Masahiko Satoh & Soundbreakers – Amalgamation (1971)

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Masahiko Satoh & Soundbreakers – Amalgamation
Label: Phoenix Records (ASH3040CD)
Originally released 1971 on Liberty (LTP-9018)
Reissued 6 Dec 2010
1 Side One1 15:50
2 Side Two 21:18

Composed By, Conductor, Arranged By – Masahiko Satoh
Engineered by Rudy Van Gelder
Produced by Creed Taylor

Part 1 recorded August 17, 13:00~19:00 at Toshiba Records 1st studio.
Edited September 18, 13:00~20:00 at Toshiba Records room A

Part 2 recorded August 22, 13:00~19:00 at Toshiba Records 1st studio.
Edited August 30, 10:00~20:00 at Toshiba Records 2nd studio & October 24, 10:00~18:00 at Toshiba Records 2nd studio.

It has almost begun to feel like a tradition that whenever something horrible happens in the world, I have to dedicate a post to the atrocity, tragedy, and heroism of the moment. Over the last week as I’ve followed the BBC World Service and listened to the death toll in Japan rise every day with estimates that the count won’t be over until it reaches the 10,000 mark or higher, I have felt myself grow mute, reverent, and cautious. Cautious not to add my voice to the clamor of pundits; reverent of the magnitude of entire cities lost, generations of families shattered, of spectral genetic memories of nuclear disaster and potential holocaust; mute in the face of the inability of the thousands upon thousands of humanitarian aid workers to do any more than they are doing. Unlike Haiti, this is unfolding in one of the most developed countries in the world, one that has been utterly prepared for such a disaster for decades and whose government, by most accounts, has done a pretty commendable job of dealing rapidly with the disaster. Mute in the face of such enormous human suffering that almost dictates that anything I might say will seem trite. I have no sophisticated, penetrating analysis or discourse to offer.

THE EARTH IS NOT OURS.

So why not leave it to music, once again, to say what I cannot. This album of experimental jazz and psychedelia was completely unknown to me until fairly recently and seems to resonate somehow with all of this. Recorded in Japan in the early seventies by none other than Rudy Van Gelder and Creed Taylor (who seem to have left it off their resumé or simply disowned it), with Detroit drummer Louis Hayes, the record is equal parts terror and beauty, violence and respite. Swells of organ that remind me vaguely of Larry Young engulf noisy blasts of percussion and saxophone and tape loops of what sound like either military exercises of street protests. More stunning still is the realization that this ‘free’ music is fairly tightly composed as well. At times the whole things sounds like it could fit comfortably in a Krautrock discography as well. I’ll include here a review from Julian Cope, because I like his writing more than the usual music-journalist dry filler.

Big thanks to my friend Cheshire for turning me on to this and passing it along.

This preposterous piece of psychedelic avant-jazz sounds like the work of aliens, each with only one foot in our universe. Propelled by cacophonous brassy blasts, volleys of machine-gunning, ecstatically ‘Light Fantastic’ rhythms and moments of Teo Macero-style ‘Mixing Concrète’ (during which the whole track becomes consumed by waves of new sound); the result is the most singular mash-up of inappropriate sounds any listener is ever likely to hear. Over two side-long tracks, shamen Masahiko Satoh sends us through a sonic mind-field, baffling our senses and our sense of gravity. Located at the centre of AMALGAMATION’s giddy sessions was the frantic Detroit drumming of hard-bop legend Louis Hayes, whose role it was to play the bubbling ever unfolding fundament on which Masahiko Satoh’s whole trip proceeded, as though the rhythm section were a magic carpet constantly being pulled out from under the feet of the other performers. Over this rhythmic shaking, Satoh scattered Hammond organ around and ring-modulated* his Fender Rhodes piano solos (*Roland built three especially for the record), added lead guitar from ‘super session’ legend Kimio Mizutani, trumpets and sax from Mototeru Takagi, scat singing from Kayoko Itoh, and strings from the Wehnne Strings Consort. As if to further disorientate us, the composer divided the single fifteen-minute track of side one into ten absurd titles (eg ‘The Atomic Bomb Was Not Follen’ [sic]), and the single twenty-one minutes of side two similarly (‘Here Me Talking to Ya’, ‘Ancient Tales of Days to Come’), though both tracks are intended as single pieces, being encoded thus on CD re-issues. Essential stuff. [Julian Cope]

