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Burp Enterprise's Antology Of Little Pleasures
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MERAVIGLIE DAPPERTUTTO #9
Great recordings from the seven corners of the internet carefully selected by the Sistemi Audiofobici Burp staff.
WJM and DJ Baba Giovanni Bauli select 5 jems for your listening pleasure. Enjoy
Dead Kennedys
Live at Earth Tavern: Portland, OR [1979.11.19]
through know your conjurer
This here is an amazing set from 1979 with very good sound quality. Highly recommended!! “Too bad for you, no heavy metal music for you- disease music instead!” - Jello (track 11)
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Shirley Collins and the Albion Country Band
No Roses
through Weird Brother
No Roses is an album by Shirley Collins and the Albion Country Band. It was recorded at Sound Techniques, and Air Studios in London, in the summer of 1971. It was produced by Sandy Roberton and Ashley Hutchings (Shirley Collins’ husband at the time). It was released in October 1971 on the Pegasus label. It is very unusual to have 27 musicians and singers on an album of traditional folk songs. It happened because people simply dropped in during recording sessions and were asked to join in. At the time, the most unusual sound was the hurdy-gurdy, now heard much more frequently. “The Murder of Maria Marten” is broken into segments, with a heavy-rock alternating with Shirley’s voice accompanied by a simple drone. Shirley had used a similar technique on “One Night As I Lay on My Bed” on “Adieu To Old England”.
Personnel ▪ Shirley Collins - vocals ▪ Ashley Hutchings - electric bass guitar ▪ Richard Thompson - electric guitar, acoustic 12-string guitar ▪ Maddy Prior - vocals ▪ Colin Ross - Northumbrian small pipes ▪ Simon Nicol - electric guitar ▪ Lal and Mike Waterson - vocals ▪ Royston Wood - vocals ▪ Barry Dransfield - fiddle ▪ Dave Bland - concertina, hammer dulcimer ▪ Ian Whiteman - piano ▪ Roger Powell - drums ▪ Lol Coxhill - alto saxophone ▪ Alan Cave - bassoon ▪ Tony Hall - melodeon ▪ Dave Mattacks - sticks, drums ▪ Dolly Collins - piano ▪ John Kirkpatrick - accordion ▪ Nic Jones - vocals and fiddle ▪ Tim Renwick - electric guitar, acoustic 12-string guitar ▪ Francis Baines - hurdy-gurdy ▪ Alan Lumsden - ophicleide ▪ Steve Migden - French horn ▪ Trevor Crozier - jaw harp
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Various Artists
Rutles Highway Revisited
through Rocket Remnants
The Rutles, in their original conception - a Rutland Weekend Television spin off called All You Need is Cash, a spoof documentary now considered to be pioneering and truly seminal (it’s still stands up well: funny, smart and wonderfully constructed) - soon gained cult interest, and on the back of the TV movie, several recordings were released; featuring Eric Idle (initially), Ricky Fataar (ex-Beach Boy [Holland period]), John Halsey (ex-Timebox, Patto, and acts far too various to mention), Ollie Halsall (ex-Timebox, Patto, Boxer, and again many many others), and at the helm, musical director and song writing genius Neil Innes (ex Bonzo Dog Doo-Dah Band and occasional Python).
You don’t necessarily have to know the recordings of The Rutles to appreciate this collection - although that does add something to the gratification of this product - but like all good cover versions the songs stand up very well on their own - no doubt in part as a consequence of reverence and homage - but the collection is still very strong throughout. When I listen to it I skip nothing; each song, no matter what the genre, compliments perfectly through its juxtaposition; creating a fantastic listening experience from beginning to end.
Galaxie 500 - Cheese and Onions
The Pussywillows - Hold My Hand
Bongos, Bass and Bob - Number One
Lida Husik - Good Times Roll
Dogbowl - Another Day
Das Damen - Piggy in the Middle
Syd Straw & Marc Ribot - I Must Be in Love
Joey Arias - Nevertheless
When People Were Shorter & Lived Near the Water - Let’s Be Natural
Unrest - Between Us
Peter Stampfel & The Bottlecaps - Ouch
The Tinklers - Blue Suede Schubert
Tuli Kupferberg - Living in Hope
Daniel Johnston - Baby Let Me Be
Uncle Wiggly - It’s Looking Good
Shonen Knife - Goose Step Mama
Jellyfish Kiss - Get Up and Go
King Missile - Doubleback Alley
Paleface - With a Girl Like You
Bongwater - Love Life
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The Obsessed
Instrumental 7”
through Good bad Music for bad, bad Times!
This never came with a picture sleeve and it bears no information other than the pencil writing on the label and what the tail-out grooves say. The a-side matrix has the following etching: “160080. The Obsessed (Project”) and the b-side reads: “160081. Wino & Company”. Allegedly, 200 copies were printed and available through mailorder only.
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Johnny Otis and Etta James
through Big 10-Inch Record
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MERAVIGLIE DAPPERTUTTO #8
Great recordings from the seven corners of the internet carefully selected by the Sistemi Audiofobici Burp staff.
