freQ aZoi diAc

Spencer Davis Group-Gimme Some Lovin •Stereo• RESYNC 1966

2012-01-27T00:15:00.005-08:00

Enjoy the remixed Video I made in Quicktime a while back, syncing a Youtube video to the Stereo (longer) mix with portions from
the Live Germany gig too.

Uploaded by freqazoidiak on Jul 18, 2011

ok so this isn't Nsync, this is the RESYNC.

back in 2006 the youtuber "godzfire" posted the rare Spencer DG promo video shot in one of those Jet Set high fashioned malls of 1966. Pretty futuristic ! And you'll see little Stevie Winwood Gettin' his "hair did" with the space helmet! Pretty Futilistic! hahah anyways, I'm doing "GODZFIRE" a service because his post is dreadfully out of sync. I also used the FULL stereo mix, not the weird edit that was posted and tacked on to fill in the German Live set from early '67 probably from Beat Club. There were so many requests and threats to 'resync' it but none fullfilled so here you go GODZFIRE. You can grab it and repost it too if you want. PEACE AND NJOY.

moe averick- MIDDLE AGE HIPPIE BLUES- 1987-fraternity-USA-f3517-stereo

2012-01-09T13:38:00.000-08:00

moe averick- MIDDLE AGE HIPPIE BLUES- 1987-fraternity-USA-f3517-stereo - needledrop -

Video captured w/ sony dscf828 : ' Moe blues talkin' 'bout the 60's dream and how it's become corrupt! He does a fantastically hilarious Bob Dylan imitation at one point and talks about the irony of Jane Fonda doing 'sit in's, ending up doing ''sit ups' 'n scissor kicks in workout videos in the 80's.

Enjoy.. one of those rare gems I can't seem to get enough of.

AUDIO - VIDEO - flash required :

BOB BAIN-latin love-1959-MONO-capitol-Canada-T1201-LPCD

2012-01-01T02:27:00.005-08:00

BOB BAIN-latin love
1959-MONO-capitol-Canada-T1201
LPCD

FREQAZOIDIAC - UNIQUES

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a courtesy sharing mechanism - from the freQazoidiac A/V online club.

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BOB BAIN-latin love-1959-MONO-capitol-Canada-T1201-LPCD

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transcribed to digital format from original VINYL release - 2011

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NFO :
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BOB BAIN
Latin Love
1959- MONO -
Capitol Canada
1st pressing

-
Such a smooth and excellent engineered album. Quite
a mellow mood while adding his own flair to the "latin" sound
which is there, but he deviates in very creative modes while
accomplishing something that does not fail. Recorded sometime in 1959.
I posted this because there was not one Bob Bain album in torrent land.
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C O N T E N T S :

01-amor.aif
02-besame mucho.aif
03-frenesi.aif
04-green eyes.aif
05-yours.aif
06-perfidia.aif
07-the breeze and i.aif
08-maria elena.aif
09-you belong to my heart.aif
10-poinciana.aif
11-amoure solito.aif
12-brazil.aif
BOB BAIN-latin love-1959-MONO-capitol-Canada-T1201-LPCD
bobBainLatinLoveGRPHX.pdf
LPCD-BobBainLatinLove-Freqazoidiac-nfo.txt
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Technical :
____
Technics 1200mkII
AudioTechnica 150series MM cartridge
mackie u.420d firewire 24/96 mixer
Powerpc dual 1ghz
OSX 10.5.8
TC Spark XL

________________________________________________________________
EFFECTS-NOISE SHAPING-REDUX

Recorded flat-

Minimal Declick applied with CLICKREPAIR

NO Effects applied

NO Limiting/maximizing

________________________________________________________________
Ultrabitmax Dither applied
when downsampled from 24/96

Saved to lossless 16/44 .aiff CD ready files

_________________________________________________________________

__________________________
NFO FROM ONLINE SOURCES -

http://www.allaboutjazz.com/php/musician.php?id=16429

Born: January 26, 1924 Instrument: Guitar

Bob Bain earned his place as the number one guitarist for many Hollywood studios in the 1950s and ’60s. He played on countless jingles, albums, and soundtracks for television and movies. There were also many years of live radio.

