ghedalia tazartes

Ghédalia Tazartès - Diasporas

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tazartès' first record, released way back in 1970. bizarre and captivating, the only consistent features are the shredded, looped, primitivist vocal backflips of this really cool looking cat.
his entire discography is terrific but this one is like treasure

roscoe holcomb

Roscoe Holcomb - An Untamed Sense of Control
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"Oh, but this is wonderful! The title comes from a quote by Bob Dylan, 'Roscoe Holcomb has a certain untamed sense of control which makes him one of the best'. One of the best? Come off it Bob. This guy was the best! And this album is as good as it gets. I am sure that Roscoe needs no introduction. His recordings on two previous Smithsonian-Folkways sets, Mountain Music of Kentucky (SF CD 40077) and The High Lonesome Sound (SF CD 40104) are testaments to his greatness. Now we have the cream on the topping.
Any number of people have tried to analyse just what it was that made him such a good performer. Was it his intensity as a singer, his voice straining on all those forced high notes? Was it the driving banjo, or the open-tuned guitar plying relentless notes behind that remarkable voice? Or was it rather that he was the total embodiment of all those varied facets that make up what we call the Appalachian style of music? Sitting here listening to Roscoe's voice working its way through the Frank Hutchison classic Coney Island it hardly seems to matter. No matter what the source of Roscoe's songs and tunes, they were his songs and tunes. And they were sung and played by a man whose whole life, his total experience of life, sparkled throughout his performances. Many people listening to Roscoe only heard the sound of pain and suffering, but I think that they were missing something. John Cohen, who has assembled this collection, gives the following quote from John Hartford, 'See, I really love Roscoe Holcomb's sound. These other people tell me I'm hearing all this pain and all this stuff - but that's not what I think of. I can't tell you what I feel - I just love it. Maybe there's some deep psychological reason going on that I don't understand with my limited hillability.' Roscoe's music stems from a number of factors. It is rooted in the hard life that he was forced to endure in the mountains of eastern Kentucky. It takes in the traditions that were all around him, the old ballads and love-songs, the Baptist hymns and chants, the blues 78s that were played on treasured Victrolas, performers on the radio. But, whatever the source, Roscoe's singing was, as I said, his and his alone."

sounds like: my bloody valentine for real

peter brötzmann

Peter Brötzmann - Machine Gun

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"Though Machine Gun (the original sleeve is pictured left) is certainly a dyed-in-the-wool classic, the two years of music surrounding it are equally worth considering. Breuker was active in the Instant Composers’ Pool starting in 1967, and had already recorded the large-scale work “Litany For The 14th Of June 1966” on Relax Records. Kowald was in the Swiss trio of drummer Pierre Favre and pianist Iréne Schweizer; they recorded Santana (PIP, 1968) later reissued on FMP. Parker at the time also worked with Pierre Favre’s group, recording for Wergo in 1968, and shortly thereafter joined Tony Oxley’s unit. Niebergall and Johansson were working in trumpeter Manfred Schoof’s group, which also included Gerd Dudek and Alexander von Schlippenbach. Johansson had augmented and then replaced drummer Jaki Liebezeit (later of Can).
There was a lot of music being made under the banner of “European free improvisation,” most of it equally arresting and just as heavy as Machine Gun. But the fact that Brötzmann’s ensemble is an international swath of players on the European free music scene is what makes it especially unique. Sadly, most of the connections it draws are beset by scant recorded availability.
It’s uncertain if Machine Gun and its brethren are the soundtrack for Vietnam, the Left Bank revolt or the washing away of Germany’s Great War legacy. The session isn’t exactly “dated,” even as Brötzmann and company have clearly evolved as musicians and composers since that time. In fact, it’s a blueprint for bands like Mats Gustafsson’s The Thing (hear them do “Ride the Sky”) and has fueled recent combinations of Ayler-esque fervor with punk-rock energy.
Certainly the natural reverb provided by Lila Eule contributed to its legacy as a stamp of presence for European improvisers (though I prefer the live recording as it separates the drummers), so dense is its aesthetic—not to mention that the title is often misconstrued as a veritable riot if not an assertion of purpose. It’s hard to say whether Machine Gun makes one want to take to the streets, but it does inspire a yell—and more than a few grins."

sounds like: machine guns, stabbings, rusty wheels, fun