What Are You Listening To?

[Warflower]

I'm listening to about 2 Gameboys, 3 DS's and Conor complaining that he needs his charger...I got 5 boys here...almost time to go home...thank God!

[CTC Command]

Frank Zappa and The Mothers of Invention - Inca Roads

Frank Zappa (guitar, vocals)

George Duke (keyboards, synthesizer, lead vocals)

Napoleon Murphy Brock (flute, tenor saxophone, vocals)

Chester Thompson (drums)

Tom Fowler (bass)

Ruth Underwood (vibes, marimba, percussion)

Bloodshot Rollin' Red (harmonica)

Did a vehicle

Come from somewhere out there

Just to land in the Andes?

Was it round?

And did it have

A motor?

Or was it

Something

Different?

George: So white, Don, I have never seen nothing like that in my entire life!

Napoleon: Whose python boot is that? Hey, rush it! What?

FZ: Why don't you sharpen it then?

George: It was round . . . bold . . . I could . . . couldn't . . . What's that white thing doin' up there?

Napoleon: You whose? Hush! Wait a minute!

FZ: Mother Mary and Jozuf!

Did a vehicle

Did a vehicle

Did a vehicle

Fly along the mountains

And find a place to park itself?

Park it

Se-e-e-elf

(PARK IT . . . PARK IT)

Or did someone

Build a place

To leave a space

For such a thing to land?

Did a vehicle

Come from somewhere out there?

Did a vehicle come

From somewhere out there?

Did the Indians, first on the bill

Carve up the hill?

Did a booger-bear

Come from somewhere out there

Just to land in the Andes?

Was she round

And did she have a motor

Or was she something different?

Guacamole Queen

Guacamole Queen

Guacamole Queen

At the Armadillo in Austin Texas, her aura,

Or did someone build a place

Or leave a space for Chester's Thing to land

(Chester's Thing . . . on Ruth)

Did a booger-bear

Come from somewhere out there

Did a booger-bear

Come from somewhere out there

Did the Indians, first on the bill

Carve up her hill

On Ruth

On Ruth

That's Ruth!

Wikipedia also has an entry for Inca Roads that sheds some more light on this masterpiece...

[KiwiCoromandel]

rory gallagher..."edged in blue"..from the album "calling card" (January 1, 1976).. :)

[DudeAsInCool]

Cherry Blossom Girl - Air

[DudeAsInCool]

Wise Up - Aimee Mann

[DudeAsInCool]

Salon's Audiofile/Daily Download: "Come Out (Come Down, Fade Out, Be Gone)," 120 Days - Norway's hottest electronica band

(Dutch, you're email is full--I wanted to send you this link to 60s and 70s music :)

[KiwiCoromandel]

bridge of sighs..robin trower at rockpalast/germany..on google video.... :) :)

[DudeAsInCool]

I always had mixed feelings about Robin Trower, even though I had Bridge of Sighs at one time or another - he's always reminded me of Hendrix redux...

***

Spill the Wine - Eric Burdon and War

[DudeAsInCool]

Sweet Life - Varnaline

[DudeAsInCool]

Iron and Wine - Live at Bonnaroo

Iron & Wine is the stage and recording name for Florida singer-songwriter Sam Beam. Raised in South Carolina, Beam released his first album, The Creek Drank the Cradle, on the Sub Pop label in 2002. Beam wrote, performed, recorded, and produced every track on the album by himself at a studio in his home. Featuring acoustic guitars, banjo, and slide guitar, the album's music has been compared, variously, to that of Nick Drake[1], Simon and Garfunkel[2], Neil Young, Elliott Smith, John Fahey and Ralph Stanley. It is often characterized as alt-country or indie folk, and lyrical themes often follow a Southern Gothic paradigm.

...The EP In the Reins, a collaboration with Calexico, was released in September 2005. Calexico, based in Arizona, brought a southern and at times latin feel to Sam Beam's songwriting. Beam wrote all of the songs for the album, but Calexico's sound is quite apparent. Several tracks feature brass, a very new sound for Beam's music, which is usually led by acoustic guitar.

...Beam has a penchant for making music videos, having graduated from the Florida State University Film School with a MFA degree. For a time, he was a professor of Film and Cinematography at Miami International University of Art & Design.

Read the full bio at Wikipedia

[DudeAsInCool]

Ladytron - Writing on the Wall (Remix) - From their upcoming album Cities

[DudeAsInCool]

Don't Save Us From the Flames - M83

[bmc]

Ænema by Tool

[CTC Command]

John Coltrane - A Love Supreme, Part I -- Acknowledgement, Pursuance

Review from Marc Greilsamer, Inkblot.com

Not for the faint of heart, Coltrane's master work offers a complete synthesis of his musical ability and his religious belief. Building on a modal-jazz foundation, he adds elements of Eastern music and free jazz while his tenor searches and soars and screams and yelps and slithers. His horn is merely a conduit: The music comes directly from his heart and soul, a stunning example of music as pure emotion. He unleashes torrents of notes, intense and pained at times, celebratory and defiant at others. His tenor knows no limits, yet never seems too far removed from Earth.