Records by Frank Sinatra, including “Young At Heart” and “I’ve Got You Under My Skin”, featured Bain on guitar, as did records with his favorite male vocalist, Nat King Cole including “Unforgettable”. He also played on albums by Mel Torme, Peggy Lee, and Rosemary Clooney.

In the ’70s, a young, talented crowd of guitarists raised their axes and slowly began to dominate. Bain continued to record, write, arrange, produce and for 22 years he held the guitar chair for one of the greatest television orchestras of all time “ The Tonight Show Band. Through the years, Bain’s talent, respect, and generosity opened the doors for many other studio guitarists, arrangers, and musicians.

Bain was playing with the Phil Moore band, when a record date for bebop. Frank Sinatra wanted to record a bop record, so they decided Phil’s group was the one. So we did this record with Sinatra called “Bop Goes My Heart”, a sort of novelty bop recording. Sinatra had a little trouble hitting the flatted fifth.

They worked at places like The Macambo, on the Sunset Strip and La Papillon. When Phil worked there, Howard Hughes had the best table in the house, and it was reserved every night for him. Nobody ever sat at that table. No matter how crowded the place was, that table was empty. One memorable night, about midnight, Hughes, wearing a sports coat, tie, and tennis shoes, sat at the table. He requested “I’m Gonna Take A Slow Boat To China”, which the group played straight away. Hughes stayed about 30 minutes, then left.

When World War II began, Bain ended up in a U.S.O. group in Europe with actor George Raft and singers Louise Albritton and June Clyde. The troupe

toured England and North Africa, and spent time in Italy. George fell ill and returned home, but Bain and the ladies stayed.

Bain eventually came home, and in late 1945, he received a call from guitarist Dave Barbour. Dave played in the Benny Goodman Band and later married the band’s singer, Peggy Lee. He also worked with xylophonist Red Norvo and his sextet. Barbour told Bain he was working with Tommy Dorsey at the Casino Gardens in Los Angeles, and that he was going to stay in town when the band went on the road. Barbour arranged for Bain to sit in with the band one night and when Dorsey asked if he would like to play with the band, Bain responded with a resounding, “Sure!” He finished the remaining eight weeks at the Casino Gardens and went out on the road. Included in that band was Nelson Riddle on trombone, Buddy DeFranco on clarinet, and Buddy Rich on drums.

“I sat next to Buddy Rich for almost two years,” Bain explains. “He was the highest-paid member of the band, by far, and he had a feature spot in every stage show. It would just break the place up. There was nobody like Buddy. But he and Tommy would get into personality clashes, especially if Tommy made a motion that the tempo was not right. Buddy would get really upset with him for that. When Tommy called a ballad like “I’ll Never Smile Again” or “There Are Such Things,” which were very slow, Buddy would put his sticks down. He had a newspaper and he’d put it on the tom tom and while reading it, he would look at Tommy. That left guitar, bass, piano, and this big band. Tommy would be looking at me, and so the rhythm guitar had to move the band. It really got to be not funny. It was a constant bickering.”

“Tommy’s gag was to walk off the stage while Buddy was playing his drum solo and walk next door to have a drink. He’d come back and Buddy would still be playing his solo. Buddy would play until he dropped. Tommy had to bring the band back in to get Buddy to stop his solo. It was that kind of a thing.”

When Bain joined Tommy Dorsey, a recording ban was in effect. On August 1, 1942, James Caesar Petrillo, the elected national president of the American Foundation of Musicians, ordered his musicians to stop all recording. His argument was that if the record companies could not create some system whereby musicians were paid for the use of their recordings on radio programs and in juke boxes, he wouldn’t let them record at all. Practically all the big band leaders disagreed. Thus, there were recording marathons scheduled to beat the ban deadline, and many arrangements were done on-the- spot. At Decca Studios, Bain and Hoagy Carmichael recorded many tunes in this fashion.

