Melt Banana seems to be one of those bands that polarizes its listeners. You hear them, and within about 10-15 seconds will be able to make a judgment, which usually falls under one of two view-points: 1)Melt Banana is a highly original and energetic band that you just can't get enough of, or 2) people actually listen to this shit? I, obviously, adhere to the former. The music here is fucking crazy, I will say this right out. The singer is a Japanese girl with a really high voice who squeaks over distorted nasty guitar lines, funky bass lines, and frantic I can't beat the shit out of these drums hard enough drumming. And although I am not always in the mood for Melt Banana, when I am, I want to hear nothing else. Highly recommended, especially to those of you who liked OOIOO. Oh, I almost forgot, Melt Banana's singer normally sings a lot higher than what most would call her natural singing voice. If you wanna see what she sounds like singing 'normally', put on track 9, If It Is The Deep Sea, I Can See You There. Enjoy: http://www.mediafire.com/?2dnomn2ujme
"Craters of the Sac is a semi-official MP3-only album by Ween. Because Elektra Records released Paintin' the Town Brown, which was to be Ween's first online independent release, Dean Ween leaked the "album" to the Internet in 1999 to succor their fans and show them how much Ween appreciated them. Consisting entirely of almost colossally bizarre studio cuts that may never have even been intended for album release, it's less an actual album and almost more along the lines of a bootleg compilation. Although it appears in Ween's chronology as being released after Paintin' the Town Brown (1999) and before White Pepper (2000), at least one song ("Put the Coke on My Dick") came out of the Mollusk sessions of 1997.
The band, to this day, while knowing fans have this album, and acknowledge it in passing, still do not take responsibility for it's appearance on the Internet. However, it has been rumored by the band that one day fans may see the appearance of Craters II: Back to the Sac.
The tracks "Big Fat Fuck", "How High Can You Fly?" and "Monique the Freak" also appear in remixed form on Ween's 2005 album of unreleased tracks, Shinola, Vol. 1."
- From Wikipedia
I got this cd in a Ween demos and b-sides download off of www.browntracker.net. If you're a ween fan and haven't checked this site out, i highly recommend it. they have tons of live shows, rare recordings, demos, etcetera. This album rules. Just look at the cover. My favorite tracks are probably All Thats Gold Will Turn To Black, Makin' Love in the Gravy, Put The Coke On My Dick, and The Stallion Part 5. Check em out.
Track listing: 1. All That's Gold Will Turn to Black 2. Big Fat Fuck 3. Suckin' on the Blood from the Devil's Dick 4. How High Can You Fly? 5. Makin' Love in the Gravy 6. Monique The Freak 7. The Pawns of War 8. Put The Coke On My Dick 9. The Stallion Part 5
Bobby Beausoleil was a fucked up dude. This is another cd that you really shouldn't feel bad about downloading, considering ol' Bobby is in jail for murdering a teacher. Beausoleil was a member of the Manson Family, so what else could you really expect?
Aside from the incredible moral dilemmas of trying to justify Bobby Beausoleil as a person who deserved anything, whatever, this cd is still pretty incredible. The cd is a soundtrack for Kenneth Anger's film of the same title. Beausoleil was set to star in the film, but it wasn't long before he and Anger had a falling out. The music is excellent; a sweeping, lush orchestration creeps up on you, and the transitions between drifting ambience and hard, heavy sound weave beautifully. Check it out.
It's hard for me to write a review for this record of Warren Zevon's (even though we plan on posting a good deal of his music), because of just how much his music means to me. He is possibly my favorite singer-songwriter, ever, and this is him at his youngest, and quite possibly, his most tender. Zevon was always big into music theory (he was personal friends with Stravinksy), yet he never shunned simplicity. To me, this is one of the most important tensions in music, and Warren Zevon balanced it like no one else I've ever heard. It's a shame, he was one of the most underrated musicians of his time. Definitely recommend checking this cd out.
Gentle Giant is an extremely unique band drawing influences from Jazz, Rock, Folk, and Classical music. Each musician was a multi-instrumentalist, and it shows on this album. There are woodwinds, vibes, strings, and all sorts of other fun stuff. Recommended to fans of Yes, King Crimson, Genesis, and The Mahavishnu Orchestra. As always, enjoy! Download: http://www.mediafire.com/?xwzyjq3zrt2 P.S. Wreck is a particularly groovin' track.
