This is a place to share and discuss rare and odd music/video, if there is any problem with a post or something uploaded, simply email mentallydivergentAVC@gmail.com and we will take it down.

Thursday, April 17, 2014

Guided By Voices - Back To Saturn X (aborted)

Another of the famous aborted GBV albums, this one is called "Back To Saturn X". Fans will recognize that name as a song title on Propeller, where-in an audio collage/medley of some of these tracks appear.

Back To Saturn X stands apart from Corpse-Like Sleep Of Stupidity for me because Back To Saturn X is so INSANELY poppy in comparison. The sequence and the songs are riddled with poppy songs and hooks. I feel like this would have been nearly as popular as Bee Thousand, if released after the point where people heard and began to understand the lo-fi, tape based audio aesthetic of the band.

Opening with Fantasy Creeps (from King Shit and The Golden Boys), it's the lowest of fi's blended with that sing-a-long style. It leads into another terrible quality gem Perch Warble. Perch Warble has appeared on most of the Suitcase releases, mainly because there are a few versions of Perch Warble. Next is one of my favorite older GBV songs, Dusty Bushworms. I have covered this song more than a few times.

Now the album delves more into the Corpse-Like territory with Scalding Creek, Melted Pat, Spring Tigers and Tractor Rape Chain (Clean It Up). This is a fine sequence weaving in and out of songs that would eventually spread out across MANY releases.

We get back into the King Shit vibe with Crutch Came Slinking and Sopor Joe, some Chicken Blows from Alien Lanes, and then we come to the riveting finale. Scissors And The Clay Ox (In) from Suitcase 1 into Damn Good Mr. Jam and then the title track Back To Saturn X. This final set of songs really ties the whole thing together and keeps the pop going strong even towards the end!

This one is killer, and can replay a 100 times in my ears without getting old.


Thursday, April 10, 2014

Tom Jobim - Apresenta

As a troubled and grumpy teen I very obviously gravitated to David Lynch's films in the 90's.

I was especially attracted to Lost Highway, notably because Trent Reznor of Nine Inch Nails sequenced and engineered the soundtrack. I was a big time NIN nerd when I was a boy, all the way up to the betrayal that WAS The Fragile. While I assert that even though Trent betrayed his fans, it paled in comparison to the betrayal by Billy Corgan, he still betrayed his fans nonetheless (how does a song called "Starfuckers Incorporated" actually exist?).

Anyway, I was already drawn to this movie and soundtrack on spec alone, and while Rammstein does annoy me on several levels, I persevered. I will never forget the very first moment I heard Antonio Carlos Jobim, via his tune "Insensatez" on this soundtrack. While sonically the opposite of what I was becoming accustomed to, it had basically everything I needed in a song. It was a "style" I was inexplicably attracted to in an immense way. Over the years I became enamored with Mr. Jobim's tunes. I have yet to hear one I don't like on any level.

So then I went searching for Mr. Jobim's records. The vast majority of his published catalog is comprised of other people, "famous" people, performing his compositions. Sinatra, Fitzgerald, Getz and the like litter most available releases from this name. There are more than a few albums under his name alone and to be frank if I had listened to every one I would have a better idea of what comprises them. I have "Tide" and "Wave" and "Getz/Gilberto play Jobim" and they are fine albums but nothing comes close to "Tom Jobim Apresenta". This was an extremely limited press outside the US, once these recordings made it to the US they were re-sequenced as "Love, Strings and Jobim" which I think is an inferior sequence.

Tom Jobim Apresenta is perfect in its original state, with not a single song sticking out as an outlier. "Berimbau" is a perfect opener, starting as sparse and mild and growing into an urgent and beautiful meditation on the progression of music. "Razao De Viver" is gorgeous and chill, like the type of music you hear on "Always Sunny". As dated as this music is, to me it is timeless and pure.

