Yes sir, I think so. Moved on to this one... One Eleven Heavy 9.1.19 - Union Pool, Brooklyn, NY - SBD matrix (NYC Taper)
Listening to One Eleven Heavy Desire Path and that Nascimento/Lo Borges album, kind of alternating at the moment
Yep the Nascimento album is next up on my rotation too! I remember listening to it once a few months ago after Pitchfork gave it one of those "classic album" spotlight reviews. That was my first exposure to the album.
Milton is an amazing whistler too. He has an instrumental tune that translates as Glass Ball Socket Ball on the double CD Ultimo Trem. Amazing guitar work as well. Bola da meia, bola da gude is the portuguese title.
My favorite thing about Crosby is his rhythm guitar playing on the Byrds records, very percussive and off kilter. Ahead of its time.
Ha! Thanks for the support, yall. Our May tour has been cancelled, obviously, but we're still planning to record album #3 in Nashville this August. I hope we do, as it is literally the only thing I have to look forward to in 2020.
Perfect evening, a beautiful sunset for more bucolic pop. Some more fruit from the CSN&Y family tree, with a Shock Top and slice of orange no less. There's a thread on SHF about whether Deju Vu, a masterclass release, is holding up well approaching its 50th year. Whistling Down the Wire got slagged in R Stone Mag, an easy target at the time I suppose (for reviewer); the magazine had gotten more hip, and was moving off to NYC. In fact, the 'new hipsters' were leaving the sun-drenched hippies and cowgirls of the west soon. It was 1976 for fool's gold sake. I always thought the record held it's own, great band. After all, it was still half of the guys that put together the DVu masterpiece, just years from their peak and prime. And Stills coming out of nowhere with 'the band of the year' releasing an extraordinary record. I'm still underwater with all this stuff, regurgitating other lps that have been posted earlier, as I just couldn't pass up a dance with the Cinnamon Girl, who could? Still time-warped in a satisfying hippie dream and eternal damnation, cheers...
Just got sent some old Tuna shows from a friend currently checking out 4/30/72 Winterland a benefit for the CA Marijuana Initiative. It's a KSAN broadcast and sounds good. I was also sent 1/29/69 from the Matrix way too quiet and stepped on sounding. I also got 10/2/72 Winterland haven't listened to it yet.
Sweetnighter. Weather Report, 1973. The opener "Boogie Woogie Waltz" is a very good track, but I must confess I feel the band is taking a couple of steps backwards compared with what they had been doing in the first two albums. The same groove for thirteen minutes, it almost sounds like a normal jazz fusion band, and that's what I was expecting. Of course, it's not that the band was running out of ideas, it was a conscious aesthetical decision (taken mainly by Zawinul), and like I said, it's a very good track. Vitouš is joined by Andrew White on electric bass and the drummer is Herschel Dwellingham. "Manolete", written by Shorter is more up my alley. I hate bullfighting and bullfighters can rot in Hell for all I care, but in spite of being named after a famous Spanish matador, this is a great composition. A typical complex Shorter melody, splendid double bass work and a rich synth palette. "Adios", written by Zawinul, is one of those delicate minimalistic musical vignettes I like so much. Andrew White plays English horn here. It's either written on G# or my guitar is out of tune right now (it's very probable). The groove is back with Zawinul's "125th St. Congress". Same personnel as the opening track (except during the intro, where Gravatt is the drummer) and same musical approach. Nice, but nothing to write home about. "Will" is the only piece by Vitouš on the album. In spite of the steady percussion part (no drum kit), it retains the mysterious abstract edge which I find so appealing. Vitouš would leave the band shortly after the release of the album, the new musical ways Joe Zawinul wanted to pursue were not of his interest. The album closes with Shorter's "Non-Stop Home", which wouldn't have felt out of place on Miles' On The Corner, and I say this as a compliment. The days for the Gravatt/Vitouš section were over, none of them play in this track. Overall, it's a very good album, but I can't say I'm very happy with the change of musical direction. The first two albums (plus the live at Tokyo album) are extraordinary and I would have loved them to explore those possibilities even further.
The Best of Bill Withers: Lean on Me I've posted to this thread exactly three times, and it kind of sucks that every time I post it is because I'm listening to someone recently deceased. I'll try do better, and I'm probably going to listen to Sigma Oasis (again) later.
...a really great duo from Southern California you probably haven't heard. Plague Song by Daisy House Originally Released June 2014
Well, more than that, but point taken. The thing is, right around the time I listened to this, I got 1, 2-ed by Soft Machine and Henry Cow. DKV trio is jazz; I'm not quite sure what Soft Machine and Henry Cow are and there's a certain appeal to me in that.