Untitled & Anonymous Happy Talk Chat Post

Happy. Keep talkin' happy talk; Talkin about the things you like to do.

There is no 'why'.

"It's the most impossible profession in the world. I am the most stupid man, to have become a wire-walker. But again, I didn't choose it. It chose me. So here I am - a prisoner of something I love." - Philippe Petit



"I continue to have in my mind some illegal walks, of course. But we live in a different time now, and suddenly in a big city like New York, if I'm caught by the powers that be at the top of a building with some equipment, I would be shot first and asked questions later. I think it's probably impossible, and yet what I do in my life is I tackle the impossible." - Philippe Petit

Hans Grüsel's Krankenkabinet - Happy as Pitch

Hans Grusel's Krankenkabinet have a great bio (which you can read here) full of a lot of made-up comical nonsense, they perform in costumes with cardboard German houses on their heads, and they make a freakishly atmospheric racket that only members of the Caroliner Rainbow Extended Ergot-Poisoned Singing-Bull of the 1800's Family Tree could. Imagine yourself in a pre-WWI German village where wooden children with mekanikal insides have taken over as they conspire to concoct the most demented Moog-driven kling-klang you've ever heard in your livenlife. "Okay...so they're like a Germanic Caroliner Rainbow, right?" Wrong. Hans Grusel's Krankenkabinet take the sonic blueprints already conjured up on the more instrumental Caroliner albums ("Toodoos," for example), but make it their own special brand of brutal sound effects with a heavier emphasis on orchestration, vintage analog electronics (they'll make you moo "MOOOOOOOOG") and a subtler approach to the sensory overload aesthetic first pioneered by the Caroliner Rainbow costume crew.

Featuring three multi-part kompositions spread out over 13 tracks, Hans Grusel and co. krank out some delightfully strange electro-acoustic music on "Happy As Pitch." Where one song will be heavily based on original compositions for the Moog System 15 synthesizer, the next track will find the group goofing around with electronically manipulated trumpet and violin, or performing a bizarre song and dance number in waltz-time. Each individual piece of the album sounds different from the next, with tracks being drawn out just long enough to leave you wanting more, while never boring you with repetitious passages or ill-conceived improvisations.

Review taken from here.

Link in comments. Enjoy.

Murray Rothbard

“It is in war that the State really comes into its own: swelling in power, in number, in pride, in absolute dominion over the economy and the society.”

ASSOUL #6

(Click Picture to Enlarge)

Skeleton Crew - Learn to Talk (1984) & The Country of Blinds (1986)

"It's all just on the edge of breaking down all the time, which is a quality that I've always liked. I don't like things to be too easy." - Fred Frith



Skeleton Crew was a United States experimental rock and jazz group from 1982 to 1986, comprising core members Fred Frith (guitar) and Tom Cora (cello), with Zeena Parkins (harp) joining later. Best known for their live improvisation performances where they played various instruments simultaneously, they recorded two studio albums Learn to Talk (1984) and The Country of Blinds (1986). Link in Comments.

The Winking Colon - Birth of ...

A rare compilation of studio and live recordings from underground Canadian band The Winking Colon (Released on SRCHNT Records, circa 1985).

Tracklisting:
Birth of the Winking Colon
The Blessing
Childhood
DreaMT
Mating Call of the Winking Colon
Hunt of the Winking Colon
The Winking Colon Eats It's Prey
Colon Sex, The Mating Call Acknowledged
The Contently Wandering Ruler
Heart Attack

Link in Comments.

Agnostic VS Atheist by Penn Jillette

"I see the question of atheist or theist as not 'Is there a god?', because at some kind of real, honest, gut level ... the answer to the question 'Is there a god' either has to be, or certainly is very reasonably, 'I don't know'. But, I don't see the atheist/theist question as being 'Is there a god?', I see the question as "Do you believe in a god?". That is the only question I care about, I don't care if you know if there is a god or not, if it's knowable or unknowable, but DO YOU BELIEVE IN A GOD?. I think in that sense, many of your agnostics automatically become atheists ... because if you are agnostic what god could you possibly be believing in? Jesus, Mohammed ... uh .... Zeus, The Flying Spaghetti Monster (you always have to throw that example in). The question gets much simpler, 'If your god communicated to you that you were to kill your child, would you do it?' If your answer is 'no', then in my mind you're an atheist. If you're answer is 'yes', in my mind you're dangerous and stay away from me.

Watch Penn speak about this topic and many others HERE.