"Voce" is another sweet and warm little tune that bursts with string swells and curiosity. "Seu Encanto" keeps us drifting down this sweet river of music and brings us to the alive and poppy "Samba Torto". This and "Berimbau" are my two favorite tracks on this record. Superbly recorded and filled with lush and gorgeous instrumentation, these two tracks are a perfect example of Mr. Jobim's style and composition.

This is where the LP starts to get heavy and tug at your heartstrings. "Imagem" into "Chuva" is a breathtaking little sequence that can leave your eyes welling up by the end. "Eu Preciso De Voce" brings us back up into happier and more boastful musical territory, merrily chugging along a musical "ride". This song stands out in particular because of its change-ups. The different parts and elements change each time they are played which not only lends itself to enjoyable listening but also keeps your attention as the parts coalesce.

"A Morte De Um Deus De Sal" is another chugging musical ride. A relaxing and steady progression that is less showy and more cerebral than most previous songs. While flaunting some pretty impressive piano solo's toward the ends, it never breaks a sweat and keeps everything feeling chill. "Morrer De Amor" is like the sound of the dawn of a day, a simple and effective wash of sound to begin any morning. Conversely "Tristeza De Nos Dois" is like a perfect sunset song, a smoky and sweet tune to bring close to a day of accomplishment.

As opposition to "Berimbau" is album closer "Preciso Aprender A Ser So", a moody and introspective tune brimming with emotive melody. The journey is complete here. A resting place after a warm and satisfying trip through the mind and instruments of Antonio Carlos Jobim.

Of all of his recordings I will NEVER understand why this isn't available in its original form.


Sunday, April 6, 2014

The Dirty Projectors - Pickenham Dedonshire

To the more avid fans of Dave Longstreth and his band Dirty Projectors, Morning Better Last! is more than just another awesome from the lo-fi New Haven days, more than a segue between The Glad Fact and Slaves Graves and Ballads. Morning Better Last! (put out by States Rights Records) was a compilation album, a "best of" gathered from 3 tapes that were made and distributed to friends in the 2001-2002 period. The names of the 3 tapes are:

"Nile Yessum" / "Picknum Deduns" / "Pickenham Dedonshire"
"Brother Had A Birthday" / "Live At Sam's" / "The Glad Fact Testimonial"
"Three Brown Finches" / "Obscure Wisdom EP" / "Seven Songs That Owe A Lot To Zep III".

A few years back I tracked down 1/9th of this collection, "Pickenham Dedonshire" which is in itself a pretty odd little collection. I imagine if the names of these tapes are correct, we are to treat the tapes like triple EP collections, in triplicate.

So Pickenham Dedonsire is a little sparse but has plenty of treats. The first part of the EP focuses on "How Does My Mind Work" which is a lovely little song from Morning Better Last. Track 2 the "end of the world remix" is clearly the stand out with swirling and lush arrangements.

"Mexican Standoff II" is another stand out track brimming with mood and environment. That is one of the elements of Dave's early work that is so infinitely enjoyable, the moods and environments created through varying fidelities.

"The Love Prayer Book" and a remix of "The Softer Shell" groove us toward the end of this little piece of cassette. I would love one day to have a collection of all 9 EP's across 3 tapes.

Infact, this post has made the thirst for searching rear its ugly head once again!


Monday, March 31, 2014

The Lost Man Soundtrack by Quincy Jones

I use a private torrent tracker site called cinemageddon.net. It is a treasure trove of weird, rare and hard to describe data. Video and audio from all manner of odd and obscure sources.

In 2011 I was going through a phase where I was researching villain themes from movies and over time I came to find that the ones I gravitated toward the most came from Blaxploitation films of the late 60's and early 70's. There was an edge and a keenness to the bulk of what I was listening to in this category. I had downloaded a package of Blaxploitation soundtracks and was moving through them thoroughly. I came across The Lost Man soundtrack by Quincy Jones. This LP has got it ALL. Dark and tumultuous travel grooves and soft sweet ballads run alongside one another in a disorienting fashion.

