Subscribe: Invisible Record Archive
Added By: Feedage Forager Feedage Grade A rated
Language: English
album  bit  couple  don  good  jazz  much  music  pretty  rapidshare files  record  records  sharebee  sound  stuff  time 
Rate this Feed
Rate this feedRate this feedRate this feedRate this feedRate this feed
Rate this feed 1 starRate this feed 2 starRate this feed 3 starRate this feed 4 starRate this feed 5 star

Comments (0)

Feed Details and Statistics Feed Statistics
Preview: Invisible Record Archive

Invisible Record Archive

(Formerly Palestinian Light Orchestra) A blog devoted to the invisible, the downtrodden, the neglected, and the flat-out annoying records of the 20th century. Dig.

Updated: 2017-11-21T14:55:18.835-08:00


Re-ups: by request


Hackamore Brick - One Kiss Leads to Another

Vote: which is better, this or VU's Squeeze?

One Last Ray of Summer Sun


(image) Jim and Dale - 86% of Us
Here is one last gasp of sunshine pop to keep you warm as the days grow shorter and the nights get nipply. And, if I do say so myself, it's a damn good one.

This record was kind of a late folk rock one - it probably came out in 1968 since it was a US law that every record from that year have a version of "Suzanne" on it. The singing and electroacoustic arrangements are pretty much '66, though.

Pretty much '66, except for that prominent mellotron, that is. There must have been some cash that went into this record, because the arrangements are stellar, combining real orchestrations with mellotron much in the way the Bee Gees records from the era did, but a little more understated. That, plus the classically-trained nylon string picking of Jim (or is it Dale), give this album a special something.

By the way, if you care, the 86% in the title refers to the proof of bourbon. Of course, 86 proof is only 43% alcohol, and this album has much more to do with ditch weed than Maker's Mark, but marketing is marketing.

This file is from a raggedy-ass piece of vinyl, and for this I apologize.

Side 1:

Tony Clifton at Uncle Dirty's


The Don Neal Collection - Dixie to Disco Dancin'

Here's a private press nugget recorded somewhere around 1977 at the prized Uncle Dirty's Sound Machine in Kalamazoo, MI. Like the other stuff I've heard from there, it is expertly recorded, and just a little wacky.

The Collection was a local lounge band with a wide repertoire. As the title suggests, they do go from Dixie(-land jazz, not country music) to disco. The band is more versatile than nimble, though, and there is a real and enduring amateurish vibe going on here. In particular, the horn section seems to sneak up on notes, sometimes missing by a fair amount.

There are two things that really sell this one for me, though. The first is the total Tony Clifton shtick of the singer. For those of you with short memories, Tony was the lounge club singer that used to open for Andy Kaufman's comedy act. He was a crooner and a ladies man, bracingly unfunky, and crushingly insincere. This singer has that character nailed. Try their version of After the Lovin' if you don't believe me.

Did I mention unfunky? You've got to hear the versions of Sir Duke and Night Fever to believe them. Easily the craziest mash up of midwest lounge jazz and black dance music ever made. These tracks will make your next party the social event of the season.

There's a subtle and incongruent Four Freshmen thing that sneaks in from time to time. In fact, they somehow managed to get an endorsement from one of the freshmen on the back cover. I wonder if the guy managed to listen to the album first.

Alert: a couple of the tracks on here (Glenn Miller Medley, I mean you!) cross a line into transcendently bad. If that's not your scene, you might want to ride the skip button. In fact, you might want to start with side two to get into the flow of the thing.

Track list:
glenn miller medley
bill baily
rock n roll medley
after the lovin
it’s a blue world
the hustle
sir duke
night fever
how deep is your love

Back From Vacation


(image) New Sounds In Electronic Music

Back in the saddle again..... Disappearance due to deaths, illnesses, parties, syphilis, etc.

Here's a rare little biscuit offered as a hi how ya doin'. Known best, if at all, for being the source of the NWW referenced Steve Reich track, this is an early electronic music compilation.

1967 was the year electronic music broke. Moog synthesizers allowed the bleeps and blorps to come out of the academic labs and hit the major labels. So I guess this here is a last gasp of the old order.

Track one is Night Music by Richard Maxfield. To me, it's the least satisfying of what's here. Meant to mimic the noises of the insect kingdom in Central Park, and it sounds like it. This stuff was fast becoming obsolete by the time this record hit the racks.

