the of mirror eye

* Crooked Fingers: New Drink For The Old Drunk (7.5 mb) | Black Black Ocean (7.0 mb) | Crowned In Chrome (7.0 mb) | Sunday Morning Coming (9.5 mb)
From Live At Bottom Of The Hill : Dec 06, 2003 : San Fancisco, CA

I’ve never seen a band that inspired so many drunken Man Hugs and sing alongs as this band, Crooked Fingers. Frontman Eric Bachman, formerly of Archers Of Loaf, is the indie version of The Boss. His songs are anthemic, with his road-worn vocals put to good use with strong melodies and lyrics that make you all sensitive and stuff.

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* Stark Reality: Junkman’s Song (12.0 mb) | Rocket Ship (7.0 mb) | All You Need To Make Music (14.5 mb)
From Now : Stones Throw Records : STH2058

Stones Throw Records is one of those labels that I trust implicitly. Everything they’ve released that I’ve heard, gotten or bought has been, at the very least, good if not great. They’re an excellent source for all things hip-hop, soul and funk.

So, while browsing through the bins one day at the local record store, I quickly took notice of this cd. The cover is a striking design based on the old tape reel boxes, with Stark Reality printed in nice block letters on the front. I then noticed that it was put out by Stones Throw and was totally intrigued. A quick glance at the liner notes convinced me that I needed to have this.

Last week, as I sat in an Echo Park studio re-mastering the Stark Reality master dubs with lover-of-things-funky Dave Cooley, certain phrases punctuated our work. “Amazing!” “So tight!” “Man, were these guys good!” At one point, Dave looked back and laughed the obvious, “Man, how would you explain this music to anyone outside of our circle?”

Our circle. Meaning there were “outsiders” who simply wouldn’t catch on to the glory of this music? I thought about it for a second or two, and came up with two replies. One - Dave had hit upon the same question I’m sure others had asked, through the years, as they discovered the wonderful music that the Stark Reality recorded. The term “outsiders” had, I’m sure, branded different groups of people in the past thirty years! Two - when I first heard the Stark Reality’s AJP-released album, in the home of a New Haven-based hip hop producer when I was still in high school, he had summed it up in one, neat sentence: “I love this one ’cause it’s so distorted.”

Distorted. That might work! Not in the general, ugly sense of the word. Rather, in the artistic sense - as in the way a surrealist’s painting distorts his perception of the world. The sounds on their 1970 LP - from Monty Stark’s fuzz-toned vibraphone solos, to John Abercrombie’s wah-wah fluctuations, to Phil Morrison’s slipping and sliding up and down the neck of his bass guitar, to Vinnie Johnson’s marching funk - all depart from the sound one might expect to emerge from a late 60s jazz quartet. Monty’s rearrangement of famed composer Hoagy Carmichael’s children’s songs certainly distorted the ideas Carmichael had originally conceived. All for the better, of course.

(from the liner notes)

I had no idea what to expect, but it’s hard not to be intrigued by the glorious tale of some weird, psychedelic jazz-bos reinterpreting children’s songs written by Hoagy Carmichael using the sorta-strange line up of vibraphone, guitar, bass and drums. Putting the record on, my mind was completely blown. The record sounded totally alien to me (which is a difficult thing to accomplish, since I listen to some pretty out there stuff). The weird fuzzed out and off-kilter vibraphones and the not quite funky drumming coupled with the nasally vocal chants produced music that was almost too much for me to handle. Honestly, it’s taken me a long time to really get into the music. But now that I’ve assimilated the music, I can say that this record is very special. So, take some time to become acclimated to what the Stark Reality are doing and you’ll be rewarded.

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You’ve gotta check this out. strandbeest is the brain child of Theo Janson. He creates skeletons that are capable of walking with the use of wind power. Absolutely amazing. Absolutely stunning.

* note * Fixed the links for The Gibson Brothers post. Sorry about that.