First is the opening theme which pairs strings with hand percussion and a group of kids singing, well more like an early version of rapping more than singing. The music suggests subterfuge in the action, and there is plenty. It is musically unnerving and paranoid. It takes an abrupt turn (the only kind available on a soundtrack and in a movie so unsettling) into Sweet Soul Sister, which is about as sultry as you can glimmer from the title. Extremely versatile male vocals on this song, in a wonderful scale flux and brimming with attitude.

What made it stand out at this point conceptually, seeing the film and hearing the soundtrack is that this movie's main character is both hero and villain, as are the police who chase him. The line between right and wrong is insanely blurred as are your morals as you watch. The music reflects this in its main theme variations, a sort of spy movie with soul, a police movie that is always looking over its shoulder.

This feeling sticks out hard on Slum Creeper. It is dark and mangled, nearly chaotic. Rap Run It On Down flips the mood 180 degrees again with a gospel pop song, riddled with swelling harmonies. Dual male/female call/response vocals make this song one of unity and solidarity. Next up is the heartbreaking He Says He Loves Me, with its insanely talented female lead swirling vocal melodies all across a scale breadth I can't begin to fathom. If this song as full volume doesn't make you well up even a little bit (despite its antiquated words and themes) then you just don't have any soul!

Try Try Try is my favorite tune from this record hands down. Like the female lead character of this film, as she dances to it, this song has got "soul for days". Smooth meaty basslines and classy brass elevate this female vocalist to astronomic levels as she leads the song along a wondrous and glossy pop ballad. There is simply no describing this song accurately enough to communicate the joy it gives me (again despite its antiquated words and themes).

Up Against The Wall is another dark paranoid instrumental, vibing on this films darkest and most white knuckle moments. As this LP winds down to its melancholic end we feel the ending of the film loud and clear. It helps to have seen the movie to know specifically what I mean but it isn't needed, as the music does a very thorough job of passing along the feeling of the film.

You can watch this film on youtube, for now, and it's clearly sourced from the same VHS rip I have in avi format. You can and should download this soundtrack below, it is near impossible to find in pirated or purchase. I did find an old copy on ebay for 15 dollars shipped. It was worth every penny.


Saturday, March 29, 2014

Kids On The Internet!

Are you a Kid or Parent? Have you heard of this newfangled thing called The Internet coming to a household near you? Are you concerned or confused about the implications of the internet on a national community? Do you want to learn how to be safe? Is it the mid 1990's?
Boy have I got a treat for you. Kids On The Internet was a VHS tape produced and circulated around 1996 to give you all sorts of information about connecting to and using The Internet.
This is a fun/terrible little visual experience for you to enjoy on a nice weekend.


Wednesday, March 26, 2014

Robert Pollard - Silverfish Trivia LP (aborted)

I'll be frank and tell you I have been dreading this post.

2006 was a breathtaking year for Robert Pollard. Mid year he put out one of my favorite albums, Normal Happiness. Some of my favorite Pollard tunes of all time appear on it. To me, it's nearly as good as Not In My Airforce. "Get A Faceful" is one of my all time favorite songs by anyone. So when I heard Bob's next album would be coming out months later (pretty much par for the course) and was called Silverfish Trivia, I couldn't wait. I opened up Soulseek and added those search terms to my wishlist (which is a constantly searching feature for Soulseek, akin to google alerts).

A day or two after this announcement I got a search return. 12 songs, titled "track 01.mp3, track 02.mp3"...etc. in a folder called Silverfish Trivia. I downloaded it. It came down like lightning, and I quickly shared it with my other Soulseek Pollard nuts. Within hours the original user (who I added to my list) disappeared and the shares were spreading like wildfire.

I started listening to the songs and it was a perfectly sequenced follow up to Normal Happiness, a superb indie rock statement in much the same vein as Normal Happiness.