If you have never heard of The Residents, reading this description will not do the band justice. In short: The Residents are a collective of four anonymous musicians that play experimental music and wear giant eyeballs on their heads (except for one band member, whose eye was stolen and replaced with a black skull. Supposedly a curse was put on the stolen eye). They're from San Francisco, and have been around since the early '70's.
I have struggled for quite some time over which of The Residents' cd's I should post as each offers something entirely different. For awhile I was leaning toward not posting any of their stuff because of the amount of time that is put into the design of their cd's. But then I found For Elsie. I don't think this cd is in print anymore and it was in extremely limited distribution when it was originally released.
What we have here musically is a 28 minute re-interpretation of Beethoven's timeless piece, Fur Elise. Let me just say that I hate cover songs. But as I said, this is not a cover, it is a re-interpretation and is highly original. Although this is not particularly representative of The Residents' sound at any one period, this is, in my opinion, one of the best things they have released. Enjoy!
I am excited to present to you Beach Head. The music on this cd is really hard to characterize, but whatever you end up calling it, you cannot ignore the talent of Southern California local, Cameron Stallones. I know he plays the guitar, and that there is in fact guitar played on this cd. Aside from that, I really can't identify many of the other instruments: some chimes, weird droney stringed instruments, gongs, probably some weird electronic stuff I don't really know about, and a shitload of other percussion. The music is very psychedelic, but I would definitely not call it rock. There are noisy freak-outs that segue into beautiful instrumental sections -- and all the while, waves crashing on a beach can be heard. The word shimmery seems to aptly describe the music at many points. So I don't really know what else to say except that I highly recommend this cd and that, if possible, the music sounds a lot like the way the cover looks. http://www.mediafire.com/?ikamn5jjwuz
Man, how cool is that album cover? Brainticket was a European psych band that started in the late 60's, but this album, their first, wasn't released until '71. The music here sounds like it has been saturated with some high-grade acid. Awesome organ playing and fuzzed-out wah guitar riffs permeate. Also, there's a woman who sing/talks some very erotic/transcendental vocals. Highly Recommended:http://www.mediafire.com/?2iyyngmwi5o
I was introduced to the Berzerker some time ago, on my fifteenth birthday. I went to go see The Misfits and Alice Cooper at the Greek. The Misfits played so poorly that my friends and I left before Alice Cooper came on (as the night progressed, this turned out to be a good call on my part). On the drive home, on the freeway, The Berzerker was released. I had never heard anything like it. The electronic drumming blew my mind. The sheer brutality of the music, the terror it inspired. I didn't really get into the band until recently, when I listened to this cd all the way through. The opening track, Reality, starts with a disclaimer of sorts, in the form of a sample. Reality may not be exactly what we think it is. The cd continues on this brutal bath for awhile, but also dips its toes into the industrial, the noisy, and even the funky. This cd is extreme, and although it most likely is not for everyone, it is definitely worth a listen. And for those of us who like it, it will serve as a grail of originality in the often bland world of metal.
"If you are looking for psychedelic music, do not buy this record unless you are looking for psychedelic music." I found this cd at Freak Beat (surprise, surprise!) and had to get it after reading that on the back. Great stuff here, folks!
After being discovered by fans of underground psychedelia in the late 1980s, Orange County band BEAT OF THE EARTH's sole 1967 album has grown into a classic within the field, in spite of its rarity and lack of a reissue. The improvisational music on the album cannot be easily described but most who hear it agree that it represents a unique link between mid-1960s California teen sounds and the droning acid rock of the later era. I was able to connect with ex-band member Karen Darby who gracefully shared her memories of the band and its legendary leader Phil Pearlman. To my knowledge this is the first ever article on BEAT OF THE EARTH, whose reputation is likely to expand further as more and more people get to hear their unique music.
KAREN DARBY INTERVIEW
Q: How was the BEAT OF THE EARTH group formed?
KAREN: Sometime in late 1966, early 1967 I connected with Phil Pearlman. He was brooding over the loss of a relationship with a gorgeous woman, and had been performing his own brand of very radical semi-surf, chrome-reverse-rim style music on electric guitar at a coffee house, then called Sid's Blue Beat, located at that time in a rundown, wonderfully dark old bar in front of the Balboa Pier, Newport Beach (Balboa Peninsula), Orange County, California. Unfortunately I wasn't old enough to frequent the place, but I had often walked by and heard the "beautiful-noise", music. A mutual friend of his and mine introduced Phil and I, or inadvertently brought us to each other's attention.