For more than a year, no major company made any records with instrumentalists. Singers, however, were allowed to record, usually with chordal backgrounds. Peggy Lee and Nat King Cole would use “vocal ground” in the background to substitute for the band. Bain recalls a lot of “illegal” after- midnight recording happening with Hollywood big bands in 1943.

Finally, in November 1944, when the recording companies agreed to pay a union royalty, the strike ended. Unfortunately, the singers had taken over and the recording field would never be the same for the big bands.

During the ban, Tommy Dorsey compiled many good tunes written by Sy Oliver, including “Opus One,” “Chicago,” and “Sunny Side Of The Street.” These and many other songs and new arrangements in the book that had not been recorded were part of a studio marathon that lasted two weeks, two sessions per day, at RCA.

Bain left Dorsey and toured with the Bob Crosby Big Band. This was a more relaxed band, in contrast to the tight ship run by Dorsey. Crosby had a good book, a good band, and good arrangers working for him. And like his famous older brother, Bing, Bob sang ballads with the band.

However, in these great bands, the guitar was restricted to rhythm parts. Bain has always believed Les Paul was responsible for bringing guitars to the forefront. With two Ampex (microphones) in a room in Las Vegas, he and Mary Ford performed, and made records in their hotel room, going from one machine to the other. He often drove by Paul’s house on Sunset Boulevard.

“You could see Les’ garage from Sunset because it was right on the corner,” he said. “His light was always on and I’d just pull into the driveway, go back, and there’d be Les in his shirt sleeves, with two turntables, going back and forth, overdubbing. He was always wearing a short-sleeved shirt, and he was covered with solder burns. He was always tinkering with something. He was one of those guys, when you were talking to him, he’d pick the scab off. I’d say, ‘Les, that thing!’, and he’d say ‘I know, I can’t help it.’ He just kept doing it.”

Bain’s own band, The San Fernando Playboys, made recordings in Les’ living room. He later played local gigs and recorded with Harry James and his big band and then with Andre Previn and his trio.

At that time, Previn was working at MGM Studios and was one of the first film composers to write parts for the electric guitar. Fortunately, Previn brought Bain in to play them. The guitar intro section to the song “Mona Lisa,” recorded by Nat King Cole, was Bain’s idea.

“In the early studio days, the orchestrators would have the violas pick afterbeats with the horns arranged symphonically. Then they began to use rhythm guitar, which sort of got popular. At MGM, they were still using only one microphone to get the whole orchestra and one microphone on the piano. I had to sit on a riser. I needed a small ladder to get up on the riser, which gave me a shot at the microphone hanging from the ceiling.”

Bain played a blond Gibson L-5 with high action because its sound cut through the orchestra. He recorded several albums on RCA with Previn, still using his workhorse, the Gibson Charlie Christian model. The combination of his adept sightreading and studio finesse quickly put Bain in the first chair at several major Hollywood studios.

“Originally, in motion pictures, the only things you played were rhythm parts, which were chord symbols. A banjo part might have the melody written out. You would rarely get a mandolin part because most of the time, a violin player would double on the mandolin. Most guitarists tuned their mandolins like the first four strings of the guitar.”

Later, Bain began to record more mandolin and banjo. Examples of his banjo picking can be heard on the soundtracks to “Thoroughly Modern Milly” and “Around The World In 80 Days”.

As the guitar became even more popular, leaders often incorporated several guitars for the sessions. Producer Jack Marshall did a TV show called “The Deputy” with Henry Fonda. He had five guitars as the main sound of the orchestra. Bonanza featured the big guitars of Bain, Tommy Tedesco, Al Hendrickson, and Laurindo Almeida.

In fact, during Bain’s nonstop work at Capitol, he had to turn down a personal request from Frank Sinatra. “I did all the early stuff with Frank. When he wanted to do a concert tour of Europe I told him, ‘You can’t pay me enough to go, Frank. I’m making too much money here.’ Frank understood, and Al Viola went on the tour. Once Al did that, he continued working with Frank.”