A few days later I see an article on Pfork saying that Bob is upset about the file leak and as a result is pulling the release for retooling as a shortened EP. I was shocked, and a little embarrassed. Could I really be the cause of one of my hero's anger? I am a loyalist with records, I may pirate but I always buy what I like, direct from the artist. I didn't even have song titles for these songs!!!

This shock and abort didn't really affect my ability to love this album. What did affect my enjoyment of this album was hearing the finalized EP. Three of the songs on the original album show up here, skewing the context and sequence. Orchestral string segments bookend this underwhelming EP which I would give maybe a 4/10 rating to, from an album that was a 9.5.

I felt a little at odds with this relationship, EP to LP, like fans were being punished for being curious. I can understand the mentality it would take to cause a situation like this but it doesn't change how lame and deflated this EP sounds. I feel like maybe Pollard intended to punish his fans but infact punished his own art. I would love to hear what he thinks of the EP vs. LP.

This LP is stellar, and over the next 6 months from the leak I was able to accrue the song titles as these songs were split up and released as extras on the Crickets compilation from The Fading Captain series and as B sides for the 7 inch singles club that was released around the 2 albums that came next: Coast To Coast Carpet Of Love / Standard Gargoyle Decisions.


Thursday, March 20, 2014

AN OWL IS AN OWL IS AN OWL - a short film to be filed under WTF?

I think this page has 2 kinds of posts. Posts where I have an abundance of personal information about a project, and posts where I have basically no information. This is a post where I have basically no information.

I was friends with a dude who liked to horde all kinds of weird data. From time to time I would bring my external HD over to his place and he would load me up with weird stuff. This little short was suddenly in my life. Much of the stuff he would give me I would try out late at night when I was bored. This was an extremely unsettling experience for me, like a bad dream on VHS.

I quickly began loving this little clip.

I have recently found it on youtube, and it is embedded below


Saturday, March 15, 2014


Oversimplified breakdown: BS2000 is Adrock from The Beastie Boys and the BB drum tech Amery "AWOL" Smith. It is spastic 8-bit synth/dance cheese.

In-depth explanation: Adrock was always my favorite Beastie. The pitch and attitude of his voice stands out among the others and pierces through with the sort of "fuck authority" sensibility I craved as a youth. To discover that he had a scream/yell 8-bit dance band was a shocking and glorious experience! I first saw that ugly album cover sticking out like a sore thumb at my favorite record store of the time, Danbury's VOLT. I remember being repulsed by the title, the color, the drawing of the guy. Basically the whole visual representation.

I learned many weeks after that first viewing just what this band was and who was in it. I believe I even saw the video for "Buddy" on late night MTV2, back when music videos actually got broadcast on TV!

Now I am not a guy who really likes synths. I see them as ornamental as a rule, with my preferences being heavy on acoustic pianos. I guess if synths are to be employed, I prefer them to be annoying/distracting to the fullest extent. This explains my early enjoyment of Atom and his Package. The songs/vibes were never serious, mostly self deprecating  and referential. The same feeling can be used in the enjoyment of this wonderfully weird, high energy 2nd and final album by BS2000. I would argue that more than 80% of this album is stellar, outstanding and entirely enjoyable. Most of the songs are about dances these guys came up with, which adds a real retro/meta aspect to it.

Simply Mortified was the final release through the Beastie Boys "Grand Royal" label, and while it is a point of contention there is speculation that this release was the final financial nail in the labels coffin. Grand Royal assets and back catalogue have since been "bought" by several fans and lives on as GR2 Records.

This is another album I just can't understand why it is so hard to find.


Saturday, March 8, 2014

Open Star Clusters - Bloodletting

Open Star Clusters is not a band for people who like things spoon-fed to them. They are an uncompromising noise-rock nightmare. Mercilessly assaulting conventions of songwriting, band structure and soundscape; this project began as an ambitious and inclusive project headed by Rick Visser (who was the central force behind the Tape Reels For Eyes movement). I have a very personal connection to this movement and to these people, by way of location and shared sensibilities.

