Al Jackson (November 27, 1935 – October 01, 1975), American drummer with Booker T. & the M.G.’s

01. High Class Slim Came Floatin’ In

02. Prepare Your Coffin

03. Northern Something

04. Gigantes

05. Penumbra

06. Yinxianghechengqi

07. The Fall of Seven Diamonds Plus One

08. Minors

09. Monument Six One Thousand

10. De Chelly

11. Charteroak Foundation

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Onze transes hipnóticos. A influência da música brasileira se faz notar nesse novo disco, que traz até baião.

Texturas, texturas…

Aí embaixo o vídeo de uma apresentação de 2004.

The Yellow Moon Band is a quartet that plays . . .  music.  People seem to be having a hard time figuring out just what kind of music they play.  “Entangled”, one of the tracks from Travels Into Several Remote Nations of the World, appears on the  A Monstrous Psychedelic Bubble Exploding in Your Mind compilation which has led some to categorize their music as psychedelic prog.  However, “Entangled” also appears on Fred Deakin’s (one half of the electronic music duo Lemon Jelly) Nu Balearica collection which has led allmusic.com to label the Yellow Moon Band as an electronica group.  Others have labeled them as folk, funky or groovy.

Ok, so the listeners are having a hard time figuring it out.  What does the CD say?  Nothing.  The disk I received came in a fold-over cardboard holder with a sleeve for the CD in one side and a sleeve for the pamphlet in the other.  Got the CD but didn’t get a pamphlet and the cardboard sleeve has no info about the band or the music whatsoever other than that the band wrote the music.

So what kind of music do they play?  For starters, Travels Into Several Remote Nations of the World is almost entirely instrumental.  There are a couple of vocals but they are not what the music is about.  The band sounds like two guitars, bass and drums (allmusic is completely off the mark labeling this as electronica).

As I listened to Travels Into Several Remote Nations of the World again and again I was overwhelmed with the feeling that it was really reminding me of something but I couldn’t quite place it.  Then I had it.  The Yellow Moon Band reminds me of the original Allman Brothers without Duane Allman, without the orientation toward blues rock, and without the jamming.  wtf?  You take all that away and what’s left?

A lot when you think about it.  Duane Allman was such a brilliant and unique guitar player (when he was on) that no one, not even the Allmans without him, sound like the Allmans with him so the Yellow Moon Band is like every other band in the world in this regard.

What about the blues rock thing?  The Allmans often used blues rock structures to bookend their jams but once they cut loose the music went where it went without regard to genre conventions or limitations.  Remember these were the guys who turned Donovan’s “There is a Mountain” into a 20 minute masterwork.  Losing the blues rock increases the similarity between the Yellow Moon Band and the Allmans as often as not.

Losing the jamming may be a problem.  The Allmans’  improvisational jams were often superb.  The Yellow Moon Band may be able to jam like that as well but the evidence isn’t on Travels Into Several Remote Nations of the World. Instead what we have are tight, focused full band work outs that sound like they may have begun as jams which were then then practiced, tightened up, and refined. Pure meat, no fat.

The end result is a CD filled with tight, muscular guitar led instrumentals.  There is a clear influence of late ’60s – early ’70s psychedelic music but the Yellow Moon Band never come across as imitating someone else.  They are their own band and they’re outstanding.  Travels Into Several Remote Nations of the World is one of the best CDs I’ve heard this year and is very strongly recommended if you like first-rate guitar-driven rock.

Bruce Welch, (born Bruce Cripps) Brit guitarist with The Shadows

Hank Marvin, Brit guitarist with The Shadows

Thought I would like to add to your day another announcement that I have some great new songs available for FREE download!! Either at my homepage www.markallanwolfe.com or linkedin.com/markallanwolfe
songs called,”sometimes”;”All the way”; and “in your arms” Give them a listen you maybe surprised.

A tune from my new record “So What if I’m Nuts?”

‘Rememberable Rifts’, the debut EP from progressive Leeds 3 piece Hoarder Myna, is an immensely tight, crisp sounding debut from another great UK band blurring, and expanding, the definition of Math Rock.

Each song flows constantly, moving from one idea to the next, the roving guitar lines intertwine with the melodic bass patterns, underpinned by drums playing stacatto lead flourishes and driving rhythm simultaneously, before all comes together in harmonic unity. It may take many listens to fully understand the genius behind each movement, but good music should lend itself to repeat listens.

