Bob Dylan – Bringing It All Back Home (1965)

Tracklisting

1. “Subterranean Homesick Blues” – 2:21

2. “She Belongs to Me” – 2:47

3. “Maggie’s Farm” – 3:54

4. “Love Minus Zero/No Limit” – 2:51

5. “Outlaw Blues” – 3:05

6. “On the Road Again”– 2:35

7. “Bob Dylan’s 115th Dream”– 6:30

8. “Mr. Tambourine Man” – 5:30

9. “Gates of Eden” – 5:40

10. “It’s Alright, Ma (I’m Only Bleeding)” – 7:29

11. “It’s All Over Now, Baby Blue” – 4:12

Comments

my favorite dylan album and in my opinion one of the Best Albums in Rock, as a hole piece of art, this record kicks butt!

Bringing It All Back Home is singer-songwriter Bob Dylan’s fifth studio album, released in March 1965 by Columbia Records.

The album is divided into an electric and an acoustic side. On side one of the original LP, Dylan is backed by an electric rock and roll band – a move that further alienated him from some of his former peers in the folk song community. Likewise, on the acoustic second side of the album, he distanced himself from the protest songs with which he had become closely identified (such as “Blowin’ in the Wind” and “A Hard Rain’s a-Gonna Fall”), as his lyrics continued their trend toward the abstract and personal.

The album reached #6 on Billboard’s Pop Albums chart, the first of Dylan’s LPs to break into the US top 10. It also topped the UK charts later that Spring. The lead-off track, “Subterranean Homesick Blues”, became Dylan’s first single to chart in the US, peaking at #39.

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Bob Dylan – Blood On The Tracks (1974)

Track listing

1. “Tangled Up in Blue” – 5:42 (Minneapolis)

2. “Simple Twist of Fate” – 4:19 (NYC, Sept 1974)

3. “You’re a Big Girl Now” – 4:36 (Minneapolis)

4. “Idiot Wind” – 7:48 (Minneapolis)

5. “You’re Gonna Make Me Lonesome When You Go” – 2:55 (NYC, Sept 1974)

6. “Meet Me in the Morning” – 4:22 (NYC, Sept 1974)

7. “Lily, Rosemary and the Jack of Hearts” – 8:51 (Minneapolis)

8. “If You See Her, Say Hello” – 4:49 (Minneapolis)

9. “Shelter from the Storm” – 5:02 (NYC, Sept 1974)

10. “Buckets of Rain” – 3:22 (NYC, Sept 1974)

Comments

Blood on the Tracks is singer-songwriter Bob Dylan’s 15th studio album, released by Columbia Records in January 1975. The album marked Dylan’s return to Columbia after a two-album stint with Asylum Records.

The album, which followed several years of lukewarm reception for Dylan’s work, was greeted enthusiatically by fans and critics. In the years following its release, it has come to be regarded as one of his best albums — making it quite common for subsequent records to be labeled his “best since Blood on the Tracks.” It is also commonly seen as a standard for confessional singer-songwriter albums; though Dylan has denied that the songs are autobiographical, his son Jakob Dylan has stated: “The songs are my parents talking.”[5] Most of the lyrics on the album revolve around heartache, anger, and loneliness. In 2003, the album was ranked number 16 on Rolling Stone magazine’s list of the 500 greatest albums of all time.

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Omar Rodriguez-Lopez – Se Dice Bisonte, No Bùfalo (2007)

Track listing

1. “The Lukewarm” – 0:26

2. “Luxury of Infancy” – 1:12

3. “Rapid Fire Tollbooth” – 5:03

4. “Thermometer Drinking the Business of Turnstiles” – 3:00

5. “Se Dice Bisonte, No Búfalo” – 7:00

6. “If Gravity Lulls, I Can Hear the World Pant” – 2:46

7. “Please Heat This Eventually” – 11:24

8. “Lurking About in a Cold Sweat (Held Together by Venom)” – 4:49

9. “Boiling Death Request a Body to Rest Its Head On” – 4:14

10. “La Tiranía de la Tradición” – 5:05

Personnel

Omar Rodriguez-Lopez – Guitars, Bass (1, 4, 8, 10), Drums (1), Vocals (1), Wurlitzer (4, 8), Synths (4, 8, 9, 10), Rhodes (8), Piano (10)