Track three is Pauline Oliveros' piece I of IV. I kinda dig this one - it's sort of atmospheric in a way this stuff usually isn't. Still, I think I'd enjoy it twice as much at half the length. It's a bit of an endurance contest, this one.

The reason why you'll want this is track two - Steve Reich's Come Out. This is one of my all-time favorites of the genre. A forward thinking piece that sounds as modern today as it must have when it came out.

The piece starts with a kid in a NY jail telling the story of how he had to squeeze blood out of a wound to get medical care after a riot. A topical piece, then. Reich takes that simple bit of audio, repeating it just to the point of irritation, then pulling it slowly out of phase, watching the voices build into a chorus of phrases.

Then, about 7 or 8 minutes in, it surges into a prime electronic psychedelic wash. Deep and rich white noise. This is the kind of thing Lou Reed was going for with MMM, but with nowhere near the subtlety. No matter how many times I listen to this, that surge as the voices shift to phased noise gets me every time. Check it out.

A Tribute


I've just heard what might be one of the top ten worst albums ever. A stunning achievement in the so-bad-its-good world. I present Robert Callendar's Musee d' L'Impressionisme.

I've seen this listed as from 1972, but it's gotta be at least a couple years later than that. It's got the stink of '76 all over it. And if you've heard his great Rainbow or his so-so The Way, it's got nothing to do with that psych-lite fake mystical vibe.

No, this is a "concept album" about the birth of expressionist art. Set to music that bounces between the Love Boat theme and A Fifth of Beethoven. Picture a latin/disco groove, with a namby sounding lounge cat singing "he went on holiday/ with Monet." Note to Robert: singing "the impressionist movement" over and over doesn't establish a concept, and it doesn't flow. Fuckin' priceless.

The closest thing to the jaw dropping pretentious awfulness on display here that I'm aware of is "The Beat Goes On" by Vanilla Fudge. Sure, it was a different era, and the sound is miles away, but the intent was the same.

Feel free to cast votes for your favorite awful albums in the comments. Extra credit for good explanations and shares. You can find the Callendar record here (along with lots of other great stuff):

Your Old Crazy Aunt


(image) Congress-Woman Malinda Jackson Parker - Tubman Goodtyme Songs of Liberia

I'm guessing a few of you might have an eccentric old aunt in the family. You know the one, she is unmarried, dresses a bit weird, maybe drinks a bit much at family get-togethers. I always tend to think of this as a Euro-American tradition, but it might just be a worldwide phenomenon.

As evidenced by the record at hand. I'm not honestly sure if Ms. Parker was a congress-woman, married, or even an aunt. If I were a gambling man, though, I'd answer no, no, and yes. Because she's a bit, um, touched (by the hand of mayhem).

Her songs have strange obsessions, usually with blood-sucking bugs and repeated words. They start with melodies, but turn into rants. If you think about Nina Simone at her most angry, you wouldn't be far from the mark.

But her songs also reveal talent with the madness, or else noone would remember this (OK, just crazy does have its own cult, I guess). She clearly has some training on the piano, and her sense of melody and dynamics is that of someone with an ear. She just doesn't deploy it like you might expect.

If anyone out there can shed some light on this one (not cut and pasted from other sources - I know how to use Google, too), please give it up.

Hey - who's got either of those Robert Pollard comedy records? Are they any good? Worth the crazy price tag they have?

Re-ups: by request


Mike Nesmith - Wichita Train Whistle Sings:

We Are Only Humans, Listen To the Sounds In Our Heads!


Magical Power Mako - (Polydor)

I love this record. It is one of the best records I've heard this year, and I hear a lot of records. Don't miss this one.

As far as I can tell, this is more a guy than a band. Still, there's lots of folks who sing on it, so there must be some other input. When I listen to it, it has a jammy feel like some of it is improv, but who the hell knows? Maybe one of you rockers can fill me in.

The second track is a nice demonstration of the difference between the rock music of Japan and the stuff from Germany or the states. The singer (multi-tracked to all hell) comes out with "Takatakatakatowwwwtakatowww" over and over and over again. But the fucker really sells it, where a band like Gentle Giant would make it sound all sissy and stupid. It will slay you on the first spin.