WJM selects 5 jems for your listening pleasure. Enjoy
Jerome Cooper
The Unpredictability of Predictability
through Fusionero
The unpredictability of predictability
1. Movement A,B – flute, whistle, chiramia, bass drum, sock cymbal (9.59)
2. Movement C – drums set (mallet) (4.29)
3. Movement C1 – floor tom-tom, bass drum, sock cymbal, voice (6.40)
4. Bert The Cat – balaphone, chiramia, bass drum, sock cymbal (20.37)
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SPUNK
ORIGINAL VINYL EDITION
1977
through Power Pop Criminals
Spunk is the title of a bootleg album by a famous band, originally released in the United Kingdom during September or October 1977.
The album comprises studio demos and chatter recorded during 1976 and early 1977, while original bass player was still a member of the group. Most of the songs would later be re-recorded and officially released on the group’s debut album.
The original Spunk was itself copied and bootlegged immediately upon release. The tracks have since been re-bootlegged countless times in many different formats, including a widespread variant called No Future UK, which added three extra tracks, and many releases by Dave G., which often feature evidence of remixing or other post-production tampering. Spunk has also been the subject of several official releases.
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Jason Lescalleet
electronic music
through shalalal
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V/A
Donaueschinger Musiktage
(1994-2010)
trough we fucking love music
1994 vol. 1 (modern pieces for player piano! borderline ridiculous)
2002 vol. 1 (vocal-centric)
2006 vol. 3 (Smolka and Mitterer fuck with the baroque)
2006 vol. 4 (large chamber works from Kagel and Posadas)
2007 vol. 3 (works for large orchestra/electronics)
2010 (new pieces for string quartet; unreleased)
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The Chiffons
Greatest Recordings
through dreamgirls
1. He’s So Fine (1:53)
2. My Boyfriend’s Back (2:06)
3. Stop, Look And Listen (2:39)
4. Oh My Lover (1:48)
5. One Fine Day (2:11)
6. A Love So Fine (1:57)
7. Nobody Knows What’s Going On (In My Mind But Me) (2:25)
8. Out Of This World (2:13)
9. Mystic Voice (1:39)
10. Up On The Bridge (3:02)
11. Dream Dream Dream (2:47)
12. My Block (2:44)
13. Did You Ever Go Steady (2:22)
14. March (2:19)
15. Keep The Boy Happy (1:54)
16. When The Boy’s Happy (The Girl’s Happy Too) (2:17)
17. The Real Thing (2:19)
18. Sweet Talking Guy (2:28)
19. I Have A Boyfriend (2:09)
20. Sailor Boy
21. I’m Gonna Dry My Eyes
22. Open Your Eyes (I Will Be There)
23. The Heavenly Place
24. Teach Me How
25. He’s A Bad One
26. If I Knew Then (What I Know Now)
27. Lucky Me
28. Why Am I So Shy
29. Tonight I Met An Angel
30. When I Go To Sleep At Night
31. Tonight I’m Gonna Dream
32. Down Down Down
33. My Sweet Lord
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MERAVIGLIE DAPPERTUTTO #7
Great recordings from the seven corners of the internet carefully selected by the Sistemi Audiofobici Burp staff.
To start the year Mat Pogo suggests 5 aces. Enjoy
Ian Matthews
if you saw thro’ my eyes
through Una Medianoche Clara
Ian Matthews - guitar, vocals
Sandy Denny - keyboards, vocals
Richard Thompson - guitar, accordion
Pat Donaldson - bass
Andy Roberts - guitar
Tim Renwick - guitar
Gerry Conway - drums
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Alceu Valenca & Geraldo Azevedo
through Freefall
Alceu Valenca is a well-known Brasilian composer that mixes native northeastern rhythms with elements of rock and psychedelia. Geraldo Azevedo is a virtuoso guitar player who started playing with various Brazilian pop artists, and adds a melancholy, folky sort of vibe on this release
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V/A
Brazilian Big Bands
Dancing Days 1904-1954
through run rhythm run
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Zoltán Jeney
Arupa / Fantasia Su Una Nota
through Twice Zonked!
Zoltán Jeney is one of the many innovative composers affiliated with Budapest’s New Music Studio, a highly versatile camp whose activities run the gamut from percussion pieces and chamber ensembles to various electro-acoustic excursions. Jeney’s works are fascinating both for his ear for unusual instrument combinations and for his unorthodox methods of composing. Often he leaves the manner in which the composition unfolds somewhat open-ended, allowing the performers to progress as they see fit. The two side-long pieces that comprise this album exemplify Jeney’s range of ideas and methods.
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Joel Chadabe
Rhythms
through Continuo
♫ Rhythms was Chadabe’s 3rd LP release after Ideas Of Movement At Bolton Landingon Opus One in 1974 and Echoes/Flowers on CP2 Records in 1976. Recorded in 1980, Rhythms is a set of rhythmic variations for computer-generated sounds and live percussion – the computer’s live interaction with an acoustic instrument being the pioneering aspect of the record. Developed by Chadabe, the program is based on an original rhythm structure whose parameters can be modified by the composer, and able to interact with live sounds from percussionist Jan Williams – something Chadabe had already experimented in his duo with violinist Paul Zukovsky inEchoes/Flowers. Consisting in looped midi sounds, mellow rhythm patterns and light percussion interjections, the music on Rhythms isn’t radical or cutting edge as such – it can even, to some extent, function as musique d’ameublement, or furniture music. Midi sounds emulate glass or gamelan instruments, and rhythm programing often denotes exotic touches – Chadabe quoting Caribbean and African influences.