Souled American - Notes Campfire

For my money, one of the all time great albums ever recorded. To call it an unsung, underrated classic would not even begin to do it justice. I look forward to their new album, recently announced on their home page. It will be their first in over a decade.

"Notes Campfire is the album that signaled a kind of resurgence of interest in Chicago's Souled American. The trio, already ten years old by the time of this recording, had already gone through an incarnation as a proto-insurgent country act. Souled American's early, rootsy, Americana-plumbing albums such as Fe and Rubber arrived on the scene at around the same time Uncle Tupelo was beginning to be a known roots music commodity. Further exacerbating the interest in the band, perhaps, was the work of guerilla rock criticism "50 Posters About Souled American" orchestrated by writer Camden Joy. Notes Campfire, for its part, furthered Souled American's unprecedented examination of the skeletal elements of country and folk music that the group had begun several years previous when the group lost and never replaced its drummer and its label, Rough Trade, folded. Guitarists Chris Grigoroff and Joe Adducci, with bassist Scott Tuma, manage with Notes Campfire to create the sound of American folk music, slowed to a molasses-in-February pace and delivered as gorgeous waves of guitar sound, texture, and raw emotion. Grigoroff's vocals sound like a man who's spent too long in solitary confinement or, rather, someone who's just come to an epiphany about the ugly, emotional truths of the world. Either way, in the strains of Souled American's soundscape exercises in musical tone and shape, you can hear Appalachia and darkness stretched to its limits. Souled American manages to find man sublime moments somewhere between abstract terror and vague, lingering familiarity." - allmusic.com

Link in comments. Sorry, no artwork. If anyone has a quality scan, I'd love to have it.

Death Vessel - Stay Close

Death Vessel is a neo-traditional folk band from Brooklyn, New York, signed to Sub Pop and ATP Recordings, and headed by Joel Thibodeau. Most vocals by Joel Thibodeau (yeah...a dude)

"The 35 articles of Impeachment" by Dennis Kucinich

Article I
Creating a Secret Propaganda Campaign to Manufacture a False Case for War Against Iraq.
Article II
Falsely, Systematically, and with Criminal Intent Conflating the Attacks of September 11, 2001, With Misrepresentation of Iraq as a Security Threat as Part of Fraudulent Justification for a War of Aggression.
Article III
Misleading the American People and Members of Congress to Believe Iraq Possessed Weapons of Mass Destruction, to Manufacture a False Case for War.
Article IV
Misleading the American People and Members of Congress to Believe Iraq Posed an Imminent Threat to the United States.
Article V
Illegally Misspending Funds to Secretly Begin a War of Aggression.
Article VI
Invading Iraq in Violation of the Requirements of HJRes114.
Article VII
Invading Iraq Absent a Declaration of War.
Article VIII
Invading Iraq, A Sovereign Nation, in Violation of the UN Charter.
Article IX
Failing to Provide Troops With Body Armor and Vehicle Armor
Article X
Falsifying Accounts of US Troop Deaths and Injuries for Political Purposes
Article XI
Establishment of Permanent U.S. Military Bases in Iraq
Article XII
Initiating a War Against Iraq for Control of That Nation's Natural Resources
Article XIIII
Creating a Secret Task Force to Develop Energy and Military Policies With Respect to Iraq and Other Countries
Article XIV
Misprision of a Felony, Misuse and Exposure of Classified Information And Obstruction of Justice in the Matter of Valerie Plame Wilson, Clandestine Agent of the Central Intelligence Agency
Article XV
Providing Immunity from Prosecution for Criminal Contractors in Iraq
Article XVI
Reckless Misspending and Waste of U.S. Tax Dollars in Connection With Iraq and US Contractors
Article XVII
Illegal Detention: Detaining Indefinitely And Without Charge Persons Both U.S. Citizens and Foreign Captives
Article XVIII
Torture: Secretly Authorizing, and Encouraging the Use of Torture Against Captives in Afghanistan, Iraq, and Other Places, as a Matter of Official Policy
Article XIX
Rendition: Kidnapping People and Taking Them Against Their Will to "Black Sites" Located in Other Nations, Including Nations Known to Practice Torture
Article XX
Imprisoning Children
Article XXI
Misleading Congress and the American People About Threats from Iran, and Supporting Terrorist Organizations Within Iran, With the Goal of Overthrowing the Iranian Government
Article XXII
Creating Secret Laws
Article XXIII
Violation of the Posse Comitatus Act
Article XXIV
Spying on American Citizens, Without a Court-Ordered Warrant, in Violation of the Law and the Fourth Amendment
Article XXV
Directing Telecommunications Companies to Create an Illegal and Unconstitutional Database of the Private Telephone Numbers and Emails of American Citizens
Article XXVI
Announcing the Intent to Violate Laws with Signing Statements
Article XXVII
Failing to Comply with Congressional Subpoenas and Instructing Former Employees Not to Comply
Article XXVIII
Tampering with Free and Fair Elections, Corruption of the Administration of Justice
Article XXIX
Conspiracy to Violate the Voting Rights Act of 1965
Article XXX
Misleading Congress and the American People in an Attempt to Destroy Medicare
Article XXXI
Katrina: Failure to Plan for the Predicted Disaster of Hurricane Katrina, Failure to Respond to a Civil Emergency
Article XXXII
Misleading Congress and the American People, Systematically Undermining Efforts to Address Global Climate Change
Article XXXIII
Repeatedly Ignored and Failed to Respond to High Level Intelligence Warnings of Planned Terrorist Attacks in the US, Prior to 911.
Article XXXIV
Obstruction of the Investigation into the Attacks of September 11, 2001
Article XXXV
Endangering the Health of 911 First Responders

