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Fillmore East: June 1971 LPFrank Zappa & the Mothers, Frank Zappa Mud SharkMud SharkYou can hear the steam, babyYou can hear the screamin' steam right nowAs the reamer steams up the lakeReenie weenie up to the snakeAcetylene NirvanaHemorrhoidsTalkin' 'bout your hemorrhoids babyAcetylene NirvanaHemorrhoidsTalkin' 'bout your hemorrhoids babySteam roller(Talkin' 'bout your hemorrhoids baby)Steam rollerSteam roller(I'm talkin' 'bout your hemorrhoids baby)Steam rollerNot now girlAcetylene NirvanaHemorrhoidsTalkin' 'bout your hemorrhoids babyAcetylene NirvanaHemorrhoidsTalkin' 'bout your hemorrhoids babyI need somebody to . . .Help meHelp meHelp meHelp meHelp meHelp meHelp meHear the steamSee the steamHear the steamHear the screaming hot black steamingIridescent naugahyde python's gleamingSteam roller F Zappa
ed - what-say we hop in the back of my gremlin & get our rocks off? satfrat - lloyd cole is excellent - i have been enjoying him since 1984, and have 4 albums & a cd of his. say him live at the birchmere in alexandria va a couple years back...doug s.,wpfw 89.3;"g-strings"http://wpfw.org/
Until The End Of The World (soundtrack)This one introduced me to Jane Siberry, Nick Cave and The Bad Seeds and TBone Burnett back in the early 90s. Great stuff!
Only if you have a hit in the charts
About This AlbumIt's difficult to believe that after 26 years of playing in name jazz ensembles -- most notably Dizzy Gillespie's from 1980-1990 -- that Codes is Ignacio Berroa's debut album as a leader. Berroa is one of the most in-demand session and concert drummers in jazz, having played with everyone form Chick Corea to Chico Baurque, from Charlie Haden to Tito Puente and João Bosco. And on Codes, the title's meaning is reflected in its contents: jazz itself is a coded language, one that contains hints, traces, specters, pronouncements, and about what's informed it, and how it in turn reacts and informs its culture./quote]
Boom Bop is anything but ambient. It recalls rock/funk experiments of Sonny Sharrock, Jamaaladeen Tacuma, Blood Ulmer, and recently Vernon Reid. Bourelly has often been described as a Jimi Hendrix disciple, a tag he has, at times, embraced. Hendrix’s psychedelic rock does enter into the equation here, but so does funk, African, hip-hop, blues, and jazz. The record is built upon African rhythms and beats, music that is reclaiming its identity from the smorgasbord ‘world-music’ moniker. Senegalese vocalist Abdourahmane Diop shares the spotlight equally with Bourelly, as on “New Afro Blu,” where his traditional language duets with the guitar and Bourelly’s Hendrix-blues singing. The African-centric sound plus America’s invention, the blues, jazz, and their offspring, rock are all present.Represnting the jazz world are saxophonist Henry Threadgill and Archie Shepp. It is Shepp, the voice of post-Coltrane ‘new thing’ jazz, that stands out here. His very distinct raw sound has not been heard (on record) recently and this performance leaves you wondering why. He bridges the music from Africa to hip-hop. The sole track with rap lyrics, “Invisible Indivisible” updates African-American music to this new millennium, threading guitar lines over bass-heavy beats that give way to Shepp’s saxophone statements that speak as loud as any words. For a guitar-lead album, Bourelly relies heavily on African drumming for context. He succeeds where Paul Simon’s Graceland faltered, he kept the music real and avoided a self-centered approach to fusing disparate music.
A sequel to 2001's Boom-Bop, this new CD is funk and jazz-rock stretched to their natural limits. If it isn't Bourelly's boastful playing that consumes you, then the vocals provided by Abdourahmane Diop will. Diop, the son of a griot (storyteller) from Senegal has plenty to say on songs that embrace and seek tradition and culture like "Cool Papa N'Diaye" and "Fatima." But complex funk-rock with world rhythms is what you get mostly here, and on songs like "The Spirit Wheel," the strong rhythms powered by Bourelly's caustic guitar playing takes over completely. Jean-Paul and his brother Carl are all about conjuring their music at times, too, and Bourelly is capable of invoking the Midwestern electric blues of Chuck Berry and the progressive rhythm and blues of Jimi Hendrix. "Blowin' Omni," a tune that recalls some of Miles Davis' fast-paced fusion on albums like The Man With the Horn, is superb...the lineup of musicians: Blues cornetist Olu Dara is on deck, as are saxophonist/flutist Henry Threadgill, bassist Reggie Workman and the late Lester Bowie's brother, trombonist Joseph Bowie. Bourelly, an exceptional guitar player who has an impressive recording history of more than 20 years, doesn't waste any of the talent he has amassed on Trance-Atlantic.
* The Doors - Wishful Sinful