Tracklisting :

1. Ham Wallet
2. Dressed My Arsehole To Look Like An Arsehole
3. Hoarder Me A New Direction Darling
4. Basil The Great Mouse Detective / Search for Mufassa
5. Drama Weary Johns
6. More He She’s Please

Download from archive.org / torrent

Moisturizer did their inimitable best to put a smile on it, but the inevitably sad truth is that the band is finished. After more than ten years of getting notoriously uptight New York crowds to bounce and twirl and sway, they’re packing it in. The funnest instrumental band in town probably has a final blowout up their collective sleeves, but for official club gigs, this was it. Blending 60s Memphis with clever funk, bits of jazz, film soundtrack, pop and a little punk rock (and some surf in the beginning), they ruled the Lower East Side in the early zeros and put out one classic ep, Moisturizer Takes Mars. There have been innumerable bands from these parts who never achieved the world dominance their fan base longed for, but nobody ever deserved it more than Moisturizer. Frontwoman/baritone saxophonist Paula Henderson AKA Moist Paula gets plenty of work and has her own equally devious side project, the cinematic Secretary; bassist Gina Rodriguez AKA Moist Gina, also of the Detroit Cobras, is moving to the Murder City where she will no doubt focus on that band and drummer Moist Yoshio, like all good drummers, is in at least two or three other groups. But there should have been Moisturizer action figures. They should have had their own Sunday morning cartoon. Maybe even the Moisturizer movie. With all those sly, Satie-esque song titles – Subway Flood, Mother’s Coming Over with a Bunch of Scallions, ad infinitum – and the joyous pulse of the tunes, they really should have been famous. Maybe, like ESG for example, there’ll be a Moisturizer revival.

Unsurprisingly, the set was mostly greatest hits: the fast, pogoing Cash Incentive; a similarly cute, clever cover of The Look of Love and the big crowd-pleaser Miss Psycho Jones with its unstoppable, lickety-split bassline. As Moist Paula has always been quick to remind, all their songs are true stories, none more strikingly and perhaps surprisingly haunting than the epic The Littlest Orphan, about a child lost in the Indonesian tsunami but then successfully reunited with his family. Maybe because of the circumstances the band was playing under, they gave the song a special gravitas and majesty. The brilliance of Moist Gina was never more apparent than it was on another big dramatic number, Enactuate Our Love, where she went for the furiously joyous crescendo at the end, missed her first step but then improvised a solo that was completely different yet also completely hit the spot. And it was indelibly hers. New York’s loss is Detroit’s gain. They returned to playful, upbeat mode and closed with the classic, catchy Pretend Boyfriend, Moist Gina and Moist Paula working a neat echo between them. Backing them was a guest guitarist who added color and contrast with some frequently eerie, Keith Levene-esque noise.

And the crowd, unsurprisingly, was less vibrant than usual: despite the fun onstage, it didn’t look like anybody was very psyched to see this band come to an end. The final Moisturizer show is at the new Knitting Factory in the old Luna Lounge space in Williamsburg on Oct 13.

Gitaroo Man OST Pt1 (V0)
Gitaroo Man OST Pt2 (V0)

Raise your fist. Now extend your index finger and pinky. This album rocks. The second album by Eyal Maoz’s Edom, just out on Tzadik, is a nonchalantly dark blend of pounding instrumental metal and surf music with brooding Middle Eastern flourishes. The obvious comparison is Texas cult instrumentalists Intodown, with a slightly more ornate, noisy sensibility. In this power quartet, multi-faceted guitarist/composer Maoz is backed by keyboardist Brian Marsella (of Cyro Baptista’s band and the fascinating melodic jazz ensemble the Flail) along with a plodding rhythm section. From the first few bars of the first song, it becomes clear that these guys really don’t have a clue about surf music. But that’s cool. That’s what gives them an original sound. The Yardbirds didn’t have a clue about blues either, and nobody can say that they didn’t rock.

As you would expect from a bunch of guys with a jazz background, they vary the tempos and dynamics. Maoz sets down eerie, often anguished layers of noise and feedback over simple, catchy chromatic vamps. Marsella utilizes several keyboard patches: quavery Vox organ, smooth Hammond and seemingly every bleep and bloop stored within the memory of whatever he’s playing (a Nord Electro seems a good guess). Most of the craziest noise passages are his, although, predictably, the most beautifully lyrical moments – particularly the Vox solo on the fifth track – are his as well.

The best song on the cd is Shell, a terse, catchy, macabre number that sounds like the Coffin Daggers gone to the Golan Heights, especially menacing as the organ doubles Maoz’ sinister guitar line. The best single solo is by bassist and producer Shanir Ezra Blumankranz, on the same song – it’s long and bluesy and deliciously terse and you don’t want it to end. Beyond the chromatic metal vibe of most of the other tracks, there’s also one that nicks a familiar hook by the Cure before going all hypnotic with a two-chord vamp, a bizarre attempt at a bubblegum surf song and a big, cinematic track simply titled Two with a noise breakdown evocatively colored with Maoz’ hammerlike attack. It’s nothing if not original and probably sounds terrific live. Shesh shesh shesh (that’s 666 in Hebrew).