Read the explanations behind each article here.
This is a libertarian, demanding respect for the most deserving liberal in Congress.

Coil - Scatology

Coil's first full-length album, Scatology is part of the backbone of Coil's great albums (along with Horse Rotorvator and Love's Secret Domain). This is Coil at their early, industrial stage. The album is about making good music from shitty sounds, hence the title. Most of the songs are harsher and less polished than more recent releases. "Restless Day" and its description of a mundane life filled with ennui is accented by strange tickings and a throbbing bass. "The Tenderness of Wolves" features vocals by Gavin Friday and the album ends with a somber rendition of "Tainted Love", which was originally released as a single with two album cuts ("Aqua Regis" and "Panic") was later added to the CD reissue. Coil's cover and subsequent video of "Tainted Love" was their reaction to the AIDS epidemic of the era (mid-to-late 1980's)
(Dave Piniella, Coil Album Guide)

V/A - Life Is A Problem (Mississippi Records)

According to the liner notes of this fantastic church-friendly blues LP and 7" set the Reverend Utah Smith made a name for himself by rocking out with his congregation, hammering out 12-bar blues whilst swinging about from the church rafters with a pair of angel wings on his back. No wonder church was more popular in the first half of the twentieth century if they had these sorts of antics to entertain them. As the Life Is A Problem album amply demonstrates, the good Reverend isn't the only clergyman with a penchant for raucous ecclesiastical hoedowns. Man of the cloth, Lonnie Farris knocks out the grimy country jams with some heavy slide guitar on the boogie-woogie groover 'A Night In The House Of Prayer', while Sister Ola Mae Terrell knocks out some detuned blues like a proto-Erika Elder on the album's title track. It's hard to work out exactly when some of this stuff was actually recorded (unfortunately the liner notes aren't terribly consistent with dates), but apparently this rocking nun cut six songs for the Columbia label in 1953, and presumably this is taken from that session. The remainder of the first side shifts into a slightly rowdier mode with the Straight Street Group belting out the greasy rock & roll grooves of 'Angels Keep Watching Over Me' and Elder Charles Beck firing off electrified blues solos on the radical evangelistic crowd pleaser 'Rock & Roll Sermon'. There's more of a clean-cut gospel influence on the Crumb Brothers' 'Seat In The Kingdom' whilst Bishop Terry Tills wails out with a garage rock dirge. This guy's an actual Bishop? It's all getting very strange indeed. Can you imagine Rowan Williams blurting out this stuff? Even Desmond Tutu would have a hard time with it. The LP is absolutely loaded up with compellingly weird, unexpectedly hard-rocking juke joint-style stompers that would more commonly be passed off as the Devil's music. - Boomkat



Link in Comments.

Charlemagne Palestine - From Etudes to Cataclysms (For The Doppio Borgato)

Several years ago Martin Kaufmann of Kaufmann Pianos in Brussels told me he had seen and heard an amazing and unique instrument in Italy. A piano with 2 seperate bodies! One with a normal grand piano body having 88 notes to be played with the fingers , and below this piano was a second piano also with a grand piano body which could play simultaneously the lower 37 notes of a grand piano with pedals for the feet.
Having known my music for years and that I had been a carilloneur where one plays with both fists and feet simultaneously, Martin Kaufmann thought that the Borgato would be perfect for my music. The inventor of this unique instrument was Luigi Borgato from Padua who developed the instrument with his wife Paola.
I was intrigued and through an intermediary, the Italian pianist Roberto Posseda, visited the Borgatos in Lonigo where they have their workshop and found that their instrument was perfect for my body and my music. We immediately decided to organise recording sessions in a local church for one week and "From Etudes to Cataclysms" is the result! -Charlemagne Palestine, October 2007

Photo of the Doppio Borgato:


Link in comments. Enjoy.