Adrián Terrazas-González – Woodwinds & Percussion (3, 5, 6, 7, 9), Soprano (9)

Marcel Rodriguez-Lopez – Drums & Percussion (3, 5, 6, 7, 8, 9), Synths (7, 9), Clavinet (8)

Juan Alderete – Bass (3, 5, 7, 9)

Money Mark – Keyboards (3), Piano (5), Organ, Clavinet, Synths (7)

Cedric Bixler-Zavala – Vocals & Lyrics (3, 5, 10)

John Frusciante – Guitars (6)

Jon Debaun – Voice (9)

Jon Theodore – Drums (10)

Production

It is one of five albums written and recorded by Omar Rodriguez-Lopez whilst living in Amsterdam in November 2005. Se Dice Bisonte, No Búfalo was conceived simultaneously to The Mars Volta’s Amputechture and Omar’s soundtrack to the Jorge Hernandez Aldana film, El Búfalo de la Noche; which is where the title for Se Dice Bisonte, No Bùfalo originates. Omar expressed that this record is a response and expression of his feelings of the film, the soundtrack of which will feature The Mars Volta contributions. The album artwork is provided by longtime collaborator Damon Locks of The Eternals.

Content

Se Dice Bisonte, No Búfalo consists of 3 vocal tracks and 7 instrumentals, and also includes the original studio version of the song Please Heat This Eventually (without the vocals of Damo Suzuki). Omar performed the majority of the compositions solo, although the album also includes performances by The Mars Volta members Cedric Bixler-Zavala, Marcel Rodriguez-Lopez, Juan Alderete and Adrián Terrazas-González. It also features cameos by Money Mark, John Frusciante, and former Mars Volta drummer Jon Theodore who appears on the final track, which was recorded while he was still a part of the group.

“Rapid Fire Tollbooth” eventually became a part of The Mars Volta’s live set, and evolved into the song “Goliath” which appears on their studio album The Bedlam in Goliath.

PLEASE BUY THE ORIGINAL IF YOU LIKE THE ALBUM, SUPPORT THE ARTIST

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Posted in Progressive Rock, Psychedelic Rock Tagged: Omar Rodriguez-Lopez, The Mars Volta ]]> http://53rdand3rd.wordpress.com/2009/08/06/omar-rodriguez-lopez-se-dice-bisonte-no-bufalo-2007/feed/ 1 churlie GSL129cd http://53rdand3rd.wordpress.com/2009/07/17/miles-davis-the-complete-birth-of-the-cool-1949/ http://53rdand3rd.wordpress.com/2009/07/17/miles-davis-the-complete-birth-of-the-cool-1949/#comments Fri, 17 Jul 2009 19:51:42 +0000 churlie http://53rdand3rd.wordpress.com/?p=727 ]]>

Miles Davis – The Complete Birth of the Cool (1949)

Tracklisting

1. Move

2. Jeru

3. Moon Dreams

4. Venus De Milo

5. Budo

6. Deception

7. Godchild

8. Boplicity

9. Rocker

10. Israel

11. Rouge

12. Darn That Dream

13. Birth Of The Cool Theme (Live)

14. Symphony Sid Annouces The Band (Live)

15. Move (1-Live)

16. Why Do I Love You (Live)

17. Godchild (Live)

18. Symphony Sid Introduction (Live)

19. S’il Vous Plait (Live)

20. Moon Dreams (1-Live)

21. Budo (Hallucination)/(Live)

22. Darn That Dream (Live)

23. Move (2-Live)

24. Moon Dreams (2-Live)

25. Budo (Hallucinations)/(Live)

Comment

Since the late 1940s, the term “cool jazz” has been used to describe post-swing jazz that is played with subtlety and restraint rather than aggression. One could argue that “cool jazz” started when Lester Young presented a soft, relaxed alternative to Coleman Hawkins-and to be sure, the seminal Prez was the blueprint for Stan Getz, Zoot Sims, Paul Quinichette and many others in the “Cool School.” If Prez had played “cool swing,” one of the most important moments in the history of “cool bebop” came when Miles Davis recorded his landmark Birth Of The Cool studio sessions of 1949-1950-all of which are included in this reissue.