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Bama, The Village Poet – Ghettos of the Mind (1972)

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Bama, The Village Poet
Ghettos of the Mind”
1972 on Chess Records (CH-50032)
Reissue on Aware Records
A1 I Got Soul 4:46
A2 Welfare Slave 5:47
A3 Nothingness 2:26
A4 Thanksgiving 3:52
A5 Ghettos Of The Mind 0:31
B1 The Right To Be Wrong 4:17
B2 Blessed Marie 3:55
B3 Justice Isn’t Blind 2:35
B4 Social Narcotics 5:08
B5 Blackman, My Brother 5:35
B6 Drunken Sister 2:49

Poetry written and performed by- George McCord. aka “Bama”

Music composed and arranged by Jimmy “Wiz” Wizner
Featuring: Bernard `Pretty` Purdie , Cornell Dupree , Gordon Edwards , Richard Tee
Produced by Billy Jackson, Bacon Fat Music and ‘Those who believe Blacks deserve something better’.

TRANSCRIPTION INFO

Vinyl -> Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply) > Creek Audio OBH-15 -> M-Audio Audiophile 2496 Soundcard -> Adobe Audition 3.0 at 24-bits 96khz -> Click Repair light settings, additional clicks and pops removed in Audition -> dithered and resampled using iZotope RX Advanced -> ID Tags done in foobar2000 v.1.0.1 and Tag & Rename. No EQ or compression.

Confession, by the end of this vinyl transfer, I kind of stopped paying attention. The last two tracks have some clicks and pops I missed. Oh well, you can borrow my copy and do your own rip if you like, I don`t mind.

Album jacket photos and labels are from both the discogs archive and from my own repress copy. I used the original LP photo (which appears more of a cream color) above because I had trouble photographing my blindingly-white repress without it reflecting the sea-green paint of the walls in my house.

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Flabber review

Okay. Let me start off by quoting the blurb from my favorite record shop in the universe, “A lost classic in the funky poetry mode of the 70s – and right up there with the best work from the time by the Last Poets, Jim Ingram, or Gil Scott Heron! Bama’s got a rough-edged voice that works very well with the funkier backings of the set – handled by a team that includes Bernard Purdie on drums, Richard Tee on keyboards, and Cornell Dupree on guitar – and this rough vocal style also fits the themes of the tunes, which are still as political and righteous as other work in the genre, but a bit more down to earth as well. ..”

Now, I realize that Dusty Groove exists to sell records, aside from their pedagogical function of turning the people of the world onto righteous music. And they sometimes are guilty of a wee bit of over-hyping the rarities in their own stock in order to generate enthusiasm. Enthusiasm is a good thing. I rarely post about an album I am not enthusiastic about.

But let’s get something straight right here and now. Bama (George McCord) was no Gil Scott Heron or Leroi Jones (Amiri Baraka), and can’t hold a candle to the flames of The Last Poets or the likes of Jayne Cortez. In my opinion, if it wasn`t for the players on this album like Bernard `Pretty Purdie` and Cornell Dupree, nobody would care at all about it at this point.