Early OSC would mostly consist of Rick solo, with pedals, guitar, 4-track (or other tape based machine), occasional saxophone, and any number of unexpected additions. Over time Rick put together his first incarnation of the OSC band, which was nearly 20 people (myself included). Mostly percussion and vocals, the performance went of mostly without issue and was a success. Over time a solid formation began with OSC, the addition of brilliant local drummer Nate Sadowski, brilliant local weirdo Scott Bowers-Defino on guitar and brilliant spastic nutjob Sean Heslin on various electronic noise machines. They recorded a stellar EP "Various Forms of Animalcula" in '06-'07 and played a ton of shows all over the place.

Then they set out on a proper LP, Bloodletting, in '08 for release in '09. These songs are fucking CRAZY. Noisy as all fuck, time signatures all over the place, and (the best addition to the mix) instrument switching. Nate Sadowski wanted to do some guitar work, and that matched with the moderately equal skill (and distinctive flavor each member contributes) caused the band to switch instruments for sets of songs. There were several that had Scott Bowers-Defino on drums (and his delightfully Frog Eyes-esque drumming style) and several with Rick Visser on drums (which he beats with a wreckless abandon all his own). This switching made for some of the most interesting combinations of sounds and songs that could have ever come from this group. Different members were on lead vocals for certain songs. Each member has their set of unique skills which I think were perfectly tapped and harnessed for this straight up MAGICAL album of ferocity and joy.

The song titles are silly. The vibe is a dizzying array of tongue-in-cheek humor, menacing seriousness, inclusive bliss and vicious bile.

Recently, while hooking me up with these song titles Scott Bowers-Defino said "I can't believe we toured this band...". That's how wild this is.

Rick Visser went on to be in Brooklyn's White Suns, Scott Bowers-Defino and Nate Sadowski went on to form the acclaimed Fins with John Lydon, and as a result there is very little record of this band aside from their physical releases (if you can find them).


See some insane-o live videos below:

Monday, March 3, 2014

The Book Of Life - Soundtrack

Now this one's a doozy. I discovered Hal Hartley's films by way of Henry Fool. I was an instant convert and Henry Fool still makes my top 10 list every time. I was maybe 16 when it came out on VHS. It was a random VHS rental one night, and I was gripped by the first moment onward. A short year or two later I was watching the fairly new IFC channel and there was a short film that aired called The Book Of Life.

This movie blew my mind apart. It featured some of the actors from Henry Fool, plus PJ HARVEY! I was obsessed with PJ Harvey at the time. The visual style and look of this film is unique, having been shot on commercially available video (Video8 if I recall) and blown up to 35mm manually, creating a bizarre visual dissonance and fluidity of color. In the film Martin Donovan plays J. Christ, returning to earth in NYC on December 31st, 1999 to bring about the apocalypse (until he has second thoughts). PJ Harvey plays Mary Magdelena, and Henry Fool himself, Mr. Thomas Jay Ryan, plays the devil. The movie is around 60 minutes and features so much of that Hartley dialogue and "choreography" that I have grown to love.

I was obsessed with this movie for years. I got it added to my english class curriculum my senior year of high school. I special ordered this soundtrack at my local record store (the now defunct VOLT from Danbury CT) and it took 5+ months to arrive from Japan.

I can't IMAGINE why this soundtrack is so rare and hard to find. I am always astounded that I am often the only source for this soundtrack on the internet. I uploaded it to the long defunct Demonoid years ago and it spread for a bit but I  have never seen mention of it or other torrents of it EVER.

This is perplexing as hell to me because this soundtrack features some extremely popular musicians and music you cannot find anywhere else!

