MERAVIGLIE DAPPERTUTTO #6

Some great recordings found on the seven corners of the internet and carefully selected by the Sistemi Audiofobici Burp staff.

This time 5 treasures to end a year a start a new one. Selected by DJ Baba Giovanni Bauli
enjoy

Phil Spector
Christmas Album 1963

from Mugre & Miseria

All Music Guide Review 
With a “Back to Mono” button adorning his long white beard, Phil Spector comes off looking like the manic St. Nick one would expect to see on the cover of a “Wall of Sound” Christmas album. His jacked-up look is often mirrored in this generously multi-tracked collection of Yuletide classics. Enveloped in a sonic morass of strings, horns, guitars, and percussion, Spector faithful like the Ronettes, the Crystals, Darlene Love, and Bob B. Soxx & the Blue Jeans give chestnuts such as “White Christmas” and “Winter Wonderland” a girl group makeover. Other highlights include Love’s “Frosty the Snowman” and “A Marshmallow World,” the Ronettes’ “I Saw Mommy Kissing Santa Claus,” and the whole crew’s version of “Silent Night.” One of the more distinct titles in the Christmas album catalog. [Initially released in 1963 as A Christmas Gift for You From Phil Spector] ~ Stephen Cook, Rovi 

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Timothy Leary
You Can Be Anyone This Time Around 

from The Red Hippie

You Can Be Anyone This Time Around is an Album which Timothy Leary made and organized in 1970. Timothy Leary was born in Massachusetts in 1920. Soon he entered a Military Academy with whom he had serious problems for breaking the law numerous times (for drinking contests and other assorted stuff) and after going to court and a full year being purposefully ignored by his colleges he was Honorably discharged. He moved to the Alabama University, and he studied continuously until receiving a Ph.D in Psychology by the University Of California. Afterwards he started working as a teacher in that same university, from where he ended up being expelled for being a proponent of Psychoactive drugs between the students. In 1960, after taking some psilocybin mushrooms in Mexico, he stated that he had learned more in those five hours about his conscious and Psychology than 15 years of studying. Upon his return to Harvard he established a research team on Psychoactive Drugs, starting a series of experiments on human beings. Allen Ginsberg (the Beat Poet and a famous underground personality) wanted to take part on the experience and also wanted to expand it, giving it to several people on the counter-culture. Leary was once again fired, and went to live in a mansion where he and a group of several people experienced Psychedelics until LSD was forbidden in 1966. I have not been able to find when this was recorded but it had some of the best musicians participating, for example, Jimi Hendrix, Stephen Stills and John Sebastian. Best Tracks - “You Can Be Anyone This Time Around”, “What Do You Turn On When You Turn On” and “Live And Let Live”. You Can Be Anyone This Time Around is truthfully one of the most interesting Albums i’ve heard in a while, half interesting for its music and half interesting for the speeches that are given. Some of the songs feature short samples of psychedelic acts, like Country Joe & The Fish and also some of the beginning verses of Ginsberg’s poem Howl.

The Personnel is not complete.
Timothy Leary (You Can Be Anyone This Time Around Personnel):  
Timothy Leary - Voice.
Jimi Hendrix - Bass.
Stephen Stills - Guitar.
John B. Sebastian - Guitar.
Buddy Miles - Drums.

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The Tuba Trio
Essence: The Heat And Warmth Of Free Jazz

from randall funk

The Tuba Trio’s Essence: The Heat And Warmth Of Free Jazz is a three volume set pressed in individual volumes by Circle Records in 1977. I found each volume in a bin at a local shop a while ago.

Each LP features long, free wheeling jazz tracks, performed by Joe Daly (tuba, percussion), Sam Rivers (saxophones, piano, voice, flute), and Warren Smith (drums, percussion). It’s a fantastic session - all tracks recorded live at the Bim Huis, Amsterdam, September 2nd, 1976.

The set is likely hard to find - I’d try the Discogs Marketplace for vinyl copies - but you might also click here for an mp3 download of two super long tracks (includes Side A of Vol. II and Side B of Vol. III).

Tracklist Vol. I A1 Part I - Instrumental Solo Of The Tenor Sax 3:20 A2 Part II - Instrumental Solo Of The Tuba 3:15 A3 Part III - Instrumental Solo Of The Drums 4:20 A4 Part IV - Group With The Tenor Sax - Dramatic Intrusion Of A Second Tenor Sax 11:10 B1 Part V - Group With The Flute 16:25 Tracklist Vol. II A Part VI - Group with the Soprano Sax 20:20 B Part VII - Group with the Piano, with a Tuba and a Drum Solo 19:30 Tracklist Vol. III A Part VIII - Group With The Tenor Sax 18:05 B Part IX - Drums Interlude - Group With The Piano 14:10 Drums, Percussion –

Warren Smith Producer – Rudolf Kreis Saxophone [Tenor, Soprano], Flute, Piano, Voice – Sam Rivers Tuba, Horns [Baritone Horn], Percussion, Performer [Pipe] – Joe Daley

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BURT WARD & THE MOTHERS OF INVENTION
The Boy Wonder Sessions (1966)

from Willard’s Wormholes 

Helmed by Freak Out producer Tom Wilson, The Boy Wonder Sessions began as a quick-buck 45 recorded by Burt Ward, a.k.a. Robin from the 60s TV show Batman. Originally taped in June 1966, “Boy Wonder I Love You” features Burt reading teenage fan letters (don’t miss the essential punch line) over a Frank Zappa written & arranged recordingwith some of the Mothers of Invention (listen for the “Duke Of Prunes” chord changes near the end). The B-side is a Nat King Cole hit, “Orange Colored Sky,” given a comic, Mothers-style “American Drinks And Goes Home” arrangement, again by Frank. Other tracks were recorded during the sessions, supposedly for a follow-up single (or for FZ’s own purposes) that were never released. One of the instrumental tracks, “Variant 1,” is extraordinary. Presumably written by Zappa, it would have fit nicely on Lumpy Gravy, even though the orchestration sounds straight out of the British TV show, The Prisoner (not broadcast until a year later).

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The Flying Lizards
The Secret Dub Life of the Flying Lizards 

from Big Head Stevenson 

 The source tapes for this CD were recorded in Jamaica by Jah Lloyd (Patrick Francis) as part of a series he made for Virgin Records’ Front Line label. The original tapes were not released and were offered to me by Front Line’s Jumbo Vanrennen with the suggestion that I should ‘remix’ the music. I accepted the project, expecting lots of time in one of Virgin’s studios to play with the music and the equipment, only to be presented with a mono master tape of the music.So I began to invent (or perhaps re-invent) techniques of editing, looping, filtering and subtraction to deal with unremixable mono material (these were the days before samplers). the subsequent work took a long time; as I thought it might be something of an indulgence I only worked on it at weekends and evenings rather than let it interfere with other projects.The techniques used here expanded my vocabulary of musical electronic (as opposed to electronic music) treatments and appear in a very different form on records made at that time and thereafter, notably ‘Fourth Wall’ my collaboration with Patti Palladin and my production work on Michael Nyman’s records.The original players remain unidentified, Jah Lloyd used various combinations of musicians but did not indicate who played on which tracks.This year I added the ‘preface’ and ‘postscript’ using a similar approach as in 1978 but with the technology of 1995, partly to make the CD a decent length, partly to find out what effect a different technology would have, and additionally in recognition of the continuing influence this work has had on my approach to the recording studio.

David Cunningham may 1995