A Discussion of Intellectual Property and Public Domain; File Sharing

"Any argument over what should or should not be considered a
public domain for cultural works stems from one of two positions:

Position #1 -
Everything created by humans is “work”
that is done in order to gain income and
which cannot continue to be done without
that income. Therefore, all pieces of
cultural “work” need to be compensated (usually on a per-unit
basis) if we expect such work to continue. And therefore, to
become a “user” of such work without providing compensation
is to rob the creator of a rightful and necessary payment. This
position—the ethical and economic standard for cultural creation
that we’ve become accustomed to—stems directly from
our evolution through a pre-digital, hard-copy-based world in
which the supply of anything made was necessarily physical and
supply-limited in nature. The physical supply of anything made
was controlled by the maker of that thing, and any units or
copies of it were doled out exclusively by the maker. This condition
quite naturally evoked and supported the above ethic in a
material world that provided virtually no other options.

Position #2 -
Digital technologies of reproduction
have dragged the above ethic into a
world of new production realities; individual
“works” are still being created,
but once a digital copy of a work is released, it’s up for reproducing
grabs. Anyone on the receiving end (the audience) is
capable of making their own indistinguishable copies ad infinitum
and distributing them ad infinitum as well. And these
individuals can do this at home, at little cost, using consumer
technology available to most anyone. In other words, we have
begun to allow the whole receiving end of cultural output to
put themselves in charge of the reproduction and distribution
of others’ cultural work if they so wish.
This Internet-only condition of free public copying may
diminish traditional, per-unit, creator compensation to some as
yet unknown degree. As music makers, for example, we are
no longer in charge of our own music once it actually leaves
our hands in digitized form. We cannot control the further
duplication and distribution of our music by those who receive
it via digital media. This unexpected and perplexing reality has
begun to encourage a different ethic with an unknown economic
standard for digitized cultural work. Those who have
always upheld Position One appear oblivious to this ethic,
but, of course, it’s really nothing new at all, emerging as it does
from a very old ethic, one that every effort of private capitalism
over the last century has sought to deflect, delay, and
smother: the concept of public domain."

Excerpt from TWO RELATIONSHIPS TO A CULTURAL PUBLIC DOMAIN
by Negativland

This 15,000 word essay was part of Negativland’s 2005 CD/video/book/whoopee cushion project “No Business.” It was Negativland’s attempt, circa 2005, to write a definitive essay on the subjects of art, music, copyright law, culture and technology. If you want to know Negativland’s “official” take on these topics, this is the essay to read. Download as pdf here.

Tom Waits - The Black Rider

The Black Rider, released in 1993, contains studio versions of songs Waits wrote for the play The Black Rider, directed by Robert Wilson and co-written by William S. Burroughs. The play is based on the German folktale Der Freischütz, which had previously been made into an opera by Carl Maria von Weber.

The Black Rider premiered on March 31, 1990, at the Thalia Theater in Hamburg, Germany. Its world English-language premiere occurred in 1998 at the Edmonton International Fringe Festival.

Waits's collaboration with Wilson would later continue with the plays Alice (1992) and Woyzeck (2000), the music to which was released on the albums Alice and Blood Money, respectively.

(03.26.2008) Alan & Richard Bishop Present: The Brothers Unconnected, A Tribute to Charles Gocher and The Sun City Girls

Alan & Richard Bishop performing Sun City Girls songs as an acoustic guitar duet. This is a tribute both to Charles Gocher and selected music from the 27 year legacy of Sun City Girls. This recording was only available on the Brothers Unconnected Tour. Recorded live by Randall Dunn on March 26th, 2008.

180 D'Gs to the Future! - The Music of Negativland as Performed by the 180 G's

It was late in 2002 when the 180 G's brought their soulful blend of saucy gospel, doo-wop styles and silky R&B a cappella to a capacity crowd at the First AME Church in Bloomfield Hills, Michigan, one of the tougher working class neighborhoods of Detroit. Using nothing but their "God-given instruments," this popular vocal group had made a name for themselves with their exciting renditions of the works of the legendary experimental music group Negativland. As the applause swelled for their cover of Negativland's cover of "U2 (I Still Haven't Found What I'm Looking For)" I could not hold back my tears of joy.