McCord has his moments, but its mostly the musical arrangements that keep you listening. The opening track “I Got Soul,” has integrity, dealing as it does with how suffering – even suffering the horrors of state-sponsored racial discrimination – can make an individual who he is, leaving him to say that if he had his life to live all over again he would still “do it black.” It’s a cool poem with great instrumental backing, that shows Bama in a light of a no-frills, sincere, and rough-around-the-edges street poet. So far so good. “Welfare Slaves” is another decent tune, a cynical slow rap over a suitably slow blues, and observations that should be required listening for those lost souls of the American Right-Wing who still go around thinking and saying that people actually *want* to be on welfare. So far so good. The next track, “Nothingness” is when things start to get a little shakey. Two and a half minutes of Bama philosophizing about nothingness over a spacey electric piano chord sequence, wherein he concludes “that after many years of nothingness, I have found nothingness to be something. But compared to something, it was still nothing. Nothing.” Deep, man. Deep.

Alright so one clunker doesn’t make me give up on a record. However, the next one was almost the final nail in the coffin-lid of my first experience with Bama. The next track, “Thanksgiving” is just Pretty Purdie giving a tom-tom-heavy drum solo while Bama recites his poem. Wherein Bama makes profound observations like, “Them pilgrims was a bunch of phonies.” He then goes on to give his counter-narrative to the white American vision of Thanksigiving, while simultaneously getting in some paternalistic condescending remarks about “the Indians were too slow to learn,” and some bitter critiques about the invasion of North America being an `indepedence` for some. Once again, Bama is sincere and means every word of it. But it’s just hard for me not to bust out laughing when he lets loose with poetic stanzas like:

“You give thanks for destroying an innocent people who weclomed you in when your own deprived you of a right to pray.
You give thanks for taking the land of a people who gave you a place to stay.

God have Mercy.
Eat your turkey.”

All of this delivered in his gravel-gargling voice that is very reminiscent of Red Foxx. Immediately on first hearing this track, the following image was born inside my mind`s eye:

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Side two of the album. Surprisingly, given everything I`ve written above, is that one of the best things on the record is the relatively unaccompanied “The Right to be Wrong” (which has only a heart-beat thumb of a drum machine accompanying it). A reflection on non-judging of our fellow humans that would be worthy of a Buddhist monk if it wasn’t for some latent homophobia (…”this would even give the homo a right to be wrong”). Next track – Blessed Marie, rather unremarkable and trite paen to falling in love with (and having married) a prostitute. Followed by “Justice Isn’t Blind,” which is by far the grooviest track here, both musicially and lyrically sharp, with the band laying down a latin-fringed funk of low-key atmosphere. But then when in the final eight-bars or so the band just works the groove with no restraint, I start wishing this was just an all-instrumental LP.. “Social Narcotics”… I can`t really comment on critiques so sophmoric as those on this track. It`s just kind of embarassing to listen to. “Blackman, My Brother,” is intense, however. Backed again only by Bernard Purdie, its a relentless rejection of white culture and its white-washing of American history, of its underbelly of violence, rape, and subjegation, and also shatteres any rose-colored glasses looking at a utopic, romantic vision of the Civil Rights movement, and an angry recuperation of self-respect and pride in blackenss. It’s delivered with the same directness and sincerity as the rest of the stuff on this album, but its got a sophistication that is lacking in a lot of the other poems.

The final track, `The Drunken Sister`… just kind of fizzles out compared to the previous track. Not much to say here, really. Nothing bad, but nothing too great.

So if you haven`t deduced it already I am ambivalent or perhaps just indifferent to this record. It has historical value but more for the people who played on it than for the poetry contained in it, although it might reflect a bit more realistically the spectrum of black urban poetry in the early seventies (I mean, it couldn`t ALL be brilliant, right?). But the next time I decide to reorganize my LP collection, I am going to have a tough time deciding whether this album belongs in the section with Gil Scott-Heron and The Last Poets, or is maybe better suited to the section with Richord Pryor and Red Foxx…

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Townes Van Zandt – For The Sake Of The Song (1968)

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Townes Van Zandt
For The Sake Of The Song
1968 Poppy Records (PYS-40.001)

Reissued 1993 on Tomato Records (598.1091.29)