In the U.S., Birth Of The Cool was first reissued on CD in 1989-what sets this 1998 version apart is the addition of live performances by the trumpeter’s “cool” nonet of 1948 (all recorded at New York’s Royal Roost). Compare the live and studio versions of “Move,” “Godchild” and “Darn That Dream” to the hot-blooded bebop that Charlie Parker, Dexter Gordon and Dizzy Gillespie had been providing, and you’ll see the difference-Davis and sidemen like Gerry Mulligan (baritone sax) and Lee Konitz (alto sax) were still playing bebop changes, but with a lot more restraint than one had come to expect from “modern jazz” (as it was called).

Like Kind Of Blue with modal post-bop and Bitches Brew with fusion, these sessions proved to be among the most influential in the history of jazz-a fact that recordings by Chet Baker, Dave Brubeck, Paul Desmond and others bear out. This outstanding music is essential listening. Period.

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Andrew Hill – Judgment! (1964) Blue Note 63842

Tracklisting

1. Siete Ocho
2. Flea Flop
3. Yokada Yokada
4. Alfred
5. Judgment
6. Reconciliation
7. Yokada Yokada (alternate take)

Personnel

Aandrew Hill – piano

Bobby Hutcherson – vibes

Richard Davis – bass

Elvin Jones – drums

Comment

Recorded two months after Black Fire and two months before Point of Departure, Andrew Hill’s Judgement!—finally receiving the Van Gelder remastering treatment—demonstrates just how prolific the envelope-pushing pianist was during the ’60s. While prolific doesn’t necessarily mean good, what is most remarkable about Hill’s seemingly endless output on Blue Note between ‘63 and ‘69—strangely eluding the accolades he deserved at the time, but finally finding his audience in recent years—is how incredibly consistent it was.

Whether using larger ensembles on Point of Departure and Passing Ships, or smaller groups on Black Fire and Dance with Death, Hill’s ability to skirt the edges of the avant garde while remaining within a more mainstream context made his inability to reach audiences, who were soaking up records by Wayne Shorter and Bobby Hutcherson, all the more curious. Both were enjoying greater success while mining similar territory, at least some of the time.

Perhaps part of the problem was Hill’s more idiosyncratic, serpentine, and at times jagged writing. As cerebral as Shorter was, with the possible exception of outro recordings like The All Seeing Eye and Super Nova, he was more concerned with harmonic density, always keeping a steady pulse underneath. While Hill also kept an eye on forward motion, he was also exploring irregular and shifting meters—characteristics likely disconcerting to a mainstream crowd—while his allegiance to form alienated devotees of the free jazz movement taking hold at the time.

In some ways this 1964 recording is Hill’s most unconsidered session of the time. On this quartet date he placed Hutcherson’s vibes, rather than a horn player, in the front line and used Richard Davis—his clear bassist of choice, appearing on seven sessions between ‘63 and ‘65. Drummer Elvin Jones had ended his six-year run with John Coltrane, rejecting Coltrane’s total transition away from defined structure. Hill’s distinguishing marks are all over the album’s six compositions, but they’re somehow more relaxed than usual. Perhaps it’s simply a matter of texture—Hutcherson’s vibes are a more ethereal foil to Hill’s abstruse style—but even pieces like the irregular-metered “Siete Ocho” have an understated intensity.

There’s something more open about the loose swing of “Flea Flop.” Hill’s accompaniment beneath Hutcherson’s characteristically well-developed solo is less angular and more to the point. While his own solo finds his left hand in more oddly-placed counterpoint to the skewed rhythms of his right—all the while with Davis carefully filling in the blanks—it’s only when Jones steps up for a solo that things really heat up. “Alfred” is a surprisingly tender ballad, although Davis’ more interactive role keeps things from becoming too settled.

What makes every new Hill reissue from the ’60s significant is how he managed to blend complex compositional ideas and oblique thematic constructs; left-of-centre, to be sure, but still in that centre’s general vicinity. Perhaps he was ahead of his time, and his increased popularity these days indicates that his audience has finally caught up with him; in any case, Judgement! is a classic entry that’s sure to please.