Is it possible that a Detroit doo-wop/gospel group could have created the first and only "greatest hits" tribute collection of Negativland? Via doo-wop/gospel covers?? Yes, it’s true! From "Christianity is Stupid" to "U2," from "Car Bomb" to "I Am God," this record is not Negativland, but an incredible, worshipful simulation!

Intro (Everything's Going Fine) (3:41)
Christianity is Stupid (3:55)
Helter Stupid (exerpt) (4:25)
Greatest Taste Around (3:54)
I Still Haven't Found What I'm Looking For (6:11)
Car Bomb (1:24)
A Nice Place to Live (3:39)
Seat Bee Sate (2:17)
The Playboy Channel (1:49)
I am God (5:10)
Roy Storey Sports Line (4:01)
Oven Noises (5:08)
Theme from A Big 10-8 Place (live) (4:35)

Available on it's own or in the Negativland "Our Favorite Things" DVD! Buy it HERE.

Tim and Eric - Awesome Record, Great Songs!

Soundtrack to Tim and Eric Awesome Show, Great Job! on Adult Swim. What's not to like about these song titles?



01. Sports! 1:21
02. I Sit Down When I Pee 1:01
03. Doo Dah Doo Doo 2:05
04. Beaver Boys 1:30
05. Salame 2:35
06. Time Travel 0:52
07. Rolo Tony 0:45
08. Poke On 1:24
09. Petite Feet 1:17
10. Sit On You 0:48
11. Father And Son 1:23
12. My Sister's Cute 0:46
13. Hamburgers and Hotdogs 0:57
14. Pumpers Tumblers 1:23
15. Pizza Boy (featuring David Cross) 0:42
16. Come Over 2:56
17. The New You (featuring Maria Bamford) 0:43
18. Hearts (Featuring Aimee Mann) 1:59
19. Beach Blast 0:59
20. Stay In School 1:54
21. Dirty Socks 1:06
22. Horse And Buggy Ride 0:57
23. The Snuggler 1:05
24. All Of My Life 1:21
25. Raz 1:12
26. Long Legs 1:12
27. No Sunsets 1:33
28. Shrimp and White Wine 1:27
29. Marcama 2:05
30. Here She Comes (Featuring Bob Odenkirk) 1:05
31. Casey's Lost 0:44
32. Lost In The Wheel 2:11
33. Love Slaves 1:42
34. Wipe My Butt 1:14
35. Together Forever 1:58
36. Awesome Show Theme (Feat. DJ Douggpound) 3:43
37. Wipe My Butt (featuring the Shins) 2:36
38. Come Over (featuring Built To Spill) 2:49
39. Where's My Chippy (Featuring DJ Douggpound) 1:04
40. One For Pep Pep (Flying Lotus Remix) 3:21
41. Sports! (Sports Bar Remix) 2:06
42. Sports! (Dance Club Remix) 2:26
43. Come Over (A to Z) 2:34

Link in Comments.

Fishtank Ensemble - Super Raoul

Gypsy flamenco frenzy! A blend of up-tempo traditional and original music — Romanian, Roma, klezmer, flamenco and Japanese — with a contemporary twist. From the smokey cafes of Bucharest to the Gypsy caravans of yesterday, this CD evokes the spirit of a past age and the sounds of tomorrow. 7-piece orchestra with vocals, 2 violins, saw, accordion, shamisen, flamenco guitar, double base and percussion. A unique musical experience--and a rollicking good time.

Voices of Africa: High-Life and Other Popular Music. Saka Acquaye and His African Ensemble from Ghana

With all the sophistication that accompanied highlife's ascendancy as the popular music of West Africa, its roots remain somewhat obscured. Highlife, born in Ghana, incorporates rhythmic styles and instruments from Cuba and the Caribbean, jazz styles from America, and traditional music from West Africa. In the '50s, it was a revolutionary mix. By the '60s, highlife was rapidly becoming an institution. This record offers an unusual snapshot of highlife in its rawest form. Saka Acquaye, a multi-instrumentalist who formed his African Ensemble in the '50s, leads the group of eleven musicians featured on this reissue from 1969.