The droning "Acknowledgment" opens the four-part suite and is followed by "Resolution." Despite its name, "Resolution" begins with a tense melody from Coltrane before McCoy Tyner's brilliant piano solo, which is filled with passionate harmonic invention and breathtaking right-hand flurries. Drummer Elvin Jones supplies the fuel for the excursion: His fiery and urgent polyrhythms inspire the leader to great heights. Following Tyner, Coltrane returns with angular, jagged statements featuring short bursts, squeals, and moans that bristle with energy. "Pursuance" opens with a Jones solo before Tyner borrows from Coltrane's frenzied attack. Tyner's left pounds out a series of dramatic, seemingly unrelated chords while his right scurries across the keys. Coltrane then sprays notes like a machine gun, firing off in a million directions. Somehow, it never sounds frivolous--each squawk has passion, each note has meaning. Finally, on the closing "Psalm," he seems to have found what he's been searching for. "Psalm" is the uneasy calm after the storm, a tenuous peace, but peace nonetheless.

Reviews of the CD John Coltrane Classic Quartet - Complete Impulse Studio

Amazon.com essential recording

There have been many Coltrane compilations and box sets over the years since the saxophonist's passing in 1967, but this eight-CD complete collection of his quartet's studio recordings between 1961 and 1965 is the must-have. Jazz may be a music blessed with dazzling soloists, but few groups in its history seem up to perfectly matching the intentions of their leaders: Louis Armstrong's Hot Five and Hot Seven, Bill Evans's trio of 1960-61, and Miles Davis's mid-60's quintet are among the few that immediately come to mind. Coltrane's quartet of pianist McCoy Tyner, drummer Elvin Jones, and bassist Jimmy Garrison was another, a group so perfectly matched to his playing that it seems difficult to imagine him without them. Tyner, for example, immerses the group in restless chords and showers of single notes; Jones plays with stentorian power, yet tempers his playing with well-etched detail and a strong sense of melody; and Garrison anchors the quartet with drones and deeply rooted vamps. So powerful was the quartet's conception that even when ringers like Art Davis and Roy Haynes turn up on a couple of tracks, they, too, carry out Coltrane's aims, their individual differences worked into the scheme. On the 66 tracks included in this set (all now remastered) it's possible to follow the evolution of this extraordinary band from Coltrane's very ascetic approach on relatively straightforward albums such as Ballads and The John Coltrane Quartet Plays through devotional efforts like A Love Supreme and First Meditations on to Living Space and Sun Ship, those last moments before his leap of faith into the unknown in his last few years.

This quartet's music is marked with a seriousness of purpose that burst the boundaries of jazz, and with a display of authority rare for any music. Yet despite its exploratory passion, it was a music grounded in the blues and the distant memory of swing. Coltrane, always the seeker, had found his kindred spirits and poured himself and all he knew into these performances; and even those who never shared an enthusiasm for his music at least always recognized this much.

The final disc of the set contains seven unreleased tracks, including significantly different versions of "Bessie's Blues" and "Resolution" from A Love Supreme, and others discovered by Ravi Coltrane on his father's original reference records. (For those interested in the culture of the studio, it is fascinating to see that despite its apparent simplicity and the inevitability of its melody, a gem like "Dear Lord" began with the plague of several false starts.) Music spread across 18 albums has been collated and reassembled chronologically here, much of it not always easy to find: examples are the scattered gems "Vilia," "Dear Old Stockholm," and "Big Nick," as well as a version of "Greensleeves," originally issued as an Impulse 45 single. An essential set for understanding jazz at its highest level of achievement. --John Szwed

Jazz Times

John Coltrane's Impulse! years can be likened to a meteor shower ... some intersected while others broke away from the pack; some arced beautifully over the course of years, while others quickly flamed out.... For someone in the initial stages of building a basic library, buying this collection is a no-brainer.... However, the longtime aficionado ... may balk.

Christopher W. Speaks (amazon.com reviewer)

By the end of Disc 7, the listener is fully immersed in Coltrane's adaptation and revolution of free jazz. The second (or alternate) version of "Joy" from First Meditations comes at you without any warning, and once you're hit, you are momentarily transfixed by the elements which made the classic quartet truly Classic: awesome timing, unrelenting drive, power, control, and, of course, Coltrane's multiphonics, overblowing and rapid-fire solos. This contrasts with Coltrane's playing at the start of Disc 1 where the listener is greeted by the warm melody and smooth, harmonic interpretation of "Greensleeves."