A big part of the genius of this record is in the arrangments. Try this: every 30 secs or so, try to pick out all the instruments in the mix. One minute, maybe it's a koto and hand drums. Next, a choir of children and a mellotron. Later, a piece of rebar and a bass. But it's never guitar / bass / traps.

He/they saves maybe the best track for last. This one is the most Krautrock-ish to my ears, maybe somewhere close to Future Days-era Can, with a fadeout that seems to last for days.

I see this album compared to Faust a lot, and I kinda sorta see it. But where a Faust record makes jagged segues between often abrasive parts, this album is wayyyy more musical in its flow.

There was a limited edition reissue around a couple years ago. If you find a copy, buy it, because you'll probably never see it again.

Away From Desk


IRA is on jury duty this week (subverting the American justice system, one case at a time). We'll get some new stuff up this weekend, hopefully.

Note that there is some kickass stuff buried in the discussions for the last few posts. Thanks for blog friends Dreamy and Fuzztunnel (the latter from the wonderful Lost-In-Tyme blog) for their links.

Get the new Dungen. It's good.

IRAs Favorite ESPs


(image) Noah Howard -
Quartet / Live at Judson Hall
By now, IRA readers will note that I've got a thing for ESP jazz. These are the two albums that got that ball rolling. And a couple of rare jewels lost in jazz history.
Howard was (and is) an alto player in a free jazz bag. Seeing a piano-less quartet led by an alto and a trumpet, you'd probably think his quartet album is Ornette-lite. Not so, I'd call it way more formally structured and more melodic. And in areas more fiery than Coleman. I'm having a hard time with a good comparison, because I find this record so unique.
The second album is a little (image) more standard free jazz fare. It sounds very enamored of the Coltrane of Live at the Village Vanguard Again - lots of that rolling and placid piano keeping things anchored down. The second side is surprisingly funky in parts - not a feel you'd usually associate with an ESP session.
If I had to choose between the two, I think I like the quartet album a little more. I think the piano rooting things down gives the live set a little more of a sleepy feel, even though I really like the piano player (Dave Burrell). The live set sound leaves a bit to be desired - a lot of cavernous room sound dulls the energy a bit, too. Still, they are both great records, and a must if you like the style.
A fun backstory on these records - they both used to belong to famous activist John Sinclair. I bought 'em second hand in Detroit because they had his name written on the back as well as because they were on ESP. I wonder if he had to hock his precious and famous free jazz collection to help foot a legal bill at one point or another. If that's the case, they found a good home, John, and thanks for sharing.

Sharebee Down, What Else Is New?


Man, this Sharebee service is cool, but it breaks down a lot. Too bad, as I've got a couple gems ready to go. Is anyone else having trouble with them?

I think I might be missing a bunch of re-up requests down the list here. If you loyal readers have requests, put them in the comments here, and I'll try to get to them. Special respect will be given to readers who give back to the team, my requests are listed in the comments, too.

A Quick One, While I'm Away


Glaxo Babies - This Is Your Life e.p.

Here's a brief one, for you NWW list collectors. I'll bet that Stapleton feller would have been pretty pleasantly surprised in '80 or so to know that almost 30 years later, that tossed-off list would end up being the guidebook for diving into the '70s underground.

As I see it, there's some pretty consistent categories in that list:
  • Prog rock, much of it from the continent
  • Kraut rock, much of it fuckin' great
  • Avant classical, a lot of it electronic in nature
  • Avant jazz, mostly French
  • Zappa/Beefheart weirdo rock
  • Post-punk

It's that last category that is the area where I've been most disappointed with the quality of the listed records. I do think that it is difficult to tell how good music is immediately after it comes out. A lot of that post-punk stuff, present day nostalgia notwithstanding, must have sounded better then than it does now.

This one is very generic post-punk. If you like the style, you'll like this. But it isn't going to change your life, even if your life really sucks.

By the way, a Glaxo baby was a child born with serious birth defects due to maternal use of thalidomide as a sleep aid during pregnancy. Glaxo was the company that made the drug. In case you care.

Reader of the Day Award


Eroc - 1 and 2

The IRA sympathizer of the day award goes out to a reader who calls hisself (herself) Dreamy. Ol' D posted not one, but two Eroc records in glorious 320 sound. I, for one, can't hardly wait to dig in. I'll forgo my usual snarky comments on this one, because I don't know a damn thing about it.

Eroc 1

Eroc 2

pw: dreamy

Take a bow, Dreamy.