Henry Mancini was another leader who preferred Bain. “Hank would always ask for me. In the 1960s, Bob Bain’s association with Mancini was extensive. Mancini played piano with the Tex Beneke Band, and Tex once played tenor for Glenn Miller. The band had a vocal group called the Meltones, featuring Mel Torme. When Mancini left, he moved to L.A. to get work as an arranger. When the “Glenn Miller Story” was being filmed, Mancini was hired as orchestrator. He knew the Glenn Miller sound because of this association with Beneke.

“Hank became very popular and everything he did featured guitar, especially the “Peter Gunn Theme”, Bain said. “I would get calls from New York. Somebody you never knew. The guy would say, ‘Are you the guitar player that works with Mancini?’ Yeah. ‘Well I got a leader coming out there and he wants Mancini’s guitar player for this record date. Would you hold it for me?’” This sort of thing happened a lot.

In 1958, Mancini became friends with producer Blake Edwards, who had this idea for a television show that eventually became the “Peter Gunn” series. Hank wrote all the music. The show sold and became an immediate bestseller. The session musicians were John Williams on piano, Rolly Bundock on bass, Jack Sperling on drums, and Bain on guitar. The same lineup was featured on the “Mister Lucky” series as well. Other great Bain/Mancini partnerships include “Breakfast At Tiffany’s”, accompanying Audrey Hepburn on the timeless classic “Moon River,” and “The Great Race”, with Natalie Wood doing “The Sweetheart Tree.”

Bain also performed on many radio shows over the years, usually with a small orchestra. These included “The Jack Benny Show”' “Fibber McGee and Molly,” and the “Judy Canova Show.” He played the Canova Show for 39 weeks “ every Saturday for three or four years. There would be a Saturday morning rehearsal, one show at 5 p.m. for an 8 p.m. broadcast in New York, a break, and then record the show again at 7:30 to 8:30 p.m. for the West Coast. All were done live.

Bain continued his busy studio regimen, recording some of the most memorable television themes to date. The theme from “M.A.S.H.”', “Mission Impossible” (played on a Silvertone bass), “The Munsters”, “Batman”, “The Pink Panther” and “The Ozzie and Harriet Show”. These themes were more like anthems for a generation; who can forget the melodies? The guitar’s perfect voice calling out, pulling us away from whatever we were doing, sitting us down in front of the TV, and preparing us for the drama, suspense, or laughter to follow. Bain’s guitar did just that.

Speaking of Bain’s guitars, compared to the arsenal of instruments and equipment brought to most of today’s sessions, Bain’s covey of songbirds filled his needs quite nicely. A 1953 Telecaster (the “Gunn” guitar) did the bulk of his film work. Its distinctive tone, combined with Bain’s touch, gave personality to the characters it supported. Think about it; Peter Gunn, Herman Munster, Batman, and the Pink Panther, can you think of another tone that would work?

Bob continued working in the studios until 1972. When they got word “The Tonight Show” with Johnny Carson may come to the West Coast. A few of the original members were Pete Chrislieb and Tommy Newsom on tenor, Ed Shaughnessy on drums, Ross Tompkins on piano, Jimmy Zito on trumpet, and Joe DiBortolo on bass, all under the direction of Doc Severinsen.

Bain played with “The Tonight Show” band for 22 years. Today, he continues to write, record, and produce. Recently, he has been performing with the legendary George Van Eps, and as always, thoroughly enjoys his family and remains a humble, gentle man.

Equipment:

Bain played a blond Gibson L-5 with high action because its sound cut through the orchestra. He recorded several albums using his workhorse, the Gibson Charlie Christian model. A 1953 Telecaster did the bulk of his film work. For jazz the Gibson ES-175. Acoustically Bain used the Yamaha 12-string and a Martin gut-string, a Rodriguez for classical work. Also in his stable a Silvertone bass and a 1935 Gibson L-5. His amplifiers consisted of a Fender Twin, a Benson and a Fender Princeton Reverb. Effects were a fuzzbox and a wah wah pedal. < Show less text

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FORUM-les baxter-THE RIVER IS WIDE-MONO-canada-sparton-Mira-1966-MLP3014-1644

2011-12-18T21:01:00.003-08:00

FORUM-les baxter-THE RIVER IS WIDE-MONO-canada-sparton-Mira-1966-MLP3014-1644

I was so excited to have found out about this LP. Mira was a very interesting label and this fits in perfectly.