David Byrne offers a heart melting swell of strings for his piece, 'Machu Picchu". Yo La Tengo give us 2 awesome instrumentals in "Turtle Soup, parts 1 and 2". There are a few songs that stand out as amazing, despite coming from nearly un-Google-able artists. "My Name Is Rich" by Joey Sweeny is rich with big reverberated guitars, just the right amount of fuzz and an endless supply of "Pavement-esque" vocal indifference. This song stood out to me so much that I went looking for more from Joey Sweeny to discover he had made a single album, near impossible to find. "Waking Up" by Miss Crabtree is another shockingly wonderful tune, filled to the brim with swelling reverb. Many people in my life have latched onto this song as a unique and beautiful listening experience.

There is also the title card music, "1.666666" by Takako Minekawa. This song has some of my favorite guitar and drum tone ever. I recall clearly as a late teenager wanting so desperately to record something of this caliber in tone.

The song that drew me to this soundtrack more than anything is "The Faster I Breathe The Further I Go" by PJ Harvey. This was an outtake from the "Is This Desire" album (my fav PJ album by FAR) which showed up on the "The Wind" single. This song, to me, is the very essence of why I love PJ Harvey. This song has more mood and atmosphere and more balls than any song by any man of the time period. PJ stands apart from catagory or gender, and this song is a prime example why.

Without further ado, please enjoy and proliferate this insane mix of music all found on one beautiful soundtrack!


Thursday, February 27, 2014

Guided By Voices - Corpse-Like Sleep Of Stupidity

Bob Pollard is known for yanking albums last minute for re-tooling. Around this era (Pre-Propeller 1991-2) was when the band famously began the "this is our last album" phase, which after a few of them paid off immensely with Bee Thousand in 1994. Propeller was the first one of these albums that was seemingly designed as a send off for a band that never fully blossomed into the comfort of their own niche. Corpse-like Sleep of Stupidity is a super early version of Propeller that has some songs from the also aborted Back To Saturn X album, some stuff that would eventually end up on Propeller, and more. On Propeller proper, there is a track called "Back To Saturn X Radio Report" which is where I first heard little glimpses of some of these songs. The first time I found this collection was in a late night search discovery on soul seek (more about my exploits with Pollard and Soulseek soon, and I promise it's an interesting story). I began listening to it early mornings at work and the sequence really stuck with me. The beginning is eerie and foreboding (#2 In The Home Model Series [inst]) and it cruises through some lo-fi rockers, like Some Drilling Implied. It comes to a version of Damn Good Mr. Jam which I think really stands out as one of the weirder and more surreal Pollard songs of this time period. I feel like this could have been a brilliant track on King Shit And The Golden Boys. Later on, Kisses To The Crying Cooks appears, which later on becomes a high quality studio version in the "medley intro" Over The Neptune/Mesh Gear Fox on Propeller proper. I think Kisses To The Crying Cooks is far superior despite being lower fidelity. There seems to be a hidden charm missing in the bigger sounding version.

GBV did some hi-fi versions of old songs (see: Tigerbomb EP, plus more) but I feel it rarely improves on the songs reception.Anyone who loves GBV will know the worst example of this happening: Don't Stop Now, which is nearly insulting in its big band "goodbye" version on Under The Bushes, Under The Stars. Alternately, there was an extremely good recording of Choking Tara (Creamy Version) that I think improved on the original.

Dusty Bushworms, Melted Pat, My Big Day, this aborted album has it all for someone like me looking for more secrets buried in that weirdo's brain. It's like a creepy dream, much like the previous 2 albums by GBV at the time.

I love this album, I like it even better than Propeller.