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Grant Green – Standards (1961)

Personnel

Grant Green (guitar)

Wilbur Ware (bass)

Al Harewood (drums)

Tracklisting

1. You Stepped Out Of A Dream

2. Love Walked In, If I Had You

3. I’ll Remember April

4. You and The Night and The Music

5. All The Things You Are

6. I Remember You

7. If I Had You (Alternate Take)

Comment

Grant Green’s Standards represents the first US release of this classic Blue Note material. Six of the eight pieces on this disc were previously released only in Japan on LP. All songs were recorded on August 29, 1961 (oddly enough, the same day as Remembering ). This falls after Green’s leader date ( Grantstand Blue Note, August 1, 1961) and before being a sideman on Stanley Turrentine’s Z.T.’s Blues (Blue Note, September 13, 1961).

The Guitar Trio…No Organ. Standards finds Green in a trio format: bass, drums, and guitar. This is a very intimate and difficult format in which to play, placing a greater onus on the bass player and guitarist in the absence of a piano left hand. The results are very crisp, pristine performances. Bassist Wilbur Ware and drummer Al Harewood join Green for his stroll through the American Songbook. Their support is on the same high level as the leader’s. The playing by all involved is captured in a clear and up-close manner that I find in common with only a few other Blue Note recordings of the same period. There is no muddiness at all. The drums are just below the surface with the bass. Green’s electric Gibson caresses his accompanists rather than overpowering them.

Subtle. This is a collection of faded musical pastels performed in a chamber music format to which grace and art cling like smoke. This is 3:00 AM music, smelling of cigarettes and scotch, recalling lost and current love. Highlights include the opening “You Stepped Out of a Dream” and migrate through a bouncy “Love Walked In” to the intense pinnacle of the disc, “You and the Night and the Music.” A svelte “All the Things You Are” (Dizzy Gillespie?s arrangement) is also represented. This disc is a uniquely pleasurable listening experience.

Riding On A Blue Note. Blue Note Records has released four other discs in their Standards series of recordings. They are Lee Morgan (BN23213), The Three Sounds (BN21281), Sonny Clark (BN21283), and Jimmy Smith (BN21282). All of these recordings contain either previously unreleased or limited released material. All 50s and 60s Blue Note material should be welcomed and accepted as the history it is.

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The 13th Floor Elevators – The Psychedelic Sounds of (1966)

The Psychedelic Sounds Of (Mono)

1. You’re Gonna Miss Me (2:31)

2. Rollercoaster (5:04)

3. Splash 1 (3:53)

4. Reverberation (2:47)

5. Don’t Fall Down (3:01)

6. Fire Engine (3:19)

7. Thru The Rhythm (3:07)

8. You Don’t Know (How Young You Are) (2:56)

9. Kingdom Of Heaven (Is Within You) (3:08)

10. Monkey Island (2:40)

11. Tried To Hide (2:48)

12. Reverberation (2:47)

13. Fire Engine (2:37)

14. Reverberation (2:59)

15. Fire Engine (3:19)

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The Psychedelic Sounds Of (Stereo)

1. You Don’t Know (How Young You Are) (2:57)

2. Through The Rhythm (3:24)

3. Monkey Island (2:55)

4. Rollercoaster (5:04)

5. Fire Engine (2:37)

6. Reverberation (2:53)

7. False start / Tried To Hide (0:27)

8. Tried To Hide (2:48)

9. You’re Gonna Miss Me (2:30)

10. I’ve Seen Your Face Before (Splash 1) (3:56)

11. Don’t Fall Down (3:19)

12. The Kingdom Of Heaven (Is Within You) (3:10)

13. You Don’t Know (How Young You Are) (2:44)

14. Roller Coaster (4:21)

15. Don’t Fall Down(3:02)

16. Don’t Fall Down (Larry Kane Show) (4:07)

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Comment

The Psychedelic Sounds of the 13th Floor Elevators is a 1966 album by 13th Floor Elevators. The album’s sound, featuring elements of folk, garage, blues and, of course, psychedelia, is notable for its use of the electric jug, as featured on the band’s only hit, “You’re Gonna Miss Me”.

The November 1966 album title is purported to be the first use of the word “psychedelic” in reference to the music within. However, this is in dispute as two other bands also released similarly titled LPs in November of 1966: The Blues Magoos’ Psychedelic Lollipop, and The Deep’s Psychedelic Moods.

In 2005, The Psychedelic Sounds of the 13th Floor Elevators was remastered and reissued in compact disc format by Charly Records, a British record label specialised in reissued material. It included bonus tracks of the band’s 1966 performance at the Avalon Ballroom, a legendary music venue in the Polk Gulch neighborhood of San Francisco, and both sides of a single, “We Sell Soul” and “You’re Gonna Miss Me”, from Roky Erikson’s pre-13th Floor Elevators band, The Spades.