So, Phil was attending the University of Southern California, at Irvine, and was in the first beginning-graduation class in that newly formed school. His major, as best I can recall (forgive me Phil if I get this wrong), was ART. The album and group itself was to be his project for an art class. The original photo on the first album front was an artistic photo of different instruments plugged into a plastic wall receptacle located in the grass. The back cover had the photo of all of us on those wood tower structures. That photo was taken in Los Angeles at Griffith Park, home-site of many Love-In's before drugs raids on the Hells Angels by the then very rough L.A.P.D. Narco Squads, made Love-Ins too dangerous for ordinary Hippies like myself.
Karen Darby around the time of Beat Of The Earth
Phil and I were boyfriend/girlfriend initially, and often sang, played guitar, and created our own music while driving in his old VW bus around town. Somewhere along the way I grew interested in someone else, but Phil and I stayed friends. Phil wanted to do this "Artistic Statement" thing for school, by forming a music group and doing an album with his own funds and know-how.
The idea for the group's name came about as we were playing music with a couple of other people, I was keeping a steady beat by clapping. The words were free-form poetry, political to whimsical. The music was free-form, original, and unrehearsable, since it was all ad lib or spontaneous. I remarked to Phil that it was the steady thrum one experienced when you went to a Love-In. All these small groups of musicians playing guitars, tambourines, flutes, auto-harps, bongo's, anything that made sound, all simultaneously, created a type of orderly orchestral sound. The combined beats were primitive, primal, the beat of the earth. Phil jumped on the name. It best illustrated the concept he was attempting to create. I truly believed then, as he did, that if everyone came together doing their own thing, musically, that the combined sound would be great... a democratic beat... of the earth!
Phil went about finding other musician's to participate in his "art" project. He recruited Morgan Chapman as our general road-warrior, fix-it, electrician for amps and anything audio. He was "older" to me then, he'd suffered pretty severe hearing loss from hours of work in front of amplifiers of all shapes and sizes. He was much needed to service the electronic organ played by Ron Collins. Ron was actually a very accomplished organist. His blues riffs, which I felt never were truly appreciated on the BOTE recordings, were incredible. I would say he was the most experienced, professional musician of our group then. J.R. Nichols was a "valley-boy", lowrider-style, electric-guitarist. He was quiet, unpredictable, head-strong, and talented in his own way. I'm embarrassed to say that I don't remember much about Phil and Sherry Phillips contribution. I believe that Phil Phillips was at the recording session I was at, but in what capacity, I cannot recall. To my knowledge all of us hailed from either Los Angeles, the San Fernando Valley, and Orange County, California. It's possible Ron Collins was from somewhere in the mid-west of the U.S. originally, but the details are vague now.
By the way, going from left to right of the photo on the album [see beginning of this article], standing on the platforms, Phil & Sherry, only her legs are visible, Ron Collins, JR Nichols, Morgan, Phil Pearlman, and then I, Karen Darby.
Q: How would you described the musical style of "Beat Of The Earth"? Many people consider it a "missing link" between the mid-1960s and late 1960s styles...
KAREN: If you asked me now what the style was of the BOTE music, my answer would be the same as then. "Unstructured, Stream of Consciousness, riffs and rhythms, celebration of each individual musician by allowing spontaneous expression based on group-orchestrated effort, without orchestrated (written) music". If you asked Phil then what the planned "song" or piece we were to perform was, he would say, "I don't know man, lets just let it happen. It's getting high on life just digging on each other's sound" (not a direct quote, but a reflection of how Phil appeared to respond then, at least to me). What musical albums Phil owned I couldn't say. His tastes were earthy, unpretentious, "organic". His hair and beard were long, and though he washed or showered often enough, he did not believe in "unnatural augmentation of smell". Anyway... Ron Collins was a Motown/Rhythm & Blues musician. As I said before, folksy would not be a descriptor for his style. JR Nichols was a loud, pre-heavy-metal lead-guitarist with a real attitude. As for me, my albums and musical style were primarily Dylanesque. I loved Bob Dylan's music, electrified or not. "Fresh Cream" was one of my favorites, along with Jefferson Airplane and of course The Beatles. The Mamas & The Papas were played daily back then, along with the Velvet Underground. The Rolling Stones were second only to the Beatles in my collection of long plays.