You can read some more about this aborted album HERE and HERE


Saturday, February 22, 2014

Auraphull, to aid in your celebration of ZOO DAY

Those of you who know me personally know that a part of me lives inside the world of 12 oz. Mouse. 12 oz. Mouse was a short lived 20 episode tv show on Adult Swim that started off silly and random but over time developed into a brilliantly bizarre wonderland of espionage and drama. Clearly calling on classically absurd and wondrous shows like The Prisoner and Twin Peaks, this show can be taken as silly nonsense or as deeply thought provoking story layers and heart felt character emotion. I watched attentively as it aired, following the journey week to week obsessively. I would spend serious time between episodes pondering what would happen next. I wouldn't get frustrated when episodes like "STAR WARS VII" went nowhere and kept the plot stationary, I would simply enjoy more time with my favorite 1 dimensional characters.

For the uninitiated, 12 oz. Mouse centers on a green mouse alcoholic who (unbeknownst to him) is called "Mouse" "Fitz" and "Butch". He seems to re-awaken constantly in state of near amnesia in this city made out of cardboard. Populating the city are extremely odd characters (not just in personality but in physical design as well).  Much like The Prisoner, Mouse spends much of his time learning who he can trust, and who his captors are. Mouse has one of the best side-kicks ever created, a squealing, violent squirrel called "Skillet". Mouse and Skillet are best friends and their partnership is in that classic "buddy cop" vein.

I am not exaggerating when I tell you that this series which begins as frustratingly plot-less as is possible in a show, had moments in its ending that brought me to tears. To step back and think about that is nearly funny, but to immerse yourself into the story and these characters, you will know the spots I am talking about, and YES it is CRAZY sad.

"Zoo Day" is a holiday created by fans of the show. It takes place on 2/22 because the clock (and all clocks for that matter) in the show is stuck on 2:22 (a significant plot point), and it's called Zoo Day because of a wonderfully funny scene where Producer Man is having a conversation with Shark about them getting together for Zoo Day, and possibly going on "tour". Producer Man says "Come on Shark! It's me and you and me and you AND WE GO TO THE ZOO!" and then he shows a T-shirt he got made featuring himself and shark holding hands and balloons (see image above).

I cannot recommend this show enough. And I hope you see it like I do if you try.

For now, and for Zoo Day, I present to you an episode from the 2nd and final season of 12 oz. Mouse, an episode which doesn't progress the plot, but rather serves as an exhibition of a chunk of the music produced for the series, accompanied by odd, unused animations and other video. It has a tiny piece of story at the end, amounting to less than 4 minutes.



Thursday, February 20, 2014

Hermit Thrushes - Benaki

I first heard Hermit Thrushes at a music house/venue in New Milford called Groove Street. It was the headquarters of Tape Reels For Eyes and where some of the most impressively noisey CT music of the 00's was born. Hermit Thrushes wasn't especially noisey, and made use of horns, and had multi instrumentalists who took up several positions. I was really impressed with the combination of heartfelt/boastful and meek/muted these guys had. I picked up a copy of their album Benaki in 2007 I think, and I played it many many times. I included tracks on mixes. So many good tracks. The best one for me is Fourth, the drum switches drive me up a wall. The title track is wonderful in every way. It has that sunny Pavement vibe with Melodica and Trombone (I believe). Started to is another weird track, like it speaks my musical language in a way that's hard to explain. I remember them playing In The Shower live and it was pretty grand, triumphant and emotional. It's really hard to explain this bands sound. Like SUPER proggy, maybe even near impossible to follow at times, moody, melodic and not, self deprecating but easy going...
Download this album, and if you like it a bunch, go give these dudes 5 bucks at their bandcamp. They are still making records and no doubt confusing a ton of people in Philly (where they operate out of) wherever they go


Monday, February 17, 2014

Tom Waits LIVE in Willimantic 1976 (AKA The Heart of Shaboo Night Bootleg)

Tom Waits is a crazy motherfucker. One of the few who stood the test of time simply by doing what he does and not compromising. Being well loved certainly helps also, especially when you are too drunk to show up for your OWN BROADWAY PLAY!
Here is a double set of Tom's in Willimantic CT's Shaboo Inn, hence where the bootleg title came from.