01 – Olvécio E Bica
02 – Churumba
03 – Sapers
04 – Sabo
05 – Smootz Da Police
06 – Deni
07 – Halijascar

Um dos discos que já deveria estar aqui há muito tempo. Já não é mais novidade o talento destes paulistanos; este é o último (e na minha opnião o mais belo) álbum que eles gravaram. Desde então estiveram ocupados em viagens e gravações de músicas do Camelo; ou trampando nos outros 1.282.292.293 projetos de cada um dos integrantes – todos envolvidos até o pescoço, comprometidos com a criação e propagação da Arte das Musas.

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Free Download Mp3

Surfing With The Alien (1987)

• Surfing With The Alien
• Ice Nine
• Crushing Day
• Always With Me, Always With You
• Satch Boogie
• Hill Of The Skulls
• Circles
• Lords Of Karma
• Midnight
• Echo

Nice to see a good crowd come out late on a brutally hot weeknight and fill the house for a creative band who refuse to be pigeonholed. Are Blues in Space a metal band? Art-rock? Avant garde? Yes, all of the above and more. This time out bandleader/cellist Rubin Kodheli was backed by a powerfully propulsive drummer and two guitarists, one playing an eight-string a la Charlie Hunter for basslines when Kodheli himself wasn’t fingerpicking a line himself. But bass isn’t what this band is all about – the show was a whirlwind of rich textures, mostly in the high midrange where most noise-rockers make their home. Matching lush melody to ferocious roar, they played a mix of both recorded and unreleased material that almost predictably spanned a vast range of styles.

They opened with the appropriately titled Rage, a chromatically-charged, minor-key stomp perfect for Ozzfest. Kodheli transcends the mold of the classically trained string player, showing off a smirkingly vast knowledge of metal licks and an ability to transpose guitar voicings to the cello. The single best song of the night was a spaghetti western instrumental, Tumbleweed, probably the last thing you’d ever expect an ornate, amplified string ensemble to tackle, but it worked, masterfully, right up to the understated diminuendo of the ending. In the same vein, the group reworked the metal raveup Apocalypse almost as a chamber music suite, the two guitarists feeding the fire with a remarkable restraint. The playfully titled Happy Minor was in fact upbeat, inspiring and completely psychedelic, with the echoey effects on the stringed instruments blending into one another. They closed with another playful, ornate, smartly crafted multistylistic number, The Greatest, matching atmospherics to a crushing metal crescendo. Bands like Blues in Space make a good battering ram: they destroy boundaries. It would make as much sense for them to do Bang on a Can as it would for them to do Ozzfest or for that matter take up residency at a place like Barbes.

We do this every Tuesday. You’ll see this week’s #1 song on our Best 100 songs of 2009 list at the end of December, along with maybe some of the rest of these too. This is strictly for fun – it’s Lucid Culture’s tribute to Kasey Kasem and a way to spread the word about some of the great music out there that’s too edgy for the corporate media and their imitators in the blogosphere. Every link here except for #1 will take you to each individual song.

1. The Ulrich/Ziegler Duo – Since Cincinnati

This is the alchemical guitar instrumental project of Steve Ulrich of Big Lazy plus Itamar Ziegler from Pink Noise. Unreleased – you’ll have to see this southwestern gothic masterpiece live.

2. Don Chambers & Goat - Open up the Gates

Dark garage rock with a banjo. They’re at Spikehill on 9/6.

3. Quixote – Hubris

Lo-fi noir cabaret with ornate flourishes from these edgy rockers. They’re at Trash on 8/11 at 8.

4. Mrs. Danvers – Wicked One

Slinky lesbian dance-rock with a trumpet, lots of fun. They’re at Trash on 8/11 at 10.

5. Bacchus King - Sub Prime

Math rock with a social awareness. They’re at Trash on 8/8 at 8.

6. The Warm Hats – Underground

Catchy swaying smartly defiant rock. At Trash on 8/7 at 8 withPalmyra Delran, the amazing Brooklyn What and the equally amazing Escarioka.

7. The Grendel Babies – Penelope

Eerie gothic art-rock with piano and violin. They’re at Fontana’s at 9 on 8/4.

8. The Fox Hunt - Suits Me Fine

Minor key original bluegrass – good stuff. At Caffe Vivaldi, 8 PM on 8/25, also at Arlene’s on 8/26 at 10 and at the National Underground on 8/27 at 9.

9. Glasspipe – Hands

Garage punk. They’re at Trash on 8/4.

10. Verismo – The Lorax

Dr. Seuss thrash metal. Priceless.

Every day, our top 666 songs of alltime countdown gets one step closer to #1. Saturday’s song is #368:

Public Image Ltd. – The Order of Death

Brooding Italian movie theme from 1983 with layers of synth over a drum loop, John Lydon intoning the mantra “This is what you want, this is what you get,’ which ended up serving as the album title after guitarist Keith Levene either quit the band or was fired depending who you believe. Some fans prefer the more poignant but less ominous acoustic guitar version from the Commercial Zone lp released by Levene as retaliation in 1985.