1 For The Sake Of The Song 4:45
2 Tecumseh Valley 2:40
3 Many A Fine Lady 3:52
4 Quick Silver Daydreams Of Maria 3:41
5 Waitin’ Around To Die 2:22
6 I’ll Be Here In The Morning 2:42
7 Sad Cinderella 4:40
8 The Velvet Voices 3:12
9 Talkin’ Karate Blues 3:01
10 All Your Young Servants 3:04
11 Sixteen Summers, Fifteen Falls 2:36

Produced by Jack Clement and Jim Malloy

It’s a new year. I am short of words. Barely hanging on here really. Where did everybody go?

Majestic.

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*note: the track titles for numbers 9 & 10 are reversed, sorry about that but that is how they apppeared via the all-knowing cddbase
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John Fahey – The New Possibility: John Fahey's Guitar Soli Christmas Album (1968)

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“The New Possibility: John Fahey’s Guitar Soli Christmas Album”

Released 1968 on Takoma Records C-1020
Reissue 1986 Takoma Records CDP 727-20
Distributed by Allegiance Records
Japanese disc pressing

John Fahey – Guitar

CD Mastering by Michael Boshears

1. Joy to the World
2. What Child Is This?
3. Medley- Hark, the Herald Angels Sing, O Come All Ye Faithful
4. We Three Kings of Orient Are
5. Auld Lang Syne
6. The Bells of St. Mary’s
7. God Rest Ye Merry Gentlemen Fantasy
8. Go I Will Send Thee
9. Good King Wenceslas
10. The First Noel
11. It Came Upon a Midnight Clear
12. Lo, How a Rose E’er Blooming
13. Silent Night, Holy Night
14. Christ’s Saints of God Fantasy

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I am on principle oppossed to the very idea of “Christmas music” records. It does not even stem from my firm self-identification as an agnostic pantheist that I feel such strong opposition. It is purely out of my allegiance to the idea of good music, or — if you must — music snobbery. Holiday music just tends to bring out the worst in everybody. I don’t even have to use the new Bob Dylan record as an example, because everyone knows that album was recorded as a Dadist satire resulting from a bar bet Dylan lost to Allen Ginsburg in New York in 1963 and he is only just now getting around to honoring it. No, with very few exceptions, “Christmas music” is one of the stronger arguments for atheism out there.

Not so with John Fahey’s wonderful “The New Possibility” recorded in 1968. Committed to tape with more pathos than piety, this record emerges as a sober meditation amidst a string of more irreverent, experimental, and chaotic work that Fahey was engaged in while acting as self-appointed curator and deconstructionist of the entire musical canon that would someday be termed ‘Americana.’ In this auditory journey he proves himself equally adept at plumbing the depths of European as well as (North) American folk musics in selecting his Yuletide favorites. Fahey’s guitar playing is not at its best here (in fact his slide playing on ‘Silent Night’ ranks among his most sloppy and careless) but the oneness of intent with which he carries it all off makes technique unimportant. Fahey put out a few other Christmas albums after this, all of them more polished, but this one is by far the most compelling. It’s just him, his guitar, and a wallop of plate reverb. If you listen close you can hear some pretty drastic tape splices but if they don’t bother me that much, then chances are they won’t bother you either.

There are some obvious choices here in the repertoire — Joy to the World, Aud Lang Syn, The First Noel – but all are given new life in Fahey’s hands. The less obvious choices are especially a delight – William Dix’s hymn “What Child Is This?”, more familiar to our ears as “Greensleeves” being one of them. Other fine performances are “Go I Will Send Thee”, a blues rendition of a black spiritual, and “Lo, How A Rose E’re Blooming”, which might well be my favorite song on the whole record, a sixteenth-century German song (Es ist ein Ros entsprungen) that found its way into the Anglophone songbook in the late nineteenth and early twentieth centuries. Also of note is his slow finger-picked version of “The Bells of Saint Mary’s”, which according to legend inspired yet another version of the song played with mallets on white mice that charted as a hit single during the Christmas season of 1969 (reaching #13 in the UK, #27 in the US, and #1 in Japan).