These recordings are essential (if not this box set) and belong in every jazz and music lover's collection. I enjoy this collection because it collects every track recorded during these formative years, both for Coltrane and for the Impulse! Label, and organizes them in chronological recorded order. As you listen to this set, it is as if you are right there in the studio with Coltrane, session after session, listening to the artist create his masterpieces. However, on a similar note, by presenting all of the tracks in chronological order, the initial flow of the original albums is lost. I find that I enjoy the individual albums more than having all of Coltrane's work lumped together, chronological or not. There is a much more personal and emotionally responsive flavor in listening to each album separate from another.

This set is for completists and novices alike. Aside from Disc 8, appropriately titled "Works in Progress" which presents the listener with John Coltrane at work on polishing his art, there is nothing new here. This set is invaluable for encapsulating the string of albums released in 1965, beginning with The John Coltrane Quartet Plays and ending with the final quartet piece, First Meditations, which would be expanded in many ways, both sonically and artistically, within the coming year (but not featured here).

In fact, everything released here can be found on the previously released albums: Coltrane, Ballads, Live At Birland, A Love Supreme, Crescent, The John Coltrane Quartet Plays, Dear Old Stockholm, Living Space, Transition, Sun Ship, and First Meditations (plus some material from Infinity, which is extremely difficult to find). In fact, Impulse! has recently begun releasing the individual albums (such as Coltrane and Ballads) in Deluxe Edition 2-CD collections with supplementary material from the original sessions. And the Deluxe Edition of A Love Supreme, with the extended live version, is not to be missed. Suffice it to say, then, this set truly is not "The Complete Recordings."

It goes without much implication that this truly is John Coltrane, one of the twentieth century's musical geniuses, and without Coltrane, much of popular music would not be quite the same. Even during his time, during the 1960s, several future giants, such as Jimi Hendrix, Sly Stone, and Jerry Garcia, would boast that it was John Coltrane who inspired them to play music in the manner they did. And Coltrane's music is not to be missed. If you don't invest into this set, which is reasonably priced for the amount of music you receive, at least check out the individual albums which make up this collection. They are absolutely invaluable.

[DudeAsInCool]

Dayvan Cowboy - Boards of Canada from the cd Campfire Headphase (2006)

[DudeAsInCool]

John Lee Huber by Tosca From the cd J.A.C.

Tosca are in full hypnosis mode for J.A.C., as the Viennese duo of Richard Dorfmeister and Rupert Huber again show off their mastery of jazzy ambience. Dorfmeister and Huber have been busy since 2003’s Dehli9, having had three kids between them (the album title is an acronym of their offspring’s names) in the interim. Perhaps seeking a respite from the hectic onset of fatherhood, they’ve infused J.A.C. with a romp of bass lines and Bossa, staying away from the druggier, avant-garde material found on Dehli9... –Matthew Cooke, Amazon

[DudeAsInCool]

The Grateful Dead - Cover of Dancing In the Streets

[DudeAsInCool]

Mumtaz (The Ornament of the Palace Mix) - Bombay Dub Orchestra from the Six Degrees Collection: Traveler '06

[KiwiCoromandel]

john norum and glenn hughes.."face the truth"..... :)

[CTC Command]

Ahmad's Blues - Miles Davis Quintet

Editorial Reviews

Amazon.com

Trumpeter Miles Davis led several sessions for Prestige Records between November 1955 and October 1956 with his legendary "first" quintet, featuring tenor saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones. The sessions represent an incomparable musical legacy. Impeccably engineered by Rudy Van Gelder, the music was released on five albums that provide a unique glimpse at how five brilliant instrumentalists coalesced into one of the most extraordinary ensembles in modern jazz. Workin' presents an easygoing program that balances ballads with the blues and includes quintet performances of originals by Davis ("Four," "Half Nelson"), Coltrane ("Trane's Blues"), and Dave Brubeck ("In Your Own Sweet Way"); an interpretation of the standard "It Never Entered My Mind" without saxophone; and a piano-trio version of Ahmad Jamal's "Ahmad's Blues." Coltrane's melancholy solo on Brubeck's tune and Garland's spry excursion on Coltrane's are two of this classic's many highlights. --Mitchell Feldman

[DudeAsInCool]

Skinny Boy by Amy Millan from the new album Honey From the Tombs

[method77]

dead can dance - spiritchaser

[DudeAsInCool]

Isn't Easy To Live - Headlights

[DudeAsInCool]

The Fog - Girls In Hawaii Live On KCRW

[DudeAsInCool]

Set It On Fire - Jeremy Enigk