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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
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MERAVIGLIE DAPPERTUTTO #5
Some great recordings found on the seven corners of the internet and carefully selected by the Sistemi Audiofobici Burp staff.
This time a 12 downloads collective selection for your listening satisfaction.
enjoy
VA
Concert Percussion for Orchestra
Side A
1. Amadeo Roldan - Two Ritmicas: I. No. 6 Tiempo de Rhumba {1:46}
2. Amadeo Roldan - Two Ritmicas: II. No. 5 Tiempo de Son {2:25}
3. Lou Harrison - Canticle No. 1 {3:57}
4. William Russell - Three Dance Movements: I. Waltz {1:35}
5. William Russell - Three Dance Movements: II. March {1:37}
6. William Russell - Three Dance Movements: III. Fox Trot {1:08}
7. Henry Cowell - Ostinato Pianissimo {3:18}
Side B
1. William Russell - Three Cuban Pieces: I. Havannera {0:52}
2. William Russell - Three Cuban Pieces: II. Rhumba {0:43}
3. William Russell - Three Cuban Pieces: III. Tiempo de Son {0:43}
4. John Cage and Lou Harrison - Double Music {5:35}
5. John Cage - Amores {9:47}
I. Solo for Prepared Piano
II. Trio (Nine Toms-Toms, Pod Rattle)
III. Trio (Seven Wood Blocks, not Chinese)
IV. Solo for Prepared Piano
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Sensation’s Fix
Portable Madness
from Silverain TR
(1974)
- Keith Edwards / drums, percussion
- Franco Falsini / acoustic & electric guitars, synthesizers
- Richard Ursillo / bass, bass pedals
1. Smooth and round
2. Fullglast
3. Phase one and phase two
4. Underwater
5. The next place of nobody
6. Party day resistance
7. Leave my chemistry alone
8. Strange about the hands
9. Relative jump into water
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The Shadows
The Shadows
from Big Head Stevenson
The Shadows, a 1961 rock album by British group The Shadows, was the first instrumental LP by a British group to reach number one in the UK charts.
- Side 1
- “Shadoogie” (Hank Marvin, Bruce Welch, Jet Harris, Tony Meehan)
- “Blue Star” (Victor Young, Edward Heyman)
- “Nivram” (Bruce Welch, Hank Marvin, Jet Harris)
- “Baby My Heart” (Sonny Curtis) – (Vocal: Hank Marvin)
- “See You in My Drums” (Tony Meehan) - Drum solo
- “All My Sorrows” (Dave Guard, Bob Shane, Nick Reynolds) – (Vocal: Jet Harris)
- “Stand Up and Say That” (Hank Marvin)
- Side 2
- “Gonzales” (McGlynn alias Bruce Welch, Hank Marvin)
- “Find Me a Golden Street” (Norman Petty)
- “Theme From a Filleted Place” (Hank Marvin, Bruce Welch, Jet Harris)
- “That’s My Desire” (Helmy Krease, Carroll Loveday) – (Vocal: Bruce Welch)
- “My Resistance is Low” (Hoagy Carmichael)
- “Sleepwalk” (Ann Farina, Santo Farina, Johnny Farina, Don Wolf)
- “Big Boy” (Bruce Welch, Hank Marvin)
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Docteur Nico
african fiesta @ 45 tours
from Lucky Psychic Hut
the far from complete vita singles 1963-5
part 01 - vita 01-25
According to Alastair Johnston’s invaluable Docteur Nico Discography, African Fiesta came together in 1963, featuring Nicolas Kasanda on lead, his brother Dechaud on rhythm guitar and Tabu Ley Rochereau on lead vocals, with Roger Izeidi, Kwamy Munsi, Joseph ‘Mujos’ Mulamba, Depuissant, Joseph Mwena, adding Faugus Izeidi, Paul Mizele, Dominique Kuntima and Jeef Mingiedi in due time. Having developed his electric guitar skills with African Jazz, Nico was really sailing by this time, exploring tone and texture with a great sense of adventure and a liquid sense of time.
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Lee Dorsey
Yes We Can
from Life As A Rehearsal
(1970)
produced by Allen Toussaint with instrumental backing provided by the Meters.
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Luciano Berio
Sequenzas
(Ensemble Intercontemporain)
from Da capo a rapo
Luciano Berio: Sequenzas I-XIII
Soloists of the Ensemble Intercontemporain
Sequenze is series of works for solo instruments
The first, Sequenza I came in 1958 and is for flute; the last, Sequenza XIV (2002) is for cello. These works explore the fullest possibilities of each instrument, often calling for extended techniques.
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Inside Star Trek
featuring Gene Roddenberry
from Record Fiend
(Columbia, 1976)
The record is primarily a spoken word affair, with Gene Roddenberry, the Great Bird of the Galaxy himself, serving as narrator and interviewer. At the beginning, he states, “Star Trek. How did it happen? When did it start? What are the people, the things we couldn’t say on television? What are the stories which haven’t been told? These are the voices of Star Trek, the way we think, some of what we think about, some of what we talk about in private.” In between the interviews and Roddenberry’s philosophical waxings are selections from an extensive speech that he had presumably given at a fan convention in which he describes what it was like dealing with the NBC television network while the show was in production.