Q: What do you remember of recording the LP?
KAREN: There were two recording sessions I know of for sure. The first one I was at, the second one I missed due to illness. Phil rented a recording studio, if I remember correctly it was recorded in a standard (for then) eight-track mode. The technical details were Phil's to arrange, it was his pocketbook. The studio was in Hollywood somewhere, all of us drove up in Phil's bus singing, and warming up so to speak. Strange as it may sound, Phil Pearlman was very against drugs for himself, and really was into encouraging the rest of us to try and be creative without "augmentation". He used to carry burning incense around and say, "inhale this, it's a natural high". The rest of the group was not into Phil's "bag", as the saying went. I remember grass, or hash was almost always available and used by everyone else in the group. Getting high was easy, all you had to be was close to the other members inhaling secondary weed. In the recording studio there were guards I remember who seemed to function to keep the police out so that the musicians could "emote" creatively on whatever got them "there". To my knowledge no other music but the two sessions of 1967 were performed by BOTE in the recording studio.
Q: How was the LP sold and distributed?
KAREN: The masters of the recording sessions were kept by Phil. He produced 500 copies originally in 1967. His marketing technique was to pick-up hitchhikers and try to sell or give them a copy. To my knowledge he was adverse to trusting anyone else to distribute or market his "artistic statement". I never found out what "grade" he got for his project!
When Phil decided to "re-master" his masters in 1994 and issue the [second] album, he called me at my Chiropractic office and asked if I cared or was expectant of any return for the use of my contribution. I told him I had no burning desire to get involved in his project, I was too busy running a full-time practice. Some months later he appeared at my office with a box of copies of his reissues for me to keep. Listening to the new/old album I recognized parts of both sessions, especially a harmony part with Phil and I.
Q: I understand there were a few live performances?
KAREN: As a group we did several "live" shows. One of the concerts was in an old movie theater-like building in Huntington Beach, CA. I cannot recall the other locations, or how many we did specifically. Personally I participated in only 2 or 3 myself. Phil owned, and also rented out, all of the equipment for a truly psychedelic "happening". He had strobe-lights, overhead-projectors, screens, amps... I remember two large "happenings" distinctly. Onstage I sang, tambourine and generally cavorted around in jeans, beads, and a work/prison/shambrey shirt. My boyfriend, later husband, Topper helped orchestrate the light-show behind us on stage. We hung sheets behind the stage on to which over-head projectors splashed undulating color. This was accomplished by using glass pie-pans filled with oil and drops of food color that were giggled to the beat of the music we were playing. The fun and noise was deafening and awesome! I doubt Phil made any money off these events. They were somewhat spontaneously organized, and the music was ad lib rock and roll. Absolutely the most fun I've ever had!
Q: How long did the BEAT OF THE EARTH last? Were you involved in any other musical projects?
KAREN: If I remember right, the band may have lasted 6-8 months, or really less. It was not to my knowledge a cohesive, organized, chartered, or constructed group. It was Phil's experiment, spontaneous, combustible, reusable, inclusive, delightful, unrepeatable, a "happening". I continued to play guitar, sing, and enjoy music, although never really professionally. I currently play piano, am semi-retired from the practice of Chiropractic. Recently I have had the terror and joy of undergoing cancer treatment for colorectal cancer which has "altered" my physical existence. I'm the proud owner of an ileostomy. Music and the enjoyment of all aspects of life and living are my world now. I am blessed to be alive, and I've really enjoyed this opportunity to travel into my past.
Q: Phil Pearlman is today considered a legend among fans of underground music from the 1960s-70s. What were your impressions of him?
KAREN: Most important to remember about Phil is that as he was unique even for the "all-time" uniqueness of the late 60's! Actually I coined a phrase that I felt most people like Phil demonstrated as a natural personality trait; "Terminal Uniqueness". This is not a put-down, only a loving-label that best describes someone who is always a contrarian. Phil attended a special high-school where he could "be himself" unharrassed, fortunately his parents or father was a wealthy Urologist and could afford to educate him in whatever manner best suited his avantgarde nature. Phil's dad was Jewish, his mom not. He had one sister that I can remember, I never met her, I think she was rather distant from Phil's lifestyle. Phil was not a "druggie" then and I'm very certain never was. Reality was a greater "turn-on" to him, his life was whatever he wanted to do, whatever his politics dictated.