Fahey simply can’t restrain himself from some experimentation, and he stretches out on “Christ’s Saints of God Fantasy”, a loose and freeflowing adaptation of a J.C. Hopkins tune that, oddly enough, has a copyrighted interpretation on file from Madeline Peyroux although I am not sure if she ever recorded it.

An interesting oddity about this 1986 CD pressing — the inlay card has the last two songs out of order, listing ‘Silent Night’ as the closing track. In fact Silent Night is the logical choice to end the album, and it appears to have been so with all vinyl pressings (I am not sure about subsequent CD reissues). The track order is printed correctly on the disc itself (by which I mean, correctly as the music contained on it plays). You might want to do some rearranging in you music player of choice and put Silent Night back where it belongs, at the end of the record….

Original cover
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Lightnin' Hopkins – Soul Blues (1966)

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Lightnin’ Hopkins
“Soul Blues”
Recorded in Englewood Cliffs, New Jersey in May 4-5, 1964.
Recording Engineer: Rudy Van Gelder.
Originally released on Prestige / Bluesville (PR 7377), 1966
Digital remastering by Phil De Lancie (1991, Fantasy Studios, Berkeley).

01. I’m Going to Build Me a Heaven of My Own
02. My Babe
03. Too Many Drivers
04. I’m a Crawling Black Snake
05. Rocky Mountain Blues
06. I Mean Goodbye
07. The Howling Wolf
08. Black Ghost Blues
09. Darling, Do You Remember Me
10. Lonesome Graveyard

Lightnin’ Hopkins (vocals, guitar)
Leonard Gaskin (bass)
Herbie Lovelle (drums)

Sam Lightnin’ Hopkins recorded and released so many records it is hard to know where to tell a person to start. But this record is as good a place as any, featuring him playing both with and without a band on electric and acoustic guitar. Country blues musicians such as Hopkins and contemporary Fred McDowell were not easy guys to accompany if you were a rhythm section. They frequently would change tempos and chord structures at will, and you had to be paying close attention to see a change coming or catch it quickly when it caught you off guard. There are a few places on this session where the songs almost break down but the vibe never wavers. Immaculately recorded by Rudy Van Gelder, this is one of Hopkin’s best. The CD reissue includes the rather worthless liner notes of a Houston DJ who doesn’t seem to have anything the least bit informative or insightful to say, but it was nice of Prestige to include them. I guess.

“I’m Going to Build Me A Heaven On My Own”, which is dedicated “to all the womens of the world,” is probably the strangest song I have ever heard from him. Coming off as at least partly improvised, it is a rambling, irreverent, and quite probably blasphemous bit of blues. Willie Dixon’s “My Babe” is a perfect choice for Hopkins and you can easily appreciate why he was so influential as a guitarist-singer. “Too Many Drivers” is an environmental protest song about traffic congestion and greenhouse gases. “I’m a Crawling Black Snake” is a reworking of John Lee Hooker’s “Crawling King Snake” for which he receives no credit. I could keep doing this for every song but my fingers will get tired. Why don’t you just listen to the record? The last three cuts, however, are particularly splendid. “Black Ghost Blues” is not recommended for the insomniacs out there. “Darling, Do You Remember Me?” is a uncharacteristically tender and melodic tune that is both stark and sweet — “You’re face / something I wanna see / Just to know darlin’ / you used to enjoy with me / but hello, hello darling / baby, do you remember me?” The song is Hopkins all by himself – which makes me wonder if there was a full-band take that didn’t quite work, prompting this version. It is particularly worth you attention because, freed from the obligations of playing with a rhythm section, we can see the logic of Hopkin’s improvisational flights, unanchored one moment, back in the pocket the next. The last track is one of the best ‘haunting’ blues about death and dying that was ever committed to tape, sprinkled with Hopkins’ own “gallows humor.”