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Alain Saverot
Ballade Rustique
from Continuo
The son of a French professional violinist who played in a string quartet, French painter Alain Saverot was born in Sousse, Tunisia, in 1947. He traveled by foot across Central Africa in the 1960s and discovered African ethnic music and instruments – this LP’s cover image might be from this period. Back in France, he graduated from Dijon’s fine arts school in 1964. His paintings and drawings have been shown in various exhibitions in France and abroad since the mid-1970s – see official website. In 1982, Saverot published 2 LPs on artist-funded record company Le Kiosque d’Orphée, titled Tirage de Tête and Ballade Rustique
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Joseph Schmidt
1904 - 1942
from Zero G Sound
Joseph Schmidt was a tenor who lived in the first half of the twentieth century, whose glorious sound and way with a song made him a hugely popular radio star and recording artist; he was also the first singer the Nazis banned from Berlin radio.
This album contains some of Joseph Schmidt´s great recordings for movies and as a Temple singer.
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HYPNOGOGIC SOUND / VIBRATION TAPE
from Crystal Vibrations
valley of the sun publishing 1982
(…) i really don’t know much of anything about this tape. acquired it on the new age cassette black market in the dark of night, down an alleyway, you know the deal…..the music is raw, grungy, distorted, rumbling new age bubble bath.(…)
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Trevor Wishart
Sounds Fun!
from Aphelion Shelter
Trevor Wishart presents a series of compostional exercises as children’s games in this two volume set of workbooks. For instance, one game utilizes the structure of hockets to imbue competition, while another game asks each player to make a musical score by cutting and pasting images from magazines. One of my favorites, called “Bluebottle”, borrows an idea from R. Murray Shaeffer to create a musical game of tag. The book is cleverly designed with an entailment chart in the back of each book to show suggested ways one game can flow into another. Each game also includes suggestions to keep the “dropouts” busy - dropouts being those players who have had to leave the game for one reason or another.
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Vladan Radovanović
Voice From The Loudspeaker
from Continuo
Serbian composer, visual artist and theoretician Vladan Radovanović (b. Belgrade, 1932), is a Yugoslavian electronic music pioneer who established former Yugoslavia’s first electroacoustic music studio, the Radio Belgrade Electronic Studio in 1972.
Voice From The Loudspeaker is a conceptual text about the recorded voice, the magnetic tape medium and the loudspeaker’s reproduction of the recording. In its use of self-referential speech, it is somewhat comparable to Alvin Lucier’s I Am Sitting in a Room, save for the sound treatment.
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MERAVIGLIE DAPPERTUTTO #4
Some great recordings found on the seven corners of the internet and carefully selected by the Sistemi Audiofobici Burp staff. This time WJ MEATBALL selects 10 gorgeous albums and one 7” for your listening pleasure. Enjoy
Deep Voices
Dr. Roger S. Payne - Deep Voices: The Second Whale Record
This particular recording is the second whale record following the first one Songs of the Humpback Whale. The whale sounds were recorded by the use of a hydrophone (underwater microphone). One of the fascinating things mentioned by the liner notes is that humpback whales sing a different song every year and that they are the only animals to do so.
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Merzbow
Flesh Metal Orgasm
from Goat Germs
Masami Akita
Recorded Live at ZSF Studio, Sep 88.
Specifications: Tascam Porta Two 4ch Maranz SD 255 2ch Roland SDE 1000 KORG DRV 1000 METALS FAN Motor TEAC M09 YAMAHA AX500 ELECTRO HARMONICS Frequency Analizer Roland Guitar Syntesizer Guitar ARION Metal Master AKAI Moduration Delay DOD Phaser Boss Pitch Sifter Delay Deleuze/Guattaris Anti Oedipe Boss Dynamic Filter Panasonic FM No Keyboards No Over Dubbing No Mixing
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Robbie The Werewolf
At The Waleback
from Dr Faustroll
Robbie The Werewolf, fils de Lucifer, en concert dans un club de Santa Monica, le Waleback, en 1964. De son vrai nom Robbie Robison, il fut, en son temps, l’inventeur d’un trash’n’monster-folk-trip unique en son genre et gravé pour la postérité sur cet album édité à compte d’auteur…
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William Shatner
The Transformed Man and Has Been
from Everybody’s Dummy
There are several theories as to how it happened, but whatever the real story, William Shatner did indeed record an album at the height of Star Trek’s original prime-time run.
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Captain Beefheart and His Magic Band
Safe As Milk
from Doom & Gloom From the Tomb
(US Mono Mix)
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VA
The Philly Sound Get Down
Funky Philly Instrumentals
from Twilightzone!
trax:
1. Funky Chicken - The Fabulous Emotions
2. Elephant Part 2 - The Philly Four
3. Too Hot To Hold - The UFO’s
4. Sissy Walk - The Freedom Now Brothers
5. It’s Our Thing - The Freedom Now Brothers
6. Do The Train - The Willis Wooten Orchestra
7. Funky Fox - Bob Marshall & The A.C.’s
8. Butter That Popcorn (Virtue Acetate) - The RDM Band
9. Twenty Five Miles - The Big Al T. Orchestra
10. Cool It (Virtue Acetate) - Herman Pierce Inc.
11. Hitch It To The Mule - The Panic Buttons
12. Lovin Horns - The Panic Buttons
13. Come Out Smokin - The Panic Buttons
14. O Wow - The Panic Buttons
15. Snap Out - The Interpretations
16. Blow Your Mind - The Interpretations
17. Penguin Part 2 - The Brass Rail
18. Rope (Your Turn) - The Assassins
19. Soul For Sale - The Soul Rockers
20. Philly Soul Strut - The Radars w/Sonny Fulton
21. Hot Pants Dance - Norma & The Heartaches
22. Nice & Slow Part 2 - Norma & The Heartaches
23. Donna - Psychodelic Frankie
24. Lineman - The Interpretations
25. Funky Philly Beats / Bonus - Unknown
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Soft Machine
Sweet Music
Live An Rare 1966-1969
from FRGK
3 CD set containing rare Soft Machine material right from the very beginning to the “Third” period. Includes rare singles, demos, outtakes, related material by ex band members and very rare live material.