Q: Have you two been in contact in recent years?
KAREN: When he came to my office with a box of the second BOTE album , we got to talk a little about what he was doing then... and probably still. It seems he had married a wonderful woman who was totally supportive and involved in his choice of lifestyle. They had several children who were being raised on a farm/ranch east of San Diego, California. The Ranch had NO electricity, they also used a well for water. He was raising goats, which according to him he slaughtered personally and humanely whenever preparing them for market. He described to me what he thought was the most inhumane conditions in the local slaughter-house techniques. He had devised a quicker, bilateral knife to the carotids on a goat that was painless and "humane". For some reason I had a hard time in visioning Phil killing anything.
One of the funnier situations he described about his family situation was his utter disgust with his in-laws for giving his kids a battery-operated television. He said he was having to act as the TV police, trying to limit the ways in which television might damage his children permanently! Another funny thing was that the very old 4-cylinder, white, rusty, small pickup truck he came to my office in was stripped inside of anything that resembled comfort. It was a stick-shift, headlight-switch-only-affair, with gaping holes where radio, air-conditioner, or glove-box might reside. Even the window behind the driver between the bed and the cab was missing. I vaguely recall that the side driver and passenger windows were absent.
Phil still sported stringy, now gray and white, long hair and a long to-his-chest beard. He was thin, weathered, and no different in personality to what I remembered from the 60's. He ranted a bit of his dislike of how the planet was being treated by industry. He had and voiced still a total disdain for "consumeristical society". However, I felt that a part of him still operated to stay alive and thrive financially. His efforts to capitalize on the trend toward "nostalgically reliving", revisiting and re-experiencing the "hippy 60's", in the form of paying out of his pocket again to reissue the BOTE music, was I believe pure capitalism on his part. Even back in the 60's he was a businessman, an entrepreneur. I remember in the sixties hearing a young groupie-ish woman call him J.C. (for Jesus Christ), because of his hair and beard and almost "guru" type stance on the world, "getting high on life" and politics. Perhaps I never truly appreciated his lack of conventionalism, his fearless manner of going about what he believed in, without inhibition.
In the Beat Of The Earth venture it is my opinion that Phil really attempted to create spontaneous, musical, combustion, without any end... hence the continuous tracks. The "stream of musical output" was by design and intention. How it played out was not so important as the doing of it. "Performance Art", is my best descriptor for the results of Phil's creative artistic statement/experiment.
The previously unreleased "second" LP
Conclusion: (Well, this may not be what you want, but here it goes anyway) As I learn to finally "read" musical score... after years of playing guitar chords on my piano, I realize that to be spontaneous, and create repeatable, re-recordable music requires both discipline and desire. I believe BOTE was desire, without the discipline and often less spontaneous organization of conventional song/musical structure. When I hear a jazz group, or group of blue-grass musicians "jam" together, I am still aware of a beginning and an end to the musical performance. BOTE never ended, and perhaps never will, it never really existed except in Phil's and a few of our hearts, the music is an endless mantra of living, breathing, (even probably body function) sounds. Bless you and those of the world who see through the years back to when anything was possible as long as you believed in your idea. Things are of course always possible, the music of today is as exciting in its innovation as ours was back then. Has something been lost? NAW! To me there is no missing link... it is all a "stream of musical thought" one decade to another... one generation to another, maybe one world to another!
The Beat of the Earth is a metaphor for the idea that all people, working in unison, create a vibration that is beautiful music. I was raised in a unique "religion", the Baha'i Faith, a World Religion that declares the values I have spoken of. Neither cancer, nor time, nor the things happening in the world today have shaken my beliefs. The 60's were such a wonderful time of invention, hope, faith in each individuals opportunity to make a difference. I pray that the new century does not have to wait until 2060 to see change and World Peace become an ideal of conscience again! ... because that may be too late for my grandchildren and too late for us all!
