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Lucky fucking bastard. |
Last night was my friend's birthday, he got some cubans and money so we cruised around smokin cigars and went around spendin money XD.
At best buy with some discounts:   And today used:  |
^^^ha ha ha
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TG - 32nd Annual Report
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viewtiful, what's on that Nas supplement? Is it just the bonus disc from the 2CD version?
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That was teh best sized picture I could find of the deluxe cover
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John Coltrane - Lush Life [remastered]
Jimmy McGriff - Groove Grease Mount Eerie - Dawn Dr. Lonnie Smith - Bugaloo To Beck Keith Fullerton Whitman - Playthroughs (I never owned my own copy) |
I went to the record store today and must have thumbed literally through 1,000 used and new records.
Nothing. |
 The second one doesn't fucking work, though (used). Gotta return it. |
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sometimes that is the fate of the record collector
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Yea, my record collecting has hit an incredibly long-lasting lull. I just can't get excited about anything I see. Maybe I need a better record store.
But these things always work themselves out. I did almost by a vinyl reissue of Oh My Gawd by the Flaming Lips. Maybe I'll go back and pick that one up. |
I'm awaiting delivery of:
 Alastair Galbraith Damo In Dunedin New very limited (50 copies) release on Galbraith’s own Nextbestway label and only available from Volcanic Tongue. This is an amazing set, documenting Damo Suzuki of Can’s visit to Dunedin on 24th February 2007. And sure, there have been endless half-assed local band blow-outs featuring Damo over the past few years but this is a really remarkable recording, not least for the band that Galbraith put together for the occasion, with himself on Velvets-damaged violin, Robbie Yeats of The Dead C on drums, Matt Middleton aka Crude on saxophone, Joan George on bass, Tristan Dingemans on guitar and Damo on vocals. The fidelity is classic Xpressway-style, a feel that’s beautifully compounded by the photocopied inserts with typewriter credits and every copy comes with a hand-painted collage on the back. The sound is wild, with Yeats’s punk-primitive approach to detonating time giving it the feel of a massively ragged Dead C blow-out. The set feels really organic, building into overloaded peaks of amp destruction and mainlined jams before fading back to spare repeat-o minimalist oblivion, while Damo makes with some of his most mantric incantatory vocals. The whole deal has a classic 90s underground feel and it’s easily the best fucking record that Damo has made since he pulled the plug on Can. Highly recommended. |
 On Vinyl. |
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clikatat ikatowi-river of souls
so i came across this cd in the used cd section at a record store. i used to have this on vinyl, but i sold it for some good money back in 2001 and now i know why i did. it's boring as hell. i would rather listen to earth crisis than this again. |
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I think I'll try to order that next week when I get paid, if they still have it. |
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not if yr after punkfunkskathrash |
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SIDES 1-4 double 7"and comic book sleeve features: SHELLAC / US MAPLE / BIG'N / BRISE-GLACE (Jim O'Rourke)
 SIDES 11-14 double 7" (both on colored vinyl) and 20 page comic book sleeve features: YOWIE / PRE / COLOSSAMITE (Deerhoof / Gorge Trio / Dazzling Killmen) / MULE (P.W. Long)  MELT-BANANA Scratch Or Stitch CD  |
Colossamite are amazing.
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noice.
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really noice.
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Thanks. I've found some really sweet albums on vinyl lately, like ones I've never seen anywhere else and have been after for ages.
That's right, I've never seen Milo Goes to College in any other store in any other format. |
I just scored this for a tiny amont of money. i had been after this for 10 fookin' years. So nice.
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Nice find, sir! Is that a scan from somewhere else, or a pic of yr actual copy? |
googled. I haven't got it here yet.
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OH my! Good purchase. Yr in for a treat! |
It is excellent. Just the kinda Jazz I was after.
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i don't have this one. I know it's a must have also yes.
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Among the most controversial recordings in the history of jazz, BITCHES BREW was Miles Davis' shot across the bow of jazz insularity, a bold statement about jazz's ability to draw upon elements of popular culture, without mitigating its spirit of spontaneous invention. Much as Ornette Coleman's THE SHAPE OF JAZZ TO COME set a new standard for harmonic and melodic freedom a decade before, BITCHES BREW signaled a sea change in jazz.
Davis became a lightning rod for jazz's transformation, by mixing the best elements of '60s free jazz with dancing funk rhythms, electric rock textures, blues phrasing and his own breakthroughs in harmony and modality. Davis employed the Electric Flag's Harvey Brooks to double up with upright bassist Dave Holland on the Fender bass, and he is the modal heartbeat of every tune, freeing up the multiple drummers and keyboardists to weave a complex polytonal/polyrhythmic web of volatile chords and colliding rhythms. Joe Zawinul's "Pharaoh's Dance" and Davis' "Bitches Brew" treat their multiple themes in a ritualistic manner, as several strata of voices engage the lead melody in exciting exchanges. "Spanish Key" offers a thrilling sense of tension and release, as the trumpeter navigates a "Sex Machine"-styled vamp with a terse, brilliantly constructed solo, revelling in his new guitar-like phrasing. "John McLaughlin" is Davis' tribute to the innovative guitarist; "Miles Runs The Voodoo Down" is a spooky, visceral melange of funk, blues and third world sources; and Shorter's "Sanctuary" is a moody ballad that builds to a fever pitch. The savage emotional power of BITCHES BREW and Davis' subsequent recordings cries out for a fresh critical reassessment. |
la mia vita violenta is awesome.
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 DVD:  To scrap my MP3 copies:   |
At the weezy show on thursday:
  (yeah weed and beer influenced my making this purchase..) |
Last night when me, my girlfriend, and my friends exchanged gifts:
 (my girlfriend got me this in addition to a mst3k boxset... so yeah.. I dont know XD)    |
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