This post is dedicated to Celia in Portugal who has said she’s been liking the blues posts.

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Led Zeppelin – Destroyer (1977)

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Led Zeppelin
“Destroyer”
April 2, 1977. Cleveland, Ohio

Yesterday (June 28) marked nineteen years since my brother was killed. I spent most of the evening listening to music to that reminds me him, which included some of the mighty Zeppelin. But I neither need to nor will make any excuses for digging the Led Zeppelin and it was not a nostalgia trip. Although certain hipsters and revisionist neo-punks still maintain they are too cool for Zeppelin, most people who actually like rock and roll will acknowledge the band’s place as one of the best in the genre. This was one of the first Zeppelin boots to come to my attention and has been issued a whole mess of times by different labels. By most reckonings the best versions are the ones released by the label Empress Valley, a version not attributed to any label in 2007, and this one released on the Eelgrass label in 2008 which is apparently just a slightly-louded version of the label-less pressing. The sound quality is pretty stunning, coming straight from the mixing console onto quality analog tape.

The 1977 tour was the first time the band had done a full tour of the US since 1973, due mostly to Robert Plant having a nasty car accident in 1975 that put him out of commission for quite a while and reportedly had him singing from a wheelchair during the recording of the “Presence” album. One of the treats of their return was the inclusion of a set of acoustic-based songs which rarely if ever made it to the stage previously. In fact I would probably rave about this boot just because it has “Ten Years Gone,” one of my absolute favorite songs by these guys. Jimmy Page’s genius in the recording studio – as well as his good taste in stealing material by both American and English folk and blues musicians – has always been one of the things that kept me coming back to this band, as was John Paul Jones modest virtuosity as a “musician’s musician” who seemed capable of playing any instrument that landed in his hands. So this necessarily-stripped-down live reading of the tune lacks some of the force of the studio track on Physical Graffiti. But, really only *some* of the force – the tune holds up live remarkably well and keeps the vibe strong. The Tolkien-riddled “Battle of Evermore” fares less successfully in no small part because the inimitable Sandy Denny isn’t there to sing harmonies.

The mighty Led Zeppelin had plenty of VIBE, and (in case you were wondering) that is why they actually belong here amongst all the other stuff on this blog. When they were having a good night on stage, it must have been a tremendous collective experience (enough to even impress William Burroughs, who attended one show and wrote about it in such terms). Since the band was famously unhappy with their only official live-performance document The Song Remains the Same (exhausted end-of-tour sloppy performance and extremely drug-addled musicians…), many folks have speculated that the band would have been better served by a release taken from a few nights of this tour, including this show. In fact the band’s reputation as a live act was really only finally set straight by the double DVD released in 2003 that testified to them being more than an over-hyped “arena rock” phenom.