I always liked the pop song that made

this group a hit, "the river is wide" which is a Phil Spectorish stab at pop-wonderfulness.

Indeed I had no clue who was behind

the song, even as I had the 45 I never looked at it close enough to know it was produced and directed by one of my favorite composers in Pop, Les Baxter.

I picked this up in a bargain bin at a record show a few years back in Ontario (canada) and knew I had struck a good groove with it once I saw Les on the back cover with the two Beehive betties flanking him. (he's a shorty) And on top of that, it's the rare MONO issue on Sparton Records from London Ontario. Thicker pressing than the Mira (usa) version.

There was a reissue by RevOla a few years back on CD from the Stereo tapes, and according to them, Les is conducting the "wrecking crew" to make this Pop-psychedelia heavenly slice of wax. I can hear Carol Kaye's fab, thick '66 style bass all over this.

I just imagine the crew, fresh with vibes from Pet Sounds sessions, doing an extra 3 hours

to come work on this session..or vice versa.. who knows! I'm sure Les Baxter inspired Brian Jones to

some degree. They were both on Capitol to bring that point home a little deeper.

An album that deserves to be heard, more than likely for the first time for many.

Aside from the youtube clip below, I have culled only 5 files
from this rare LP.In the future I have plans to offer the full album as a torrent.
Until then, Enjoy the direct download
link in comments

listen to needledrop of album :

O LUCKY MAN !-alan price-1973- OST - Canada Pressing

2011-12-08T17:00:00.001-08:00

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FREQAZOIDIAC - UNIQUES
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a courtesy sharing mechanism - from the freQazoidiac A/V online club.

TORRENT LOSSLESS

NOW SEEDING !!!

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NFO :
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The soundtrack to O Lucky man, flows in and out of the movie with an integrated
music video feeling, as they place Alan (originally in the first incarnation of the british Blues-Beat group, the Animals with Eric Burdon) and the band right within elements of happenings in the movie. It's so appropriate and they pull off the whole thing as you almost don't notice, or if you did in 1973, how would you approach or interpret the concept? As the music video was a few years off (but many Promo films were often made to push a single or LP before the 80's) this would be a fresh feeling (but others did do this in previous films, one case in point is another fabulous film by Nicholas Roeg "performance" with the mob-blues- rap by Mick Jagger's character, originally filmed late 1968 in the UK.

If you have not seen the movie, it's one of the great movies from
the 70's with many elements relevant or even moreso it seems today.
Excellent comedy with a message and dark and twisted nightmarish segments
really tie things to the 3 hour area of watchability.
The lyrics of the soundtrack reflect the topical visuals and storyline, also perfect
reflection of many issues and political viewpoints of this day.
Funky Power pop is the best I can describe this album, but it has more than that. At times
also sounding like Harry Nillson at his best with diverse instrumentation and themes.

From the original Canadian gatefold stereo Issued in 1973 on Warner.
This has in recent years been re-issued on CD according to Amazon.
If you are to peruse the CD reissue(s), it seems people are unhappy with
the newer "collectors choice" RE, and enjoy the first WB Cd issue from the 90's much
more as it has less 'noise'.
Also a note about the running order on the LP sides. If you look on the label,
you notice you get true Track order listings. Most if not all other LP's
start the number count for tracks over on side two. (ie. side A tracks 1-5 side B-tracks 1-6 ) but O LUCKY MAN idicates 1-5 side one, then continues 6-10 on side two.

~oatstao

pierre monteux-paris conservatoire orchestra-stravinsky-RITE OF SPRING-1957-RCA-USA-MONO-LM2085-1644 LPCD

2011-12-05T03:00:00.001-08:00

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FREQAZOIDIAC - UNIQUES

__________________________

a courtesy sharing mechanism - from the freQazoidiac A/V online club.
TORRENT LOSSLESS NOW SEEDING
__________________________

pierre monteux-paris conservatoire orchestra-stravinsky-RITE OF SPRING-1957-RCA-USA-MONO-LM2085-1644 LPCD

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transcribed to digital format from original VINYL release - 2011

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NFO :
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Stravinsky*, Pierre Monteux, Paris Conservatoire Orchestra* – The Rite Of Spring (Le Sacre Du Printemps)
Label:
RCA Victor Red Seal – LM-2085
Format:
Vinyl, LP, Album
Country:
US
Released:
1957
Genre:
Classical
Style:
Modern

"New Orthophonic" High Fidelity.
Recorded in France.
Made/printed in U.S.A.
© by Radio Corporation of America, 1957.