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Robbie Basho
Live
from Doom and Gloom From the Tomb
Live at the Sinclair Auditorium/Coe College in Cedar Rapids, Iowa (July, 22,1978)
Live at the Stone City General Store in Stone City, Iowa (1982)
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Keith Hudson & The Soul Syndicate
Nuh Skin Up Dub
from Digital Diggers
[1979]
Some albums have to be heard to be truly believed, and so it is with Keith Hudson’s Nuh Skin Up, the dub companion to his 1979 vocal album, ‘From One Extreme to Another’. The title signals a dub set, so far removed from anything else being produced in Jamaica (or anywhere else for that matter)
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VA
The Get It!
Raw Funk of ’67 – ’69!
from Buns O’Plenty
1. Piney Brown – Bring It On Home
2. Chet Poison Ivey – Shake A Poo Poo
3. Eldridge Holmes – Pop Popcorn Children
4. Radars – Finger Lickin’ Chicken
5. Bo Dud & Johnny Twist – The Get It
6. Andre Williams – Humpin’, Bumpin’ And Thumpin’!
7. Original Soul Senders – Soul Brothers Testify Part 1
8. Willie Tell & The Overtures – The Kick-Back
9. Untouchable Machine Shop – Machine Shop Part 1
10. Jimbo Johnson & Violators – Popcorn Part 1
11. Latimore Brown – Yak-A-Poo
12. Soul Suspects – Handle It
13. Beau Dollar – I’m Ready, I’m Ready
14. Jimmy “The Preacher” Ellis & The Odd Fellows – Put Your Hoe To My Row
15. Abraham & The Casanovas – The Kangaroo Part 2
16. Tenth Dimension – The Bushman
17. Original Soul Senders – Soul Brothers Testify Part 2
18. Rudy Robinson & The Hungry 5 – Mut-Ley Doing The Crawlpen
19. Freddie & The Kinfolk – Mashed Potatoe Popcorn
20. Soul Continentals – Goobah
21. Freddie & Henchi – Bisquits & Buttermilk
22. Jimbo Johnson & Violators – Popcorn Part 2
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Squirrelbait
Motorola Cloudburst
from 7inchpunk
This record came as a free gift with some fanzine, I don’t remember which. It was released in the late 1980’s, but the recording on side one is from 1983. Side one contains the first two songs on Squirrelbait’s great first album, which was recorded in 1983, but never released.
The line up at that time was:
Peter Searcy — Vocals
David Grubbs — Guitar
Clark Johnson — Bass
Britt Walford — Drums
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MERAVIGLIE DAPPERTUTTO #3
Some great recordings found on the seven corners of the internet and carefully selected by the Sistemi Audiofobici Burp staff. This time Mat Pogo selects a blend of post prog, proto tropicalia, future funk, african free fantasies, underground rock and sound art for your listening pleasure
DAVID BEDFORD
The Rime Of The Ancient Mariner (1975)
from Willards Wormholes
“Narrated by Robert Powell this work was released by Virgin Records in 1975. Great album sleeve with a noteworthy credit being Mike Oldfield assisting on guitars. The album itself comprises of two parts, Rime Of The Ancient Mariner 1 & 2. Oldfield’s association with David Bedford went back to The Kevin Ayers and the Whole World band. While Oldfield was flexing his creative muscle and getting frustrated within the confines of that band he confided more and more with David Bedford and struck up a strong rapport with the keyboard player that lasted long after 1975.”
David Bedford - Grand Piano, Lowrie Organ, Challenger Gem Organ, Chur Organ, Piano Strings, Recorders, Chime Bars, Winebottlephone, Glorfindel Sound Machine, Flute, Violin, Cymbals, Gong
Mike Oldfield - Guitar
Diana Coulson - Vocals
Lucy Blackburn - Vocals
Classes 2 and 3 from Queen’s College - choir
Robert Powell - Narrator
Tracklist:
01. The Rime of the Ancient Mariner Part I
02. The Rime of the Ancient Mariner Part II
Total time: 41:11
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JOCY DE OLIVEIRA
A Música Século XX de Jocy (1959)
from Incomplete Tales of Several Journeys
Jocy de Oliveira was one of the first avant-garde musicians in Brazil that would later lead to the tropicalia/psychedelia movement there throughout the 60’s and 70’s. She was a child prodigy at the piano and shared the stage with world famous composers like Stravinsky and Cage before she could drive. Her compositions have been played by orchestras across the globe. This first album is equal parts experimental, samba and spoken word.
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BRIAN BRAIN
Unexpected Noises
(Secret Records BRAIN 1) 1980
from Die or D.I.Y.?