I know it’s not really rare or obscure… but come on, this album kicks ass. This was Black Flag’s first lp and is essential punk. Get it! (Also, Black Flag is played in the episode of Freaks and Geeks when James Franco tries to go punk) Oh, and I almost forgot to mention the album cover. It’s awesome.
Jerusalem’s only album, the self-titled Jerusalem, is one of my favorite rock albums. From the moment I put on the first song, Frustration, I knew Jerusalem would kick my ass like it had never been kicked before. The music is raw as all hell. Dirty guitars interweave over groove-heavy bass lines and primitive pound-the-sticks-as-hard-as-you-fucking-can-drumming style drumming to form some nasty blues-inspired rock. And man, does the singer have some pipes. Unfortunately, Jerusalem kicked ass a little too hard to be appreciated when they came out in 1972. Ass-kickery of this level was a new and scary thing, and people shied away. They got booed during live shows and didn’t sell many albums, which doesn’t make much sense given the company they hung with (Deep Purple, Black Sabbath, Uriah Heap, Status Quo)—hell, Ian Gillian even produced the cd! Anyway, this cd kicks the shit out of Deep Purple and gives Black Sabbath a run for their money. Crank up the volume and prepare to rock out. HIGHLY RECOMMENDED!!!
One of the reasons why I haven't been able to listen to ooioo's Feather Float very much might be because I've spent most of my time listening to this absolute gem of a cd. Revenge Of Camper Van Chadbourne is a three piece experimental country cd, but is honestly much, much more. The three musicians on this cd: Eugene Chadbourne, Victor Krummenacher, and Jonathan Segel; come together beautifully... a little bluegrassy, a little avant-garde if you will... To me, the standout on this cd has to be Eugene, who has become a favorite musician of mine after getting to know his wonderful daughter in college. Oh, memories... Anyways, I picked this cd up at Amoeba for $4.99, can you believe it? because it is very real. Support your local record store. Goddamnit.
Also, if you haven't heard of Eugene Chadbourne, I suggest you check him out on youtube. Here is a link I was shown of Eugene playing his infamous "Electric Rake." Enjoy: http://www.youtube.com/watch?v=3h5qF3SwWXc
I just picked up this cd at Amoeba Music a couple days ago, and I have to say, it just might be better than our previous ooioo post, Taiga. I haven't listened to the entire album yet, but from what I have heard, man oh man. Track 3, Ina咲くの森 , initially sounds traditionally japanese; then morphs into a tribal electric psyche-rock jam. This cd should probably be listened to in its entirety, for most of the songs weave into each other, and because well, every song (so far) sounds pretty damn good. That's it for now. I'm on a friend's computer because mine has a mix stuck in it. So, uh, yeah, this cd is awesome. download it.
The OTC Crew, aka the Opiate Taking Criminals, aka the Offensive Taxidermist Cannibals, aka the Omnivorous Tree Creatures, are finally, out [of] the catacombs. T'was formed by rappers Cadalack Ron, Simon Fenix, and Epic, sometime around the year 2000.
It was only a couple of years after their formation when I first heard OTC. I admired it (most of these songs were made while these rappers were 19-22 years old), but I didn't think much of it. Don't make the same mistake.
I haven't really heard a hip hop cd that comes close to being as real as anything OTC has done. The songs on this cd are despicable, raw, and unapologetic... everything hip hop should be. What sets them apart though, above all, is their intelligence. The OTC crew has seen it all: From prestigious universities like Reed and Evergreen, where Cadalack Ron and Simon Fenix went to school (respectively); To the crack houses, hallucinations, and jails that were all parts of their everyday lives.
Resident Anti-hero (Simon Fenix's current project). Etheric Double and Simon Fenix (don't they look friendly?)
Once I got into OTC, I thought I was done with hip hop. I didn't think I'd find anything better than them. I've realized the mistake in thinking this way, but for me, this is everything hip hop should be. I never say any rappers are better than these guys, and there are only a few that I think are of the same caliber. Check it out and see for yourself, I guarantee you haven't heard anything quite like it.
P.S: This shit is janky. Probably the ultimate janky. There are a few songs with the correct titles, but I took the first lines in most of the songs and made them the titles, just to make it easier on the eyes. This cd is not an "official" release, but a kind of best-of mixtape that I made.
If you're interested in seeing what these guys are up to now, check out their myspaces (listed below).