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My brother and I had less and less in common musically as we grew older, but we always had a bond in the Led Zeppelin. He went off and became a fan of “hair metal” — while idiosyncratically becoming the drummer for a thrash-metal band, which by definition are very much anti-hair-metal. He used to give me lots of shit, like older brothers usually do generally speaking, about my increasingly eclectic musical tastes during our adolescence. Whether it was catching me playing air-guitar to Purple Rain, or shaking his head in dismay as I zoned out in my incense-filled room blasting the 13th Floor Elevators or Moby Grape (“it smells like a Persian whorehouse in here…”), there was no doubt that we were becoming very different people. I had my vindication when I caught him playing my copy of “Sign o’ The Times” and he finally had to admit that Prince was pretty fucking cool. Like most siblings we probably couldn’t see (or, at least, I didn’t at the time) how much we were cut from the same cloth. I was probably about seven years old when he started collecting the Zeppelin albums — on vinyl through the Columbia Record Club via mail-order, baby!! So, if I felt like it, I could blame him for the years of reckless mixtures of drugs, sex, and the occult that inevitably “resulted” from my exposure to such Devil Music at an early age. But that would be silly; all that stuff was my own doing. One of my more pleasant memories, if a bit foggy, of the last year or so we had together, was the two of us (well, with his girlfriend in the passenger seat, unfortunately) driving on a road-trip to New York City in his pimped-out 1976 Trans Am. By pimped-out I mean that he had put in a decent sound system with a hefty amplifier and EQ, as well as a radar detector to elude the cops while speeding on the highways. I remember fondly the long ride up Interstate 75 blasting The Who and Zeppelin’s “Physical Graffiti” (one of the best all-time road-trip records.). Unfortunately I also remember with shame when he caught me buying opium from some schmuck in Greenwich Village. It turned out to be fake, bunk opium too, and so doubly not worthy of the embarrassment of getting caught. My brother worried about me a lot, and most likely saved my life in an incident where he took it upon himself to knock on some doors and put on his best metal-head menace to eke out information from my so-called hippie “friends” about where I might have disappeared to when I went missing for a few months when I was 15. I had actually told nobody but rumors travel fast in small towns, and he valiantly crossed state lines with his slightly-crazy bandmate who always carried a knife in his boot in his general preparedness for the apocalypse and had taken to calling himself Akhnaton after the Egyptian pharaoh. They tracked me down to a national forest before I was able to hitchhike across the country and meet my uncertain fate as a full-fledged drop out. I didn’t exactly pull myself together after that either. Less than a year later he was visiting me in the psych ward where I had been committed (half-voluntarily, half-coerced/forced there). He was the only visitor I had while I was there. It was less than two months after I got out of that place that he was killed in a car accident at around 3 am coming back home from a show with his metal band. I was the last person in my family to see him alive. Almost naturally, I thought it should have been me in that car, that there was some sort of mix-up. Not just guilt but also envy — the bastard got out of the game, and left me behind.

Although this show, in an incomplete version had circulated as a vinyl boot for quite some time before he died (on the famous Swingin’ Pig label), I do not know if he ever heard it or not. My guess would be he probably had not. So I like to imagine sometimes that I am playing it for him for the first time. It’s weird how when someone slips away from us, they become frozen in time – I will always think of him as 21 years old. In my dreams when he pays me a visit, that is usually his age. I’ve even had the odd science-fiction and conspiracy dreams where he returns to us, and we learn that his death was faked, a hoax. But he is still twenty-one years old, a fact that well all find rather peculiar but are afraid to comment on. Then it somehow becomes clear that this is not in fact my brother, but a clone or an android made from some recorded memory deposited in the Overmind, and that THIS is the hoax, and the dream fades, and I wake up.

So, wherever the hell you are, I’d like dedicate this post to you, with love, and hope you play it loud, commemorating Kali the Destroyer and the beauty of rock music in all its sublime hedonism, rough-hewn poetry, and eternal youth.

1. “The Song Remains The Same” (partial) – (3:40)
2. “The Rover”(Intro)/”Sick Again” – (6:44)
3. “Nobody’s Fault but Mine” – (6:29)
4. “In My Time of Dying/’You Shook Me” – (11:38)
5. “Since I’ve Been Loving You” – (8:23)
6. “No Quarter” – (19:46)
7. “Ten Years Gone” – (9:14)
8. “The Battle of Evermore” – (6:22)
9. “Going to California” – (5:48)
10. “Black Country Woman”
11. “Bron-Yr-Aur (Stomp)” – (5:11)
12. “White Summer”/”Black Mountain Side”
13. “Kashmir” – (8:32)
14. “Out on the Tiles”/”Over the Top”/”Moby Dick”
15. Guitar Solo – (9:45)
16. “Achilles Last Stand” – (9:40)
17. “Stairway to Heaven” – (10:10)
18. “Rock and Roll” – (3:26)
19. “Trampled Under Foot”

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