the choice to self-produce. While not exceptional, their ear towards the atmospherics (check out the Downward Spiral-like "Daylight" or interludes like "Segue 3") help create an effort that is more skilled than your average Kurt Cobain-worshiper. Another strong sign is that this album seems more guided by Greg Edwards' swaying basslines than most bands' reliance on angry guitars. However, these high marks can't hide the normally weak songwriting. The lyrics go from quoting Russian films to clumsy metaphors about carpet stores ("Go ahead roll me up in your detachment/I'm here to decorate your fear for awhile") while the oafish musical structures leave little to the imagination. One crucial ingredient that might be missing is a talent for hooks. Because despite everything else -- and regardless of the true internal antipathy towards himself and his world -- Cobain still had an undeniable skill for crafting songs in the middle of all the "noise." An album like Fantastic Planet, on the other hand, shows how a different band can attempt to create the same "pained" dish, yet continue to burn themselves with almost every style-over-substance track. Failure might get there someday. It's just that until that day arrives, we are only left with albums that hint at a talent hiding behind another band's personality.
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That review was clearly written by a moronic hack under the delusion Cobain had more than a speck of talent. Posted for the lulz.
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Digable Planets - Blowout Comb
--- Quote ---Media darlings after the commercial success of their debut, Digable Planets attempted to prove their artistic merit with this second album, and succeeded wildly. A worthy, underrated successor, Blowout Comb was just as catchy and memorable as their first, and also offered the perfect response to critics and hip-hop fans who complained they weren't "real" enough. Except for a dark, indecipherable single named "Dial 7 (Axioms of Creamy Spies)," Blowout Comb excelled at pushing great grooves over sunny-day party jams, even when the crew was providing deft social commentary -- as on "Black Ego" and "Dial 7 (Axioms of Creamy Spies)." The trio used their greater clout to invite instrumentalists instead of relying completely on samples, and the music took on more aspects of the live jam than before. Though Blowout Comb still borrowed a host of riffs from great jazz anthems (from Bob James to Bobbi Humphrey), Digable Planets used them well, as beds for their back-and-forth freestyling and solos from guests. The Digables remade Roy Ayers' "We Live in Brooklyn, Baby" into "Borough Check," and invited Guru from Gang Starr to salute Brooklyn's block-parties and barbershops. (The focus on the neighborhood even carried over to the liner notes, laid out like a community newspaper.) The closer, a brassy, seven-minute "For Corners," also captured that fleeting feeling of neighborhood peace. Though Blowout Comb lacked the commercial punch of Reachin', Digable Planets made great strides in the two areas they'd previously been criticized: beats and rhymes. The beats were incredible, some of the best ever heard on a rap record, a hip-hop version of the classic, off-kilter, New Orleans second-line funk. The productions, all crafted by the group themselves, were laid-back and clearly superior to much hip-hop of the time. The raps, though certainly not hardcore, were just as intelligent as on the debut, and flowed much better. While Reachin' came to sound like a moment in time for the jazz-rap crowd, Blowout Comb has remained a timeless classic.
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Rocket From The Tombs - The Day the Earth Met the Rocket from the Tombs
--- Quote ---Rocket From the Tombs, the Cleveland band that featured a pre-Pere Ubu David Thomas and future members of the Dead Boys, has been hailed by numerous serious rock critics as overlooked punk and new wave forefathers. They never entered a recording studio, however, and for the most part their scant body of demos and live tapes have been heard only by serious collectors, though some were available on the 1990 album Life Stinks (itself hard to find now). The Day the Earth Met the Rocket From the Tombs does not issue every tape known to exist by the group, and is not perfect from the standpoints of fidelity and performance. The 74-minute disc does, however, finally make a reasonably comprehensive document of their work widely available for the first time. The first half is devoted to a February 1975 loft rehearsal, and though the sound is on the muddy side, the performances raw, and the songs on which David Thomas sings lead afflicted by some indistinct vocals, it's a quite powerful fusion of hard rock, metal, and art rock that in retrospect can be seen to contain some seeds of American punk. Particularly edgy are an early version of "30 Seconds Over Tokyo" (redone to famous effect by Pere Ubu) and the nearly out-of-control "Life Stinks," though the standout number is the unexpectedly melodic, lyrically desperate "Ain't It Fun." The next seven songs, from one of their final shows in July 1975, boast better (though not outstanding) fidelity, and some of their most innovative compositions ("Final Solution" and "Sonic Reducer"), as well as the arcane Velvet Underground cover "Foggy Notion" (at that time impossible to find even on bootleg). Thomas doesn't sing lead on any of the July 1975 numbers but does on all three of the final selections, taken from a May 1975 show, including the future Dead Boys staple "Down in Flames" (with a downright avant-garde instrumental section) and a cover of "Search & Destroy." There are shortcomings to Rocket From the Tombs: some of the songs leaned too heavily on heavy metal and simple outrage, and for all the notoriety attached to the band because of the Pere Ubu and Dead Boys connections, their best moments were actually the more sensitive reflections on troubled youth by Peter Laughner. And there are some imperfections to the package in that it doesn't include all the known Rocket From the Tombs tapes, the excerpts seemingly selected so as not to repeat any song twice (it's also unfortunate that the loft cover of the Rolling Stones' "Satisfaction" fades out almost as soon as it starts). Yet, in all, this is a release of considerable historical importance and definite musical worth, enhanced by lengthy and knowledgeable liner notes.
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Morbid Saint - Spectrum of Death
--- Quote ---A very impressive debut from a great band out of Wisconsin, it was originally released on a Mexican label in 1988 but has been reissued on the new Grind Core label. This quintet plays hardcore speed-metal that sounds like a cross between Kreator and Dark Angel. The kind of music that made thrash and speed-metal so good in the '80s, it doesn't sound dated.
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The first 60 seconds of Crying for Death is probably better than the total output of Metallica, Megadeth and Anthrax combined. Blistering, pummeling thrash not for the faint of heart.
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JD:
Tricot Machine - s/t[2007]
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Pas fait en chocolat
Scarychips:
I am Scarychips and I approve the post right above mine.
Joking aside, really guys, if you like twee music, this is incredible. They have a song about the singer's relationship with a bear.
scarred:
I can't see the art but I'll download it just for the bear song.
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