The Sound Projector has a great episode of their podcast dedicated to Sun City Girls. Not only is this podcast excellent, but the whole series is cool. This is the only podcast I subscribe to and it’s always a journey. It’s one way I find out about new music. I totally recommend it to the person who is actually interested in broadening their horizons.
Yep, it was August 19th, 1973 at the Indianapolis State Fair. I wasn’t quite 10. If you click on the album cover above, you’ll hear a segment from the album pictured above. That segment was my favorite piece from that record and was the reason I wanted to see them live.
I don’t rememeber much about it except that the first band came on and I didn’t recognize anyone. My Mom and Dad took me to the show, so I asked my Dad, “none of those guys look like Michael”. and he replied, “that’s the warm up band. That’s for the adults.”
my mind was blown!
I still don’t know who that band was, but I hope it was something cool like the Commodores.
When I heard today that Michael Jackson died, this piece started playing in my head. It’s the coolest snippet of psychedelic rock that i can think of that when you play it for people and they ask, “who was that?”. They never believe the answer.
The record is fantastic! Bill Cosby plays a news reporter named Scoop Newsworthy and he sort of looks like Groucho Marx. The live version of their classic songs sound hyper and hardcore. It was some soundtrack to some TV show! It came out in 1971 and it has always popped up from time to time.
Thriller WAS a good record.I really like the way it sounds, but Nirvana knocked MJ off the number one position in the 90’s.
I had to pull the car over when I heard THAT one.
Do you think there will be MJ sightings now just like there are Elvis sightings? The King of Pop and the King of Rock and Roll
Are you feeling it?
I’m feeling it.
There is an interview with the Hoot Hoots in which they describe my influence on their recording techniques. I’m name checked in paragraph six.
This is the first Jabon performance in over a decade! The last one was on June 24th 1998.
photo: my lovely wife
I recently received a batch of cassettes in the mail shortly after my Ipod bit it. All I wanted to do was to listen to some music while I was at the laundrymat but the damn thing won’t even turn on. Then I thought it would be a good idea to listen to these cassettes. So I pulled out my WM-1 (circa 1981) and placed the Damion Romero/ 16 Bitch Pile Up – Cross Sections series Bake 1 cassette in and decidedly walked into downtown Ballard to see what would happen.
The WM-1 still sounded great after all these years. I even have the original headphones. While walking around I reminised about being in college and listening to The Psyclones – Cult Leader Gang Raped by Disciples cassette on this same machine.
But fuck your Ipod! this beast weighs a ton, sounds great and holds up to 90 minutes of music (120 minutes can be achieved at a lower bit rate).
My new favorite show is 70’s sci-fi series The Tomorrow People. This was produced concurrently with Dr. Who and included many familiar sounds, cheap video effects and plots. It’s actually way more psychedelic than Dr. Who but he familiar sounds of the BBC Radiophonic workshop rules the soundtrack.
I was turned on to this a couple years ago by coming across the soundtrack on an online blog about sci-fi. Being a fan of the Radiophonic Workshop, I downloaded the theme and loved it, but I felt that it was too obscure of a TV show that I would never see an episode. Recently in a DVD rental shop, I spied a DVD collection of Tomorrow People and I was in heaven. It’s now on my Netflix list and am enjoying every episode.
Turns out that it is being produced again. But I suspect is not nearly as cool as the original given my disappointment with the newly produced Dr. Who’s.
Wizard Prison did the soundtrack to a film by John Vallier. It’s part of the UW Pocketmedia Film Festival. Check it out!
My new Arabic name is Abdullah Basheem!
“Another album of acoustic guitar music from Sir Richard Bishop– are you ‘freakin’ nuts? The Freak Of Araby is a new direction for our distinguished gentleman, and just in the nick of time as well. Sir Rick’s had it up to here with solo acoustic guitar records! The Freak Of Araby isn’t even a solo record! And there’s no acoustic guitar on it! So let’s have no more of this kind of talk. Over his years with Sun City Girls, Richard Bishop threw a wide variety of music and sound against the wall — and all of it stuck. Among those who know, he’s reasonably fluent in any number of international music traditions, playing them for (mostly) fun and (sometimes) profit all over the place. The Freak Of Araby is the debut of Sir Richard Bishop and his Freak of Araby Ensemble, a talented quartet of players getting deep into the Middle Eastern mystic with hand drums, percussion, bass, drums, electric guitars and a heavy dose of Moroccan chanters, all of it captured with depth, detail and sympathy for the eternal enigma by engineer Scott Colburn. But a Sir Richard Bishop album with a backing band — how did this happen? After recording a cover of ‘Ka’an Azzaman,’ written by Elias Rahbani, one of Lebanon’s finest songwriters, something dawned on Sir Richard. Half-Lebanese by birth (it didn’t just occur to him later), he found himself suddenly possessed to really dig into Middle Eastern sounds. A pair of original melodies not fully developed at a prior recording session had the Arabic inspiration, so these were reattacked and finished in short order. Soon, Sir Richard’s head was flooded with some of the classic sounds spun for him by his grandfather back in his (way) younger days, like Farid Al-Atrache, Oum Kalthoum and Fairuz, along with other personal favorites, such as the guitarists Omar Khorshid and Mike Hegazi. In addition to the studio improvisation, ‘Taqasim For Omar,’ the whole of The Freak Of Araby is dedicated to these inspiring players. Check ’em out. In addition to his soul-stirring electric guitar playing, Sir Richard grabbed a couple of Moroccan chanters and blew the house down on ‘Blood-Stained Sands,’ providing an epic (not to mention epochal, heh heh) finish to this journey to the center of one-half of the family tree. This is music meant to be played live, and Sir Richard’s Freak Of Araby Ensemble intends to play it everywhere there’s interest in hearing it. So get your Freak on.”
I bought this record nearly 15 years ago and really dug the cover but also the line that says it was recorded on 35mm magnetic film. That would be mag stock used for sound on films. The cover is printed on 10 pt board that makes it thick and heavy like a piece of stone.
The hilarious thing is the liner notes where they talk about the recording. They list all the mics used, Telefunken U-47, RCA-44 BX, Telefunken KM56, Altec 639 B, RCA-77D and special Church microphones. I wondered what a special church microphone is? When I researched it, Stanley Church designed mics for MGM. So now it comes full circle where the film industry and music industry collide.
The liners also mention why they needed multiple mics (because each mic was specific to an instrument or sound) and why mag stock is superior to 1/4″ tape (because it’s 3 times as wide, has no flutter because of the sprockets and is 5 mils thick. It also travels at 18 ips rather than 15ips). I actually agree with what they say as the record sounds fantastic. It was recorded in 1961.
This record was promising because I really love the Kulingtang. Unfortunately, there are only two cuts featuring this instrument. the rest of the cuts sound like waltzes or polkas. The fascinating things was the date of recording (1959) which means that this record is 50 years old and still plays great! My oldest CD is not even 25 years old. It also makes me bum out about all the digital media that has just disappeared because it was digital
Last night I pulled a record from the shelf titled
The Most Fabulous Sound Experience Ever!
The First Percussion Sextet.
The music itself is pretty good. the recording is nice and realistic. The playing is top notch and I do believe there is a hint of humour. But the most fascinating thing to me was the section on the back about the Miracle Surface!
What is 317x? I can’t find any info about it, but I can say that this record is still in pretty good shape, however, I bet it wasn’t played that much to begin with, so who knows?