“Brian Brain is/was the amusing ‘nom de plume’ of one Martin Atkins (aided and abetted by Pete Jones, another ex- PiL bass player),the much abused drummer for PiL from ‘Bad Baby’ on ‘Metal Box’, to holding ‘Flowers of Romance’ together.(the password for the pil links is : http://phenagen.blogspot.com/) Having been sacked from Pil after the U.S. tour of 1980 to save paying his wages, Brian…er….Martin had to fill his spare time. The results were the first two Brian Brain singles, ‘They got me in the Bottle’ and ‘Another Million Miles’, and the album ‘Unexpected Noises’ (which incidentally contains both the singles),released on the 1st of August 1980;before being summoned back by Lydon for the ‘Flowers of Romance’ album. As it turns out, it’s a archetypical example of the DIY sound of 1980. Plenty of analogue monosynth, eccentric vocalising and tinny drum sounds. Everything including the kitchen sink has been thrown into each track, the only difference between this release and a cassette band is that the overdubs were obviously done on an 8/16 track recorder, but nevertheless an essential 80s DIY record. One can only wonder what conversation would ensue if Brian Brain ever met moronic label mates The Exploited at Secret Records offices? The mind boggles!…”
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DNA
Last Live at CBGB’s
from Lucky Psychic Hut
“A live set from CBGB’s of the legendary no wave band with members Arto Lindsay, Tim Wright and Ikue Mori. Their approach was to take the already pared-down ethos of punk rock and strip it even further of ornamentation, including the dismantling of the rockish song structure. The tunes are raw, turbulent, disjointed, and short; many end before the listener begins to have a grasp on them. Lindsay’s strangled yelp of a voice is dominant here, his words a steady flow of everyday non-sequiturs. Interestingly, given his direction in ensuing years, he is already occasionally referencing the Portuguese of his Brazilian childhood. His studiedly naïve guitar technique is in full flower by this point, sounding like the bastard child of Derek Bailey. Wright and Mori provide what structural spine there is, the former alluding in several instances to Captain Beefheart bassist Rockette Morton, the latter pounding with joyous abandon. Hearing DNA was a cathartic experience for many musicians in the experimental New York scene of the early ’80s looking to combine the power of punk with avant-garde and improvisatory elements; album producer John Zorn cited them as an influence in the creation of his Naked City band, for example. While it’s impossible to recreate the atmosphere of the time, this disc goes a long way in demonstrating what the excitement was about. Recommended.” (Brian Olewnick @ allmusic)
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STARSHIP BEER
Nut Music As Free As The Squirrels
from Dude Behind The Record Counter
“A severely deranged upstate New York outfit who released this 1979 rollercoaster o’ Captain Beefheartian skronk-rock that is every bit as significant as it is ridiculous. The songs jump from Anthony Braxton solo-style “out”ings to impulsive MX-80 guitar seizures, with a singer (if ya wanna call him that) shouting semi-nonsensical tirades that sound like a really pissed-off Daniel Johnston. There’s enough unrestrained ESP label freedom and PUNK ‘tude here to make most improvisational fans and open-minded joes crap their pants. Hell, this shit was even cool enough to warrant a CD reissue on Atavistic’s Unheard Music series. With a title like “Nut Music As Free As The Squirrels”… how could ya go wrong?”
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MCGOUGH / MCGEAR
The Scaffold (1968)
from weird town stuff
McGough & McGear’s sole album is a witty delight, notable for both its occasional cool tuneful pop-psychedelic rock songs and more frequent blends of music and whimsical Liverpudlian comedy/poetry. Of the song-oriented tracks, “So Much in Love” is groovy circa 1967-68 British harmony pop/rock with touches of heavy rock psychedelia, while the satirical “Ex-Art Student” (with Jimi Hendrix on guitar) combines sunny pop verses with an extended freaky psychedelic break. “Basement Flat,” by contrast, is a funny take on a British pub-style sing-along, while McGough’s poem “Summer with Monika” bears similarity to outings by the Bonzo Dog Band and Monty Python.
The spoken bits are nicely embellished by eclectic folky and jazzy musical backups and background sound effects, and the sad piano ballad “Yellow Book” is indicative of their debts to British theatrical music traditions.
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MANTRONIX
The Album
from cosmic hearse
The Album is the debut album by the hip hop and electro funk group Mantronix.
Mantronix was an influential 1980s hip hop and electro funk music group founded by DJ Kurtis Mantronik (Kurtis el Khaleel), and rapper MC Tee (Touré Embden). Mantronix underwent several genre (and line-up) changes during its 7-year existence (1984–1991), from old school hip hop to electro funk to house music, but the group is primarily remembered for its original, heavily synthesized blend of old school hip-hop and electro funk.
Kurtis Mantronik (Kurtis el Khaleel), a Jamaican-Canadian émigré, began experimenting with electro music in the early 1980s, inspired by early electro tracks like “Riot in Lagos” (1980) by Yellow Magic Orchestra’s Ryuichi Sakamoto. In 1984, while working as the in-store DJ for Downtown Records in Manhattan, Kurtis Mantronik met MC Tee, a Haitian-born, Flatbush, Brooklyn-based rapper (and regular record store customer). The duo soon made a demo, “Fresh Is The Word,” and eventually signed with William Socolov’s Sleeping Bag Records.