Each side is a single part consisting of several "episodes which succeed one another without pause."
Cover art is "Charmeuse de Serpents" (Snake Charmer).

* Matrix / Runout: G2RP-9807
* Matrix / Runout: G2RP-9808

-
A very strong performance and excellent engineered audio session by RCA victor.
Recorded in France. There are a few slight trouble spots on the LP copy
I transcribed it from
but it shouldn't be an issue overall.
Dynamic music that has heavy parts and whimsical emotives, the orchestra and
conductor
playing Stravinsky with method and dedication.
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C O N T E N T S :

01-the fertility of the earth.aif
02-the sacrifice.aif
LPCD-MONTEUX-Freqazoidiac-nfo.txt
pierre monteux-paris conservatoire orchestra-stravinsky-RITE OF SPRING-1957-RCA-USA-MONO-LM2085-1644 LPCD
PierreMonteuxRiteGRPHXLPCD.pdf
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LP tracks :
(as shown on label)
01-the fertility of the earth -side 1
02-the sacrifice - side 2

-sub tracks broken down on discogs.com

A1 First Part: The Fertility Of The Earth
A1a Introduction
A1b Dance Of The Youths And Maidens
A1c Dance Of Abduction
A1d Spring Rounds
A1e Games Of The Rival Towns
A1f Entrance Of The Celebrant
A1g Kiss To The Earth
A1h Dance To The Earth
B1 Second Part: The Sacrifice
B1a Introduction (The Pagan Night)
B1b Mystic Circle Of The Adolescents
B1c Dance To The Glorified One
B1d Evocation Of Ancestors
B1e Ritual Performance Of The Ancestors
B1f Sacrificial Dance
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VERY SIMPLE THINGS WE ASK-
AS FOLLOWS!

IMPORTANT!! -
FOR SEED REQUESTS & BUMPING, ECT
LEAVE YOUR REQUEST IN COMMENT AREA
NOT PRIVATE MESSAGE.

ALSO-PLEASE LEAVE A COMMENT HERE (OUT OF RESPECT
FOR TIME TAKEN TO PUT THIS PACKAGE TOGETHER) OR @
__________________________

http://freqazoidiac.blogspot.com

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freqazoidiac LPCD

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files included in original freqazoidiac package (please keep integral)

BURN TO CD FOR AUDIO PLAYBACK

OR DRAG FILES INTO YOUR FAVORITE DIGITAL PLAYER

________________________________________________________________
Technical :
________________________________________________________________
Technics 1200mkII
AudioTechnica 150series MM cartridge
mackie u.420d firewire 24/96 mixer
Powerpc dual 1ghz
OSX 10.5.8
TC Spark XL

If you do not know what AIFF is, it is similar to WAV.
Every modern player and converter handles AIFF.
By Default every CD burner handles it.

________________________________________________________________
EFFECTS-NOISE SHAPING-REDUX

Recorded flat-

Minimal Declick applied with CLICKREPAIR

NO Effects applied

NO Limiting/maximizing

________________________________________________________________
Ultrabitmax Dither applied
when downsampled from 24/96

Saved to lossless 16/44 .aiff CD ready files

_________________________________________________________________

http://freqazoidiac.blogspot.com

__________________________
NFO FROM ONLINE SOURCES -

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[IMG]http://i231.photobucket.com/albums/ee91/freqazoidiac/demonoidFreqPics/LPCDLogo2011-450x.gif[/IMG]

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Paul Primeau Threez Company Live At Sheraton Viscount Windsor Canada 1971

2011-11-19T02:25:00.000-08:00

Paul Primeau Threez Company Live At Sheraton Viscount Windsor Canada 1971

Aside from the youtube clip below, I have culled only 4 files
from this rare LP.
In the future I have plans to offer the full album as a torrent.
Until then, Enjoy the direct download (in 2 parts)
link in comments

According to the LP back cover notes, 'Threez Company' was formed in the beginning
of 1970. With Paul Primeau (capricorn drummer) at the top of the organization
he had in mind a Trio where he added Chris J. Steed (aries piano songwriter) and
Thom Morand (scorpio bass) to complete the 3 sided musical form.

