AMG says "After Caetano Veloso broke out with his solo debut, the self-titled 1968 release recognized as the building block for the now infamous Brazilian Tropicalia movement, his friends and musical peers released similar albums, always upping the ante in terms of outrageousness and inventiveness. This release, the second of two self-titled albums released by Gal Costa in 1969, set the high watermark in terms of overall insanity and complete experimental freedom for the entire lot; not Veloso nor Gilberto Gil, Tom Zé, or even the rambunctious Os Mutantes stepped this far out into psychedelia, and even though Costa had hinted at the noisier aspects she was interested in exploring with her previous release, this album must have shocked listeners when it arrived on the shelves. In fact, 35 years of MPB -- or music from anywhere else in the world for that matter -- hasn't heard another sonic assault quite like this."
AMG says "After Caetano Veloso broke out with his solo debut, the self-titled 1968 release recognized as the building block for the now infamous Brazilian Tropicalia movement, his friends and musical peers released similar albums, always upping the ante in terms of outrageousness and inventiveness. This release, the second of two self-titled albums released by Gal Costa in 1969, set the high watermark in terms of overall insanity and complete experimental freedom for the entire lot; not Veloso nor Gilberto Gil, Tom Zé, or even the rambunctious Os Mutantes stepped this far out into psychedelia, and even though Costa had hinted at the noisier aspects she was interested in exploring with her previous release, this album must have shocked listeners when it arrived on the shelves. In fact, 35 years of MPB -- or music from anywhere else in the world for that matter -- hasn't heard another sonic assault quite like this."
Good album, I had to check but it's one that features the track Tuareg, which get's comped quite a lot.
Saturno 2000 - La Rebajada de Los Sonideros 1962-1983
So, you have a couple of brothers who traveled all over Latin America picking up some choice stacks of wax and selling them to sonideros interested in new sounds to play on their public sound systems at parties. One of the sonideros encounters a short-circuit that nearly electrocutes him and almost sets his turntable on fire. Any record he puts on it now, plays very slowly at something like half-speed and the kids at the party go crazy for the slowed-down cumbias and porro … and a new music form, “rebajada,” is born. Psicodélico en llamas!
Dreamy, psychedelic rock from 1969. Great for a gentle, early morning walk into the village for a coffee!
The backing band, believe it or not, was called Mother Tucker's Yellow Duck! The best track is "Fly".
AMG says "This sounds like the solo album that George Harrison might have made before he left the Beatles, as several songs have that solemn, spiritual, forlorn quality Harrison perfected ....although the lyrics are blatantly hippie-ish, the music itself sets a dignified, almost stately mood with its intimacy and tasteful restraint. "Fly" and "Nobody" are genuine lost treasures of low-key late-'60s late psychedelia, and alone make the album worth investigating. But it's inspired and pleasurable the whole way through...."
J.K. stands for Jay Kaye who was 15 when he recorded the album! His mother was Mary Kaye (born Malia Ka'aihue), herself a well-known guitarist from the 1940s to 1960s, famous for featuring in a 1956 ad for Fender playing what became known as "The Mary Kaye Strat".
Charles Mingus Workshop: Lonnie Hillyer, Hobart Dotson- trumpet Jimmy Owens- trumpet/flugelhorn Julius Watkins- French horn Howard Johnson- tuba Charles McPherson- alto saxophone Charles Mingus- bass (1-2), piano & narration (3) Dannie Richmond- drum set
Cecil Taylor Unit: Jimmy Lyons- alto saxophone Cecil Taylor- piano Henry Grimes- bass Sunny Murray- drum set
Village Gate, New York, September 10, 1965
0:00- "The Arts of Tatum and Freddie Webster" [introductory fragment] (Mingus) 3:33- Ralph Ellison commentary 6:03- "Number One" (Taylor) 8:29- Martin Williams commentary 10:30- Cecil Taylor commentary 12:03- "Octagonal Skirt and Fancy Pants" (Taylor) 14:44- Williams 16:55- "The Arts of Tatum and Freddie Webster" [continued] (Mingus) 22:20- Ellison 25:59- "Don't Let It Happen Here" (Mingus)
Thanks for pointing to that archive. Wow, some memories there of a time that wasn't all that interesting then, but is, starangely, compelling now. Listening to the Vol. 72 tape from Nov. 1970. Lots of Herb Alpert - as it was at that time. Reminds me of the time when my mother was a manager of a "supper club" in those days.
this album that you are going to listen to, is a single longform piece,
and basically it can be briefly described as Japanese music played by an
amateur orchestra of toy musicians. Sometimes these instrumentalists
get the wrong note, get jammed, play notes that are too short or too
long, and then resume their own way within the composition. Small and
short events occur throughout the piece, sporadically and spontaneously.