Edward Gorey Rocks Out!


Michael Mantler - The Hapless Child
Now that I've got this new software figured out, let me drop that bomb I've been waiting to get up here. This is a tough one to find, released in a small run on a custom label in 1976.
Sure, it's under Mantler's name, but this is an Edward Gorey record, too. He wrote the words and drew the pictures. And it's a Robert Wyatt record, because he sings the words. In a way, it's a Terje Rypdal album, because his guitar playing dominates the arrangements. Of course, this is to take nothing away from Carla Bley, Steve Swallow, and Jack DeJohnette, because they're here, too. A who's who of high brow jazz rock elite, huh?
My biggest gripe about this record is that the songs are written as stories, and sometimes the words don't match the music so well. But then you key in to what those words are really saying, and it all makes sense. Because those words are dark dark dark.
Yet another one of those Nurse With Wound list favorites. Speaking of which, any of you got Headmaschine? Eroc? Lily? How's about helping out, then?

Turn Back the Clock


The Brigade - Last Laugh

Music moves so slowly nowadays, there really isn't that much difference sonically between a record from 1997 and 2007. But there was a time...

This record came out, in the sense that there were like 50 or so pressed, in 1970. But it sounds pretty much like a frat rock record from 1965. The only concessions to the modern day seem to be a wah-wah pedal and a homemade Sgt Pepper-ish outro for side 1. And that's cool by me.

For a bunch of high school kids, there's a bit of instrumental talent on display here. I'm gonna guess these kids met in the jazz lab in school. In particular, the drummer has some kick-ass non-rock sounding beats. The single mic recording quality plus the swing feel gives this an odd sort of old jazz record vibe. The singer could use some R&B, but the nice harmonies take the edge off a bit.

Well, I guess one other thing marks this as 1970 - these are all originals. And those are the rocks on which many of these small crafts wash up on. As far as amateur songwriters go, I'll give 'em a solid B.

The best song for me, by far, is the album closer. It's the whole deal - good keyboard lead, groovy Zombies harmonies, and a sticky vocal hook. Everybody is laughing....we got the last laugh.

Hippies Are Cool


(image) Buzzy Linhart - Buzzy

Buzzy Linhart was a fringe participant in the NY folk scene from the early 60s through at least 1980 or so. He was both a side man and a recording artist for much of this time.
He is probably best known for a band that never recorded - a raga group that backed Fred Neil for a bit in 65-66 or so. If anyone has a tape of that....
His first recording was a group called Seventh Sons that did an extended raga-ish piece on ESP. The recording data claims 1964, I'm guessing it's more 67, though. It's cool, but not earth shattering.
This is the first under his name, and it came out on Philips in 1969. The front half is not terribly far from where Fred Neil was at the time. Meandering, vaguely raga feels, slow tempos, kinda blues phrasing. The difference is that Fred Neil is one of the top five vocalists, and Buzzy Linhart is not.
The back half is mostly taken up by a single sitar session called Sing Joy. It is about as Hare Krishna as a major label release gets. Meaning hippie bliss, mothas. Yee-hah!
Buzzy must have been fond of putting out albums called Buzzy, because he did it at least twice. The other one, like the rest of his stuff that I've heard, doesn't hold much for me. When he outgrew the raga, he left me behind.
Burned from vinyl in good, not great shape.

The Other Other Kaleidoscope


(image) Kaleidoscope

It seems like every 10-square block radius had a band called Kaleidoscope in 1967-9. Here's the Mexico version.

This is a really fun record. Very amateur hour, and lots of try anything spirit. There is a surprising amount of studio trickery for a non-US production of the time.

I think of this record as a low-rent Steppenwolf. If you're not a fan of the 'wolf, don't let this scare you. Neither am I, and I really like this knockoff version.

Re-up: by request


GTOs - Permanent Vacation

Let's See If This Thing Works



Sandy Bull - E Pluribus Unum

This is my first attempt at a vinyl rip with my new set up. Please loyal listeners, give me feedback about how this sounds. Questions I have:

1) Are there any glitches in the sound? I'm not hearing any, but in some of the testing I did on other records, I had problems.

2) How are the levels? Am I getting clipping? Too soft?

I chose to do this as my first burn for a couple reasons. One, it has one track per side, so I still haven't needed to learn how to put song breaks in yet. Baby steps.