* L.A. Brown: No Hootenanny (4.0 mb)
* Billy Stafford: Popa Shotgun (4.0 mb)
* Gil Bernal: The Whip (4.0 mb)
* K.C. Mojo Watson: Love Blood Hound (3.5 mb)
From Just Shuckin’ Aound 1953-1963 : Pan!c Records : panic 100

If you’ve been reading this blog for any length of time, then you’ve probably already realized that I’ve got a weakness for soul compilations. These compilations are great because they collect together long lost nuggets of music that I would normally never have any chance of hearing. These tracks are usually from singles that had limited distribution and even smaller numbers of records pressed. But the music is usually fantastic. I also like them because I’m a totally lazy and impatient person. I don’t have near the dedication and intestinal fortitude that these record diggers have. To spend hours searching through dusty record stores for that one special 45. Nope, not for me.

There isn’t too much on the interweb about this compilation. In fact, I bought it simply because the cover photo was just too cool. I lucked out this time though, because it features music from Los Angeles from the early ’50’s to the early 60’s. These are great slabs of proto-soul/funk that just make me want to get up and dance. The booklet is similarly great, with great liner notes and an awesome photo of Flash Records from the ’50’s. Fantastic.

The title “No Hootenanny“ not only sets the tone for this collection but also dates this odd rocker somewhere in the early to mid 60’s. Back then such amateur torture sessions were a weeknight staple of countless clubs and coffee bars. The unknown L.A. Brown warns all folkniks to zip their sterile strumming and give him time to rock & roll! Although the totally unknown Mr. Brown actually may be white, the flip - not included here - “Do The Zulu” is sung in an even more determindely r&b style and is exactly what you’d imagine. Issued on the rediculously apt Hip label.

No r&b collector in his right mind (perhaps a contradictory coupling to begin with) would pass up a record called “Pappa Shotgun“. From 1956 Billy Stafford fronts famed vocal group The Sharps on Jab (on the same label the group recorded as George Zimmerman and the Thrills - a slightly more well known release). Supposedly more in favor with blues fans than vocal group nuts - “Too bluesly”, “The lead ain’t really singin’” - copies have still sold to the latter for a cool grand. Monetary value aside this is as lowdown L.A. alley music as you’re ever likely to hear.

Back in 1954 when all the other tenor blasters heard “The Whip“, Gil Bernal’s bad boy fire-lunged instro scorcher (on Spark no less), they must’ve figured the ante had been permanently upped in the frantic department. Although this is the earliest side herein feew sax workouts have ever equalled its ferocity.

K.C. Mojo Watson had two singles on Nanc, one each on Ganlon and Atlas. The very fine Stompin’ series out of the UK reissued the first Nanc single on their Volume12. From 1961 “Love Blood Hound“ is disc number two’s more bizarro topside and is all you’d most likely want it to be. Awooooooooo!

(from the liner notes)

Hope you enjoy your Friday and get ready to boogie on home and start the weekend in style.

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* The Gibson Brothers: Memphis Chicken (3.5 mb) | Casey Jones (3.0 mb) | You Walked In The Room (3.0 mb) | I’m Driftin’ (3.5 mb) | The Man Who Loved Couch Dancing (3.5 mb)
From Live At Bogart’s : Aug 16, 1991 : Long Beach, CA

This right here is The Gibson Brothers. Kings of all that are deranged, rockin’ and out of control.

The Gibson Bros came howling out of Columbus, Ohio with a reckless, feckless brand of semi-competent minimalist American roots revisionism, twisting blues, hillbilly and gospel gems — as well as their own already bent tunes — dementedly passionate, loosely played music that never stooped to gimmicks or camp. The quartet, which included rock-critic-turned-drummer-turned-guitarist-and- singer Don Howland (ex-Great Plains), did their level best to put their town on the map. Although often compared to the Cramps (also from Ohio, as it happens), the Gibsons cast a wider musical net, digging their wildly reverbed guitars, super-simple drumming and Jeff Evans’ frantic vocals into obscure blues and hillbilly tunes, gospel classics and derivative originals (where the lyrics can get pretty bizarre), all with equal fervor. Not always focused — or tuned up — enough to be enjoyable, the willfully hapless Gibson Bros were still capable of deep wit and high excitement.

(from Trouser Press)

By 1991, when this concert was recorded, the group had split, with Jeff Evans and Don Howland continuing on with guests on various other instruments. I’m not too sure who else is playing in this concert. So turn up that stereo and be prepared to bow down to the Kings.

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If you want more of The Gibson Brothers lovin’, Something I Learned Today has more history and some tracks right here. Be sure to check out the rest of the dude’s mp3 blog for more punk-y, garage-y goodness.