It takes a lot of patience, and perhaps a certain amount of
distraction, to let this music flow in the air.
Comments
Meditative Buddhist sludge and spiritual drone.
followed by
The Byrds - Greatest Hits
Been that sort of day
AMG says "After Caetano Veloso broke out with his solo debut, the self-titled 1968 release recognized as the building block for the now infamous Brazilian Tropicalia movement, his friends and musical peers released similar albums, always upping the ante in terms of outrageousness and inventiveness. This release, the second of two self-titled albums released by Gal Costa in 1969, set the high watermark in terms of overall insanity and complete experimental freedom for the entire lot; not Veloso nor Gilberto Gil, Tom Zé, or even the rambunctious Os Mutantes stepped this far out into psychedelia, and even though Costa had hinted at the noisier aspects she was interested in exploring with her previous release, this album must have shocked listeners when it arrived on the shelves. In fact, 35 years of MPB -- or music from anywhere else in the world for that matter -- hasn't heard another sonic assault quite like this."
Angel Bat Dawid, Jason Stein, Andrew Scott Young
by HEAVY AIR HAPPY HOUR
Good album, I had to check but it's one that features the track Tuareg, which get's comped quite a lot.
So, you have a couple of brothers who traveled all over Latin America picking
up some choice stacks of wax and selling them to sonideros interested in new
sounds to play on their public sound systems at parties. One of the sonideros
encounters a short-circuit that nearly electrocutes him and almost sets his
turntable on fire. Any record he puts on it now, plays very slowly at something
like half-speed and the kids at the party go crazy for the slowed-down cumbias
and porro … and a new music form, “rebajada,” is born. Psicodélico en llamas!
Dreamy, psychedelic rock from 1969. Great for a gentle, early morning walk into the village for a coffee!
The backing band, believe it or not, was called Mother Tucker's Yellow Duck! The best track is "Fly".
AMG says "This sounds like the solo album that George Harrison might have made before he left the Beatles, as several songs have that solemn, spiritual, forlorn quality Harrison perfected ....although the lyrics are blatantly hippie-ish, the music itself sets a dignified, almost stately mood with its intimacy and tasteful restraint. "Fly" and "Nobody" are genuine lost treasures of low-key late-'60s late psychedelia, and alone make the album worth investigating. But it's inspired and pleasurable the whole way through...."
J.K. stands for Jay Kaye who was 15 when he recorded the album! His mother was Mary Kaye (born Malia Ka'aihue), herself a well-known guitarist from the 1940s to 1960s, famous for featuring in a 1956 ad for Fender playing what became known as "The Mary Kaye Strat".
Tarawangsawelas - Wanci
Tears For Fears
The Hurting Songs From The Big Chair
The Seeds Of Love
Teena Marie
Wild And Peaceful Irons In The Fire
It Must Be Magic Starchild
but I've been enjoying the whole series.
Charles Mingus Workshop:
Lonnie Hillyer, Hobart Dotson- trumpet
Jimmy Owens- trumpet/flugelhorn
Julius Watkins- French horn
Howard Johnson- tuba
Charles McPherson- alto saxophone
Charles Mingus- bass (1-2), piano & narration (3)
Dannie Richmond- drum set
Cecil Taylor Unit:
Jimmy Lyons- alto saxophone
Cecil Taylor- piano
Henry Grimes- bass
Sunny Murray- drum set
Village Gate, New York, September 10, 1965
0:00- "The Arts of Tatum and Freddie Webster" [introductory fragment] (Mingus)
3:33- Ralph Ellison commentary
6:03- "Number One" (Taylor)
8:29- Martin Williams commentary
10:30- Cecil Taylor commentary
12:03- "Octagonal Skirt and Fancy Pants" (Taylor)
14:44- Williams
16:55- "The Arts of Tatum and Freddie Webster" [continued] (Mingus)
22:20- Ellison
25:59- "Don't Let It Happen Here" (Mingus)
There's Room For Us All Across The Parish Line
Live! Worldwide The Tribute Sessions
What Color Is Love Just Can't Help Myself
Lifetime Hidden Conversations
WJST "Jet-Set Radio"
In C Poppy Nogood And The Phantom Band "All Night Flight" Vol.1
Persian Surgery Dervishes Ictus With Blindman Kwartet - In C
No Man's Land The Paul Dresher Ensemble - Banana Humberto
Africa Express Presents... Terry Riley - In C Mali