Track listing: 1. Sugar Soup 2. Down the Congo 3. Saturday Night 4. Drum Festival 5. Concomba 6. Beyond Africa 7. Congo Beat 8. Echoes of the African Forest 9. Bus Conductor 10. Ebony 11. Kenya Sunset 12. Awuben 13. Akudonno

Personnel: Saka Acquaye: drums, flute, and tenor saxophone; Garvine Masseaux: vibes & drums; George Brooks: double-bass; Edward Cooper: trumpet and mellophone; Wilfred Letman: trumpet; Charles Earland: tenor saxophone; Walter Miller: guitar; Robert Crowder, Joseph Acquaye, Benny Parkes, Sunny Morgan: drums.

(2004.11.12) Sun City Girls - Live at Emo's [Austin, TX]

Recorded on Charlie's birthday; In the spirit of brothers unconnected.

MYSTERY ALBUM!

If you think you know who it is - feel free to spill the beans in the comments.

Shadow Music Of Thailand, LP [SF042]

SHADOW MUSIC was a broad term given to the Thai guitar pop
movement of the 1960s and the groups that came out of it, all
under the profound influence of early Western rock and roll. British
instrumental wonders The Shadows (as in Cliff Richards & the Shadows)
were the origin of the genre's title, also coined 'Wong Shadow' or
early Thai 'String' music. Shadow records were often marketed as 'Thai Modernized Music' which it was in the truest sense. Traditional Thai melodies were given the Shadow treatment; incorporating rock, surf, a-go-go, exotica, soul, blues, Latin and other worldly styles of the times. Inventive compositions and instrumental genius meet the occasional odd vocal arrangement and the results range from plaintive guitar and organ-driven lullabies to full-blown electric garage folk-psychedelia! Featured on this collection are a handful of the leading recorded artists from the time; P.M. Pocket Music, The Son of P.M., P.M.7, Jupiter and Johnny Guitar. Throughout the 1960s, these groups forged a unique and highly self-referential Thai sound. One time pressing of 1500 LP copies and each of these beauties come in a full-color heavy-duty tip-on gatefold jacket featuring gorgeous original Thai Shadow LP artwork and of course 180 gram vinyl, so don't sleep on this one. OOP.

Vivian Girls

I saw them play an acoustic set at SXSW and I fell in love.

"Wild Eyes" from the Wild Eyes 7'' & Vivian Girls LP


"Never See Me Again" from the Vivian Girls LP


http://www.ifyoumakeit.com/video/the-vivian-girls/i-can-t-stay/

Buy or Die!

Bobb Trimble - Iron Curtain Innocence

Trimble began recording music and became known amongst Worcester's 'Wormtown' scene of the late 70's/Early 80's and went on to self-release these two records in miniscule quantities.

The records quickly became obscure, but an unauthorised re-issue by British label Radioactive kept them alive. With the rise of the internet, Ebay trading was taking the albums up to the $1500 mark and the time appeared right for an official re-release by Secretly Canadian.

Bobb Trimble's songs are deceptively complex - layering stings, multiple guitars, bass and vocals with ahead-of-their time samples and effects. His vocal's are strangely most reminiscent of Naomi Yang and the highlights of the album hit the same tone and atmosphere as some of Damon & Naomi's best work - although Trimble's multi-layered production is a long way from their stripped down sound. Iron Curtain Innocence sees Bobb merely finding his stride. When The Raven Calls is the highlight - a 6 and a half minute song, that cuts in on a guitar solo, giving you an idea of it's scope.

Buy or Die!

The Omen - OST [Deluxe Version]

An original score for the film was composed by Jerry Goldsmith, for which he received the only Oscar of his long career. The score features a strong choral segment, with a foreboding Latin chant. The refrain to the chant is, "Sanguis bibimus, corpus edimus, tolle corpus Satani" (Latin, "We drink the blood, we eat the flesh, raise the body of Satan"), interspersed with cries of "Ave Satani!" and "Versus Christus" (Latin, "Hail, Satan!" and "Hail, Antichrist!"). Aside from the choral work, the score includes lyrical themes portraying the pleasant home life of the Thorn family, which are contrasted with the more disturbing scenes of the family's confrontation with evil.

The Three Suns - Movin' 'n' Groovin'

The musical core of the Three Suns — the familiar guitar, accordion and organ — has been here augmented by an extraordinary assortment of instruments, including jaw bone, wind bells, chains, tapping shoes, harpsichord, ad infinitum — all gliding and sliding in a whirlwind of pattern and a maelstrom of motion, sometimes subtly and variously violent, but always MOVIN' 'N' GROOVIN'.