Also, I posted some tracks from The Bassholes awhile back, you can read (unfortunately, no music) the post here.

* Arthur Doyle Quartet: Noah Black Ark (16.0 mb)
From Live @ The Cooler : Lotus Sound

If one is to address the genre of free, or improvisational jazz, then Arthur Doyle must be mentioned. Unfortunately, he is too often ignored and under-recorded and has not had the massive critical acclaim that he deserves. Arthur Doyle had a singular voice that is immediately recognizable. He plays the tenor saxophone and the flute, often while singing at the same time. It’s an incredible sound that is influenced by gospel, doo-wop and r ‘n’ b and is one that absolutely tears at the heart. He’s been blowing and playing since the late ’60’s and has played with the who’s who of free jazz, but for one reason or another, fame has eluded him. Always a sensitive soul, Arthur Doyle has played on and off since the ’60’s, sufferering from a number of nervous breakdowns and also a stint in prison on trumped up charges. His time in prison was not wasted though, as he composed an estimated 300 songs. All part of what he dubbed, The Songbook.

Ever hopeful for something to turn up, be it new work or releases of concerts already recorded, Doyle still intends to return to the Songbook.

“I’m trying to record all of them, hopefully, before I die. Record all of them. Those songs are everything I’ve lived. They’re dedicated to my family. My family have given me so much and I have very little to give them in return.”

Doyle is under no illusion as to the difficulty involved, but is determined to continue making his music, without compromise.

“I love being underground, man. They get you into the mainstream, and it’s not happening, trying to be commercial. That was part of the conspiracy in the 1970s against free jazz. Rashied Sinan.. he just disappeared. Government and police fucking with musicians. They got people to go mainstream. I didn’t want to play that, I wanted to play free jazz soul. Free jazz soul music is what I play. I’m happy underground. There’s not much money, but I’m happy. And that’s a victory: being happy.”

(Dan Warburton)

This recording happened in 1995 during a resurgence in his playing. He had released a number of records based on songs from The Songbook and had gotten back in touch with some of his old buddies. This recording, at the uber-hip club the Cooler, features the red hot playing of Rudolph Grey on guitar, Wilbur Morris on bass and Tom Surgal on drums. It’s a fantastic document and features some of the best free improv music out there.

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* Angels Of Light: Lena’s Song (4.5 mb) | Destroyer (7.0 mb) | My Sister Said (6.5 mb)
From The Angles Of Light Sing ‘Other People’ : Young God Records : YG27

I’ve been diggin’ on this album for awhile now, and finally decided to post some songs from it. This is the latest project from Michael Gira, aka ex-lead instigator of the Swans (RIP) and the head honcho of Young God Records.

The seed for this album came about when Michael Gira was recording the debut album for the Akron/Family, a group of fellows who create compellingly beautiful music. He was so inspired by their sound that he wanted to use them as the band for his next album. The Akron/Family were more than just a backing band though, as they collaborated fully on the orchestration and the sound for the album.

Just before making this record I’d co-produced the debut album of Akron/Family, and I liked their sensibility so much that I asked them to contribute to my own Angels of Light album. It changed everything. We collaborated fully on the orchestrations and the result was a revelation to me – a complete turnaround in many ways. I guess it’d be fair to say that their youthful enthusiasm and continually erupting stream of ideas infected me with a long absent sense of elation. They all play about 20 instruments with varying degrees of skill, and their approach was often the exact opposite of what I would have initially thought. Of course, in some cases, they did exactly as I said, and shut the hell up about it – ha ha! But the best thing for me was the surprise of hearing the songs in a new light… I had a great time making this record. It’s the most relaxed I’ve been in the studio in years, and I think it shows in the vocal performances. In any event, I hope the songs speak to you in some way…Thanks for your time!

(Michael Gira)

My favorite thing about this album is that with nothing more than acoustic instruments and little to no drums, they’ve created a world of music filled with so many wonderful layers of textures. It’s easy to dive in to the music and get lost in those layers.

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As an extra special bonus, I’ve included a solo rendition of Destroyer performed in 2003 by Michael Gira for a radio session.

* Michael Gira: Destroyer (6.5 mb)
From Live At VPRO : June, 2003 : Amsterdam, Holland