Mantronix’s debut single, “Fresh Is the Word,” was a club hit in 1985, reaching #16 on Billboard Magazine’s Hot Dance Singles Sales chart, and was featured on Mantronix: The Album which was released the same year. Mantronix’s efforts on Mantronix: the Album and its effect on early hip hop and electronic music is perhaps best summed up by music critic Omar Willey’s observation in 2000: “Featuring “Fresh Is the Word” and the new tracks “Bassline” and “Electro Mega-Mix,” Mantronix defined the new sound of electro-funk. Mantronik used a polyrhythmic style, similar to West African log drumming, but instead of acoustic drums, the rhythm would be carried by the combination of electronic drums, synthesizer, vocoder and/or synthesized voice over a bass line completely played on the synth. No samples of James Brown here. This was truly electronic music: spare, funky and immensely danceable, an homage and simultaneous extension of old-school hip hop’s electronic template that had started with “Planet Rock” in 1982. The feeling of Afrika Bambaataa, Grandmaster Flash, Kraftwerk and Neu all combined in Mantronik’s music. It was a neat tie between old-school and new jack, and Mantronix had the field to themselves. ” The influence of Mantronix: The Album is seen among other artists through the sampling of “Needle To The Groove” by Beck in the single “Where It’s At” from the 1996 album, Odelay (“we’ve got two turntables and a microphone…”), as well as, “Fresh Is The Word” by the Beastie Boys in the single “Jimmy James” from the 1992 album, Check Your Head (“for all the Blacks, Puerto Ricans, and the White people too…”) The Beastie Boys later sampled “Bassline” for the song “3 the Hard Way” on their 2004 album To the 5 Boroughs.
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BLACK FLAG
The Complete 1982 Demos And More
from good music for free
This bootleg consists of demos from 1982 and radio session from 1984. 1982 demos were recorded by short lived line-up with Chuck Biscuits (ex-D.O.A., later Danzig). Most of those tracks were later re-recorded for Black Flag albums “My War” and “Slip It In”. Rest was used by Dukowski’s band DC3. Radio session and interview were recorded 11.07.1984, few months after release of “My War” album.
Tracks 1 - 10: 1982 Demo line-up: Greg Ginn (guitar), Dez Cadena (guitar), Henry Rollins (vocals), Chuck Dukowski (bass), Chuck Biscuits (drums)
Tracks 11 - 14: Radio Tokyo Session (11.07.1984) line-up: Greg Ginn (guitar), Henry Rollins (vocals), Kira Roessler (bass), Bill Stevenson (drums)
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DOLLAR BRAND
The Journey
(CHIAROSCURO, 1977)
from inconstant sol
DOLLAR BRAND (Abdullah Ibrahim) “THE JOURNEY”
Hamiet Bluiett, baritone saxophone, clarinet
Don Cherry, trumpet
Talib Rhynie, alto saxophone, oboe
Carlos Ward, alto saxophone
Johnny Akhir Dyani, bass
Claude Jones, conga drums
John Betsch, percussion
Roy Brooks, percussion
Abdullah Ibrahim, piano, soprano saxophone
1. Sister Rosie 04:43
2. Jabulani (Joy) 17:49
3. Hajj (The Journey) 21:10
Recorded September 1977 at Downtown Sound, NY.
CHIAROSCURO CR 187
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VA
Phonetische Poesie LP
(Luchterhand, 1971)
from Fümms Bö Wö Tää Zää Uu
Seite A
Velimir Chlebnikov - Ora Smetis (1910)
Aleksej Krucenych - Dyr Bul Scyl
Aleksej Krucenych - Zok Zok Zok
Aleksej Krucenych - Ike Mina Ni
Kazimir Malevic - Lautgedicht
Raoul Hausmann - Poéme Phonétique
Kurt Schwitters - Ursonate Scherzo (1922)
Maurice Lemaitre - Lettre Rock (1958)
Francois Dufrene - Cirythme
Francois Dufrene - Avril Déjà
Henri Chopin - Delft, Recording with 9 Students (1970)
Seite B
Bob Cobbing - Drei Stücke aus ABC in Sound (1965)
Peter Greenham - Pin Point Puff
Paul de Vree - April bij Sneeuw (1970)
Arrigo Lora-Totino - Phonèmes Structures, Texte 4 (1966)
Ladislav Novák - La Structure Phonétique de la Langue Tchéque
Gerhard Rühm - Komplex 10 (1961/1971)
Gerhard Rühm - Zensurierte Rede (1969)
Franz Mon - Erge Erekt (1962)
Ernst Jandl - Im Reich der Toten (1969)
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CAPTAIN BEEFHEART & THE MAGIC BAND / The Spotlight Kid Outtakes 1971 - 72
JOHN BERBERIAN & THE ROCK EAST ENSEMBLE / Middle Eastern Rock
MERAVIGLIE DAPPERTUTTO #2
Some great recordings found on the seven corners of the internet and carefully selected by the Sistemi Audiofobici Burp staff. This time DJ Baba Giovanni Bauli selects four bootlegs and two hard to find misterious psychedelic objects
CAPTAIN BEEFHEART & THE MAGIC BAND / The Spotlight Kid Outtakes 1971 - 72
from Shards Of Beauty
the complete remastered “Spotlight Kid Outtakes”, a staggering 5-disc set of unreleased heaven. In FLAC because it deserves it.