Boredoms - Soul Discharge

Tiny Tim - God Bless Tiny Tim

"God Bless Tiny Tim was the first album by Tiny Tim. Released in 1968 on the Reprise label, it included TipToe Through the Tulips (the song which made him famous), a version of I Got You Babe, and a collection of more obscure songs. Many of the songs have humorous lyrics, are sung for humorous effect, or have an unexpected hook. It is widely praised, but was not released on CD until the late 1990s, and then only in Japan.

The album was produced by Richard Perry, who had produced Captain Beefheart's first album, Safe As Milk, and was to go on to produce Diana Ross, Rod Stewart and Ringo Starr. The arrangements are by Artie Butler.

The songs were written by a variety of composers, most from the early 20th century, and most rather obscure, although I Got You Babe was by Sonny Bono, and Stay Down Here Where You Belong was by Irving Berlin.

For some of the album, Tim sings in his unusual falsetto style. However, on a number of songs, Stay Down Here Where You Belong, The Coming Home Party and others) he sings baritone, demonstrating his voice's great range. In On the Old Front Porch, Daddy, Daddy, What is Heaven Like? and on I Got You Babe he sings both baritone and falsetto, alternating between the two. A joke in I Got You Babe is revealed in the last words where both baritone and falsetto voices unexpectedly sing at once, revealing the apparently agile duet is actually himself singing double-tracked."

Link in Comments.

Jackie-O Motherfucker - Liberation

Listen to this while travelling through places you've never been before. Like parts of Wyoming?

Chris Corsano - The Young Cricketer (2006)

...16 short tracks highlighting a multiplicity of profoundly personal innovations on and around the drum kit, The Young Cricketer moves from sheets of sound circular breathing on a make shift mouthpiece and shower attachment, (that makes Evan Parker sound like Tommy Smith) through to battering the kit with butter knives and skewered superballs. I have had the great pleasure of seeing Chris play on a number of occasions and every time he seems to have made some kind of massive breakthrough in his playing. Whether it is harnessing homemade violin bridges to the drum heads and making them sing like the most purely outside LaMonte Young track never released or hand fashioned pan lids being pummelled like the most deranged gamelan riffs or doing more with his weaker arm than I could do with all four limbs simultaneously… he doesn't just widen the goal posts for what a drummer can do, he splinters them into 100, 000 fucking pieces! Suffice to say that from a drummer's point of view this is about as good as it gets, but this album isn't to be enjoyed exclusively by oily skinned, slack jawed freaks that spend all their time obsessing over the potential of rapidly struck surfaces (like…uh, me). No, this can be enjoyed by anyone with a pulse who is even remotely interested in sound as pure joy. And just to help us mere mortals out, Chris has listed everything he has used to completely demystify the experience of watching/listening to him play. No overdubs, no sound manipulation (apart from a little distortion on the final track, where he somehow makes the kit sound like a slagging match between Milford Graves and Richard Rupenus)...

Link in Comments. Buy or Die!

The Three Suns - Fever and Smoke

Reputed to be then-First Lady Mamie Eisenhower's favorite performers, the Three Suns were a popular exotica musical group of the mid-twentieth century (1940s - 1960s) whose soft, intimate style was the result of their unusual (for the time) basic instrumentation of guitar, Hammond organ, and accordion. Although the instrumentation and line-up of the group changed over the years, the original personnel consisted of brothers Al (1915 - 1965) and Morty (1917 - 1990) Nevins and their cousin, Artie Dunn (1922 - 1996), on guitar, accordion, and organ, respectively. During the 50's they began experimenting with new sounds, such as adding additional instruments, working with full orchestras, and, later on, taking advantage of effects that the new stereo technology could exploit.

Fever and Smoke, another masterful mixture of magical music brewed with the accustomed artisty of the Suns, and stirred, simmerd and flavored to the boiling point by the magic touch of Producers Nevins-Kirshner. Sound-wise, the Suns have added the mallet family, the marimba, the vibraphone, the Salvation Army Drum, kettledrum and all the in-betweens, and surrounded themselves with the rhythm and blues of today - Fender bass and the feel to go with it.

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Souled American - Flubber

The Mountain Goats:
How Souled American’s Flubber Changed My Life

By John Darnielle

Sometime around 1987 I saw a shakily animated video by a band I'd never heard of before. The music behind it had no drums, just a bubbling bass and a fractured spiderweb of an acoustic guitar. Above this skeleton of a song, the vocals darted in and out like a baritone mosquito. The chorus was either “all good things walk out/if you're willing to take the time to let 'em out,” or “all good things will kill/if you're willing to take the time to let 'em out.” What was that, then? It was kind of annoying, but it was also hypnotic.