Released three years after their final album, Statues, a Moloko best-of was long overdue. Fortunately, the straightforwardly named Catalogue delivers an impeccably edited collection of the duo’s eclectic, ahead-of-the-curve music, gathering their biggest hits and key album tracks. Gorgeous romanticism, drop-dead style, and a funky sense of humor — not to mention Roisin Murphy’s charismatic vocals and Mark Brydon’s forward-thinking production skills — were the key ingredients in Moloko’s freewheeling mix of dance, pop, and rock, all of which are on display throughout Catalogue and especially on its first five tracks, which are, not coincidentally, the duo’s most popular singles. “Fun for Me” and “Pure Pleasure Seeker” are quintessential examples of Moloko’s sexy, mischievous take on dance anthems; “The Time Is Now” and “Familiar Feeling” are searching-but-glamorous ballads; and of course, the pair’s breakthrough single “Sing It Back” is as alluring as it is inventive. Unlike some best-ofs, which have to stretch to fill out an album’s worth of tracks, Catalogue is a welcome reminder of how strong Moloko’s overall body of work is. From Do You Like My Tight Sweater?’s “Day for Night” and “Where Is the What If the What Is in Why?” to the title track of Statues, each song on the collection holds up. Catalogue’s only flaw — if it can be called that — is that it doesn’t include many of the flights of fancy that made Moloko’s albums so distinctive. The closest the collection gets to the duo’s deeply kooky side is the cryptic but irresistible shuffle of “Indigo” and the playful pop of “The Flipside.” This is a minor drawback though — Catalogue is a great Moloko primer, and any newcomers charmed by the songs here have even more to discover on the full-length albums. [The 2006 Echo edition included a live set from Brixton on a second CD.]–Heather Phares

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download part 1 – 195.0 MB
download part 2 – 195.0 MB
download part 3 – 195.0 MB
download part 4 – 195.0 MB
download part 5 – 106.5 MB

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*****

I give this album 4 out 5 stars
let us know what you think in the comments section of this post

Upon leaving the Red Hot Chili Peppers in 1992, guitarist John Frusciante delved into home recording, eventually completing a 12-track album titled Niandra Lades that bore the influence of ’60s oddballs like Syd Barrett and Captain Beefheart. Niandra Lades languished on the shelf for a while until it was paired with another 12-track collection of Frusciante’s home-taping efforts; this one, titled Usually Just a T-Shirt, concentrated on pleasant psychedelic instrumentals with plenty of backward-guitar effects. While some might find the jump from bizarre vocal numbers to atmospheric instrumentals (and the resultant shift in mood) a bit jarring, the two halves do share certain characteristics. Frusciante’s singing voice has a fragile, wispy quality that sits well next to the often delicate second half, and the sparse arrangements of the first half help set the stage for the gossamer guitar work later on. Because the whole project has a definite stream-of-consciousness feel, it does fall prey to underdeveloped ideas at times, but overall, Niandra Lades and Usually Just a T-Shirt is an intriguing and unexpected departure from Frusciante’s work with the Chili Peppers.–Steve Huey

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download part 1 – 195.0 MB
download part 2 – 195.0 MB
download part 3 – 10.5 MB

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*****

I give this album 3 out 5 stars
let us know what you think in the comments section of this post

Here’s a good reason why cool bricks-and-mortar record shops still matter: seven songs cut live and hot in front of fans and customers at Easy Street Records in Pearl Jam’s hometown of Seattle, then released through indie stores and priced to move. “Lukin” zooms by in forty-eight seconds, and “Porch” comes with a bizarre reggae-like intro that quickly blows up into prolonged mad-guitar howl. There is also a hat trick of covers from the golden age of California hardcore: the Avengers’ “American in Me”; “Bleed for Me,” by the Dead Kennedys; and a loving stomp through X’s “New World,” with guest vocals by X-man John Doe.

What is this, yet another personal opinion? YES: This EP is seriously COOL :)

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download part 1 – 195.0 MB
download part 2 – really tiny (sorry I didn’t see it before) MB

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*****

I give this album 5 out 5 stars, ’cause it just ROCKS!!!
let us know what you think in the comments section of this post