This collection is not a commercially available bootleg. It has circulated amongst a number of Beefheart collectors and can be downloaded via some select torrent sites. But as it’s such an important release I am making an exception and including the details of it here. At last all the outtakes from the productive 1971 and 1972 years have been gathered together in one place. Many of these songs and instrumentals have turned up on bootlegs over the years, and a couple have even been released legitimately but this is the first time they have been made available on one release. These outtakes, rescued from the Warner Reprise vaults, have circulated amongst collectors for many years in varying sound quality. But now we have good to excellent versions of all of them - these could only be bettered if the original tapes were dusted off and released (which is pretty unlikely!). What we have here are some glimpses into how some songs came about through lengthy jams by the Magic Band. Familiar riffs can be heard here before they were spotted by Don to be reworked and developed into a song we all now know and love. Some of the instrumentals are completed backing tracks that will now forever await Don’s vocal magic, some seem to be repetitive riffs, simple ideas, that don’t really go anywhere, others are the early versions of songs that would turn up several years later on Shiny Beast, Doc At The Radar Station or Ice Cream For Crow. Compiled by a committed fan this definitive collection of 41 outtakes has been put together from the best possible sources available. The original 3 CD set was circulated in 2005 - and was pretty quickly picked up by a bootlegger who pressed up some copies (see details of this Hiwatt release below). Since then it has been upgraded twice, once in 2006 and again in 2009 (now organised onto 4 CDs). Each time better or slightly different versions have been found, or new recording information has come to light.
SOFT MACHINE / In Concert
from martiansboots
Oh Boy 1-9018 Cover says: 1. Neo Caliban 2. Out Bloody-Rageous 3. Eamonn Andrews 4. Teeth 5. Feelin’ Reelin’ Squeelin’ 6. I’m So Low
Tracks 1-4 Recorded 1970
Tracks 5+6 Recorded 1967
Alto Saxophone, Saxello – Elton Dean (tracks: 1 to 4)
Bass – Hugh Hopper (tracks: 1 to 4)
Bass, Vocals – Kevin Ayers (tracks: 5, 6)
Cornet – Mark Charig* (tracks: 1 to 4)
Double Bass – Roy Babbington (tracks: 4)
Drums – Robert Wyatt
Electric Piano – Mike Ratledge (tracks: 1 to 4)
Organ – Mike Ratledge
Tenor Saxophone – Alan Skidmore (tracks: 4)
Trombone – Nick Evans (tracks: 4)
Whistle, Backing Vocals – Mike Ratledge (tracks: 5, 6)
GRATEFUL DEAD + BEACH BOYS /
Live at Fillmore East, New York, NY; April 27, 1971. Ex Soundboard stereo.
from bigO
”..Does anyone know how or why the Beach Boys were invited to guest with the Grateful Dead? This version was shared by self4 at Demonoid. Transfered and mastered by Matt Smith June 2011. Self4 thanks Bob Menke for the patch sources, Matt for his work and jpc3 for tagging the files. We like to thank self4 for his generous share of this rare performance between two very dissimilar bands and in such exceptional quality. Cover art by Trooper1212, posted at deviantart.com.”
THE VELVET UNDERGROUND / The Legendary Guitar Amp Tapes
from Know Your Conjurer
“…I think Lou Reed’s best guitar playing took place in the 1960’s and this bootleg displays my point. It was made by putting a recording device inside Lou´s amp, so what we got basically here is the sound of Lou´s incendiary leads with the rest of the group kind of lost in the background. It’s a fantastic trip a must for you V.U. fans… Enjoy!”
JOHN BERBERIAN & THE ROCK EAST ENSEMBLE / Middle Eastern Rock
from Turkish Psychedelic Music!
“John Berberian is an oud virtuoso born in the United States to Armenian immigrant parents. In the 60s he made a series of albums combining elements of psychedelic rock, blues and jazz with more traditional oud-playing (the oud is most closely associated with Turkey these days, but it’s part of the musical heritage of lots of cultures from the Balkans throughout the Middle East). This one was recorded with the help of the guitarist Joe Beck.” Verve Forecast 1969 - US
GONG / Magick Brother
from Funny Rock God Knows
“Also known as “Magick Brother, Mystic Sister”, this is the first album to be considered a Gong album, though the only members to continue in the band would be Daevid and Gilly along with Didier Malherbe. It is a gem of an album, totally psychedelic. Free-flowing, loose arrangements with plenty of improvised moments, yet there is some structure to the songs for the most part… Daevid’s charming and naive songwriting is at the forefront. There are some minor jazz influences, hinting at the sound they would later take on. This album was entirely recorded on the sound channel of a hand-held movie camera, and yet it sounds great! It usually gets compared to Pink Floyd’s “Piper at the Gates of Dawn”. It is by far the most psychedelic of all the Gong oeuvre, and the loosest and least polished. Somehow it all works though. It could also be compared to the earliest Soft Machine days, which Daevid Allen was also a big part of.” notes by nost-algae
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Meraviglie Dappertutto #1
selected by DJ Baba Giovanni Bauli
- FUN BOY THREE / st
- FRANCIS BEBEY / Akwaaba
- COUNTRY TEASERS / The Pastoral – Not Rustic – World of Their Greatest Hits
- AAVV / Memphis Soul Greats
- MALCOLM CECIL / Radiance
- SPONTANEOUS MUSIC ENSEMBLE Karyobin
- ABNER JAY / Swaunee Water and Cocaine Blues
