Originally Posted by jico.

buy it.










MOORE, SAM
MOOOHIEEE!
(EM Records)
cd
21.00

Subtitled: Musical Saw And Hawaiian Guitar Soli Recorded In Early 1920s. That's what it is, and it's SO GOOD! We're in love with this sepia-toned collection of old time tunes, some of them lively rags, others sad slowed-down ballads made even sadder by the unique sound of the saw.
If Japan's EM Records (the same label responsible for reissuing both the "Symphony of the Birds" and the Moolah records we raved about last list) has anything to do with it, pretty soon we'll have a whole little "musical saw" section here at Aquarius! It's one of their several weird, wonderful obsessions (along with thrift-store exotica LPs, obscure '70s New Age psych, pioneering electronic experiments, etc.) and so there's a slew of releases on EM featuring the gorgeous, if sometimes gimmicky (but not here!) sound of the musical saw.
We're gonna start you out with this, music by Sam Moore, an early 20th century master of the musical saw ... who also plays a mean guitar too, and who is accompanied on most of these tracks by another talent of the era, Horace Davis. (Roy Smeck and Frank Banta also make appearances.) You'll get to hear Moore's "Octo-chord" (an 8-string steel guitar) alongside the "harp-guitar" (a guitar outfitted with extra, resonating strings) of Davis on their hit, the "Laughing Rag". But it's the tracks with the musical saw that grab us the most. Listening to those, you'll understand why this instrument, steel bent and bowed, is also often called the "singing saw". It's got a definite vocal timbre, maybe also a bit like the electronic Theremin in that regard. Wavering, wordlessly moaning, haunting and eerie. MOOOHIEEE! (Man, we'd love to hear John Jacob Niles accompanied by a singing saw, if such a recording were to exist. That would be perfect.)
Some background: Sam Moore (1887-1959), was a child musical prodigy who, having quickly mastered the violin, guitar and banjo, soon developed an interest in playing more eccentric, unconventional "instruments" as well. He'd been doing so from a young age -- Moore's father once claimed that Sam, as a child, had been able to "get music out of a pitchfork" (!) although sadly, no recordings exist to prove it... But we do know that at one point Sam Moore was part of a vaudeville act called "Spooning And Ballooning" in which he played an inflated rubber balloon, dueting with another fellow who played the spoons (of course). Another of his unusual instrumental specialties was (as documented on much of this fantastic cd) the carpenter's steel hand saw, which is something of a Southern folk music-making tradition. 'Round about 1918 Moore had taken to playing the saw, and was able to capitalize on the fad for the instrument in the early '20s, bringing his sawing skills to New York City's famed Ziegfeld's Follies for a successful stint on stage circa 1920-21. Although that fad soon faded, Sam Moore never abandoned the saw, keeping it in his instrumental repertoire as his career stretched into the '40s and '50s.
All the recordings found here date from Sam's sawing heyday in the Twenties... 13 tracks all taken from rare old 78 rpm records treasured by collectors. That these vintage recordings, warm and crackly, are so burnished with the patina of the past only makes sound all the better to our ears. EM has fitted this out in handsome digipack, the only disappointment being that the extensive liner notes are pretty much all in Japanese...

MPEG Stream: "Mother Machree"
MPEG Stream: "My Old Hawaiian Home"
MPEG Stream: "Old Black Joe"

www.aquariusrecords.org

Originally Posted by sarramkrop

John Fahey's Mill Pond Double EP (MP3s)

 

John Fahey occupies a unique place in the history of modern guitar music. He was able to merge country blues with influences like Bela Bartok, Charles Ives, and Indian ragas and somehow make it all work. Later he experimented with tape manipulation, samples, and even played the electric guitar. Apart from his own music, we have to thank Fahey for rediscovering blues musicians Skip James and Bukka White in the 60s and bringing them back into the recording studio. And for starting the careers of Robbie Basho, Leo Kottke, and George Winston on his Takoma label.
While Fahey earned a lot of respect for his music and influenced many other musicians, from Folk and New Age to Sonic Youth and Cul de Sac, he never really fit into any particular genre. And if that didn't already make him an outsider, he dissed the whole folk scene (Quote: "I remember when you'd go into a folk store, there'd always be a big sign up, 'Should Pete Seeger Go To Jail?' I'd always say, 'Absolutely. Because he sings such lousy music.'"), hated hippies, and despised New Age. When he was rediscovered by the indie crowd in the mid-90s, he collaborated with Cul de Sac and Jim O'Rourke and dismissed some of his own earlier work. To quote his old-time friend and collaborator Dr. Demento: "John did not really know the meaning of the word 'tact.' Or at least if he did, it didn't apply to him. He said what he thought, drunk or sober. Even if it hurt his own career and even if he knew it might, he still said what he felt."
His comeback in the mid-90s after a long fight with Epstein-Barr syndrome and heavy drinking was certainly helped by the release of an excellent 2-CD compilation "Return of the Repressed" by Rhino and two articles about Fahey by Byron Coley in Spin Magazine, all in 1994. At the time Fahey was living in a motel room in Salem, Oregon, where he subsequently recorded the Mill Pond Double EP and the full-length album "City of Refuge". The Mill Pond album was released in a very limited vinyl-only edition on Little Brother Records, and it is long out of print. So I offer an MP3 rip of my copy, unfortunately with a bit of surface noise, most notably on the first track. It is amazing lo-fi experimental stuff with some great Fahey vocals.

Disk 1: Ghosts | Garbage
Disk 2: You Can't Cool Off In The Millpond, You Can Only Die | The Mill Pond Drowns Hope

http://blog.wfmu.org/freeform/2007/0...aheys-mil.html

Originally Posted by jimbrim

This look's great, but i'm not sure how to download it, it says there are two seperate file's to download and merge together, yet the the file merger application doesnt seem to work for me.

Originally Posted by Bicorn Halfelven

Jim, I got ya covered... Badongo is kinda bullshit, so I've started using mediafire exclusively... as should everybody else.

Check my blog in my sig... scroll down and ye shall find.

Originally Posted by sarramkrop

Throbbing Gristle - Discipline (12'', Live 1981)

 

Tracklisting:

A Discipline (Live Berlin) (10:45)
B Discipline (Live Manchester) (8:06)
Download
http://porkforkdork.blogspot.com/

Originally Posted by Tokolosh

Um... I don't mean to bust your balls, but the Sunn O))) link I posted was from your blog and it's on Badongo.
Jimbrim is correct. The two files can't be merged properly and the last track is missing if you do.

Would you be so kind as to fix it Mr. Halfelven?

Originally Posted by Nefeli

Live Skull - Live Skull (1984)


megaupload.com/?d=UBV3NUPP

Live Skull - Bringing Home The Bait (1985)


megaupload.com/?d=HS8PBDIN

Live Skull - Cloud One (1986)


megaupload.com/?d=TJM7HV44

Originally Posted by sarramkrop

The Wind Harp - Song From the Hill



I've received countless e-mails requesting that I repost this as well. Sorry for taking so long, guys.






Click to download. (First half.)
Click to download. (Second half.)

The More You Know...
Year: 1972
Country: America

A fantastic double album documenting the unearthly sounds emitted from a giant hilltop harp constructed by a group of early '70s California hippies. The resulting sounds are eerie, ambient and pretty intense. This is organic drone at its finest.
http://take-off-your-shoes.blogspot.com/