More importantly, this is a genius fuckin' album. Deep as the Pacific Ocean, and twenty times as weird. Sandy is using the reverb and tremelo sounds as timekeepers here, playing against the drones set up by the effects. Don't believe AMG when they say this is Bull's worst album, because they LIE. This is the real deal.

If you like this, pick up the new live release on Water. It was recorded about the same time as Pluribus came out, and has a lot of the same material.

I'll wait until I get a couple of comments on the quality of the burn to get back on a regular schedule. I've got a few cool things to add on the way, so lemme know what you think.

We're Not Dead, Just Sleeping


IRA fans will note that we've been pretty quiet over the past couple of weeks. Here at the underground IRA HQ, we're doing R&D on a new IT setup. In our continuing effort to optimize the fidelity of our sound reproduction, we've upgraded our equipment. When our dumb-ass old school technophobes figure out how it works, maybe the torrent of music will begin again. I'd say, give us a couple weeks, then.

You know, though, the whole process would seem a lot more rewarding and important if the IRA could get a little bit of support from the readers on the interweb thingy. Lately, I'm gettin' nuttin' but crickets out there.

Harry's Lost Weekend


Harry Nilsson - Pussy Cats

When the Walkmen did a note for note rerecording of this, it reminded me to pop it off the shelf and give it a listen. If you can get past the mid-70's production sheen, especially the way the horns sound (shudder), it's a damn fun spin.

Gil Phones It In


Gil Scott-Heron and Brian Jackson - 1980

This is the third of the missing three GSH records from the end of the me decade. They were being reissued at a snail's pace on TVT until Gil ran afoul of the law a few years back.

Bluntly, this is no Bridges. The album has a similar sound - synths, jazz, Fender Rhodes, etc. And Gil isn't going to all of the sudden start singing soprano. But the songs are not at the same level.

A couple places, the record kicks into higher ground - Shut 'Em Down is a favorite, 1980 is pretty good. But there is a sleepiness to this record that suggests bad drugs to me.

From here, Reflections is actually pretty good all the way through, but the other Arista albums are worth avoiding. The 1993 comeback album (some comeback, Gil) is worth a spin, and is some god-awful EVH guitar away from being a nice return to form. I still hold out hope that Gil will get it together for a monster record before it's all over, although I hear his health is pretty bad these days.

I'll Be Darned


The Damnation of Adam Blessing

Man, you'd think from the title, the year, and the homebase (Cleveland) that this would be a metal band. Not at all, though. Maybe they'd have done better if they were called the Darnation of Adam Blessing.

For me, the bands from Detroit seemed to do a good job of incorporating a natural sounding soul feel into rock. The Rationals, SRC, MC5, hell, even the Stooges if you listen to the rhythm section were way more groovy than any white band outside of the Rascals. Even though the DoAB were from across state lines, I think they had a similar thing going on.

In fact, I'd compare these guys pretty closely to SRCs second record Milestones. If you took that album, stripped out the Hammond Organ, and beefed up the guitars, you'd have something like this. They both have a nice Zombies undercurrent with that soul feel that makes for some good listening.

Please comment on the Sharebee service. I'm still making up my mind who'll have my business.

Walking With a Limp


Aksak Maboul - Onze Danses Pour Combattre la Migraine

According to Wikipedia, Aksak is a Turkish word meaning walking with a limp. Heavy, dude.

This is an album put out by a Belgain band in the late 1970s. Don't be afraid, though, because they don't sound Belch at all.

No, they sound French. Which is similar, but different. French, in the sense that it sounds half way in between synth music, and romantic dinner music, with maybe some carnival stuff in there to make it a little weird.

This is really about as close as I've heard to someone catching the happy up-tempo Autobahn rock of Kraftwerk. Still, it's got enough of the non-synth sing-songy stuff to temper the Kraftwerk influence.

Ah, hell, I don't know. I've had a coupla Belgian beers, and I think you all would like a Belgian record. So dig it.

Another NWW list favorite.

IRA Comes Back, Phoenix-Like


Frank Wright

Frank Wright was an avant-garde sax player from the ESP stable. If you had to pick a prototypical player from the scene, Frank would be it. Not nearly as distinctive as the more lionized heroes of the scene, and not as obtuse as the most unlistenable honkers.
These are both very listenable albums, at least as far as ESP goes. Grab 'em fast, I've apparently got an angry deleter hanging around.