After a few weeks of enduring this cryptic refrain on a loop in my head, I bought Souled American's Flubber at a Tower Records in West Covina. The cover art was vague, and so was the music: neither uptempo nor somber, neither here nor there. There was an almost cosmic sadness to it. It was like something from another planet; the only thing like it in my world at that time was the Meat Puppets, who were a good deal easier to pin down.

“All Good Things” led off the album, and as things progressed, Flubber stretched out its legs a little. By the end, it was all huge droning suspended upright bass notes and keening monosyllables, decorated by heavily reverbed twanging guitars. If the New Riders of the Purple Sage had gotten so depressed one day that they didn't know how to talk about it, they might have made this record. My two favorite songs on it contrasted heavily with one another; "Drop in the Basket" was a nervous romp in an odd time signature that seemed to be telling a story about a church burning down, and its melody was like a caffeine-induced trance. "Over the Hill," on the other hand, was a mandolin-drenched abstraction with a lonesome harmonica and an increasingly mournful chorus ("If you've got the love, baby, I've got the time"). It faded long and slow, and carried me off with it every time; its arrival point was in the middle of nowhere. I still don't know of any other feeling like it in music.

This album soundtracked the next year of my life. I didn't know anybody else who'd even heard of it. It was a private joy. The band's next album, Around the Horn, disappeared almost without a trace, though I managed to find a copy; it was great, too, maybe even better. A few years later, in 1995, I was talking on the phone to this girl who lived in Iowa; we hadn't met personally, but we had a correspondence going, and I really liked her. I was trying to figure out a way of saying so without sounding lecherous; what I wound up saying was: “You know, you...” and then just letting that vowel fade. “Hey,” she said, “that sounded like a Souled American song.” “What did you say?” I said.

We are still married.


Link in Comments. Buy it HERE. ENJOY!

The Grand Chessboard

The Bilderberg Group, an elite club of politicians, executives and intellectuals, are holding their 56th annual meeting in Chantilly, Virginia. This year's meeting, which started Thursday June 5th and is due to end Sunday June 8th, deals mainly with “a nuclear free world, cyber terrorism, Africa, Russia, finance, protectionism, U.S.-EU relations, Afghanistan, Pakistan, Iran and Islam,” according to the Centre Daily Times Web site. Approximately 140 participants attended the meeting, of whom about one-third of the guests are politicians and government officials, while two-thirds come from the world of finance, industry, labor, education and communications, according to the Web site.
According to news reports and campaign spokespeople, Barack Obama and Hillary Clinton went out of their way to hold their long-awaited private meeting in a very specific location - not at Hillary's mansion in Washington - but in Northern Virginia, which also just happens to be the scene of the 2008 Bilderberg meeting. Not one U.S. corporate media outlet has made the connection between the location of the Bilderberg Group conference this year and Obama and Hillary's decision to venture out to Chantilly for their confidential "tet a tet". You certainly won't read about it in the Washington Post, the New York Times or the Wall Street Journal, since the editors of those three newspapers are all Bilderberg members and are invited on the condition they do not report anything discussed during the conference.

Among the guests attending Bilderberg 2008 are:
Rice, Condoleezza - Secretary of State
Rockefeller, David - Former Chairman, Chase Manhattan Bank
Graham, Donald E. - Chairman and CEO, The Washington Post Company
Bernanke, Ben S. - Chairman, Board of Governors, Federal Reserve System
Johnson, James A. - Vice Chairman, Perseus, LLC (Obama's man tasked with selecting his running mate)
Kissinger, Henry A. - Chairman, Kissinger Associates, Inc.
Wolfowitz, Paul - Visiting Scholar, American Enterprise Institute for Public Policy Research

Hungry; Need Bandwidth!

Anyone want to donate some bandwidth for the divshare account? Also, if there are any links down; let me know in the comments of this posting.

The Bambi Molesters - Intensity!

The Bambi Molesters are a surf rock band from Sisak, Croatia. Since their formation in 1995, they have taken part in the revival of the 1960s surf genre and continue to significantly contribute to its survival and further development with their critically acclaimed music.

I listen to this album religiously; honestly one of my absolute favorite albums, it's perfect. Link in Comments.

Sam Rivers - Crystals (1974)

Wild Big Band free jazz. Composition and free improv collide and explode into shards of shifting, pulsating color, occasionally reforming, only to shatter yet again into extremely dense walls of percussive, shimmering sound.. Basically. Highly recommended.

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Assoul 3