It's a darn good recording. I truly don't think it was recorded at the Sheraton, unless the
Sheraton had a sound recording facility. You can see in the pics they are obviously
in studio, not in Club.
Funny joke!

Rare to hear Guess Who? recordings being covered. I am happy with their version
of the song 'sour suite' from the 1971 album SO LONG BANNATYNE .
They have this very cool and odd hybrid style.
For example their cover of "Proud Mary" by CCR ( an oft. covered cover)
it starts with the classic Chord phrasing of Latin piano swing.
Being a huge latin music fan, this is a hybrid that clickity clicks.
The Chris Steed original composition 'grains of sand' is pure Latin Piano Groove.
You may think this came out of a certain area of Newyork city early 70's.
Another Chris Steed original called "expressions reflected" is like a GOOD
Blood sweat and tears song, with a garage psych vibe and of course more great piano
and even a tripped out echoplex ending. If they had a guitar player, there would
be fuzz in this song. hahah ;)
In the youtube video clip you can hear abit of each track. An interesting
take on 'America' "horse with no name" is an attempt for that band to sound like
Neil Young.

For more piano fever, they even cover a song by Francis Lai! "Love is stronger far than we"

Paul Primeau Threez Company Live At Sheraton Viscount Windsor Canada 1971-1of2

http://youtu.be/neJC_NE9VbA

Paul Primeau Threez Company Live At Sheraton Viscount Windsor Canada 1971-2of2

http://youtu.be/QjqFGu4WRcM

Moog Machine SWITCHED ON 1969 Rock - moog cookbook

2011-11-19T02:23:00.001-08:00

Moog Machine SWITCHED ON 1969 Rock needledrop

One of the best Moog rock albums that exploits the Moog, but keeps it organic, flowing
cheesy, fat, and with live drums is also an early amalgamation of the forms.

Aside from the youtube clip below , I have culled only 1 files

from this rare LP.

In the future I have plans to offer the full album as a torrent.

Until then, Enjoy the direct download and video

link in comments

http://youtu.be/KVc_fkKF1p0

Al Bruno Town & Country Guitar-ARC CANADA 1960-needledrop

2011-11-19T02:20:00.001-08:00

Al Bruno Town & Country Guitar-ARC CANADA 1960-needledrop

For those that play guitar, this may just be a treat to hear. It is for me.
I play and I also love many styles. This guy is excellent for his age.
He's known in Canada still, but not as well as some others.
All recorded somewhere in Canada with an unknown band.
Very tight, funky and skillfull.
You can pick out many guitar lines that were used as of even recently
in full songs. Many Jimi Page phrases (no shit) on this LP.
it comes from the source called Muse-Ick so it's all fair game.

Aside from the youtube clip below, I have culled only 4 files

from this rare LP.

In the future I have plans to offer the full album as a torrent.

Until then, Enjoy the direct download !

link in comments

Al Bruno Town & Country Guitar-ARC CANADA 1960-needledrop

http://youtu.be/zbP-DS-oSm8

•7 INCH SPOTLIGHT• Stealers Wheel star / what more could you want stereo 1973-canada

2011-11-14T03:42:00.001-08:00

•7 INCH SPOTLIGHT•

Stealers Wheel

star / what more could you want

stereo 1973-canada

listen to the single-both sides at lower quality streaming A/V:

DOWNLOAD LINK IN COMMENTS FOR 16/44 version

•7 INCH SPOTLIGHT• LONNIE MACK- memphis / down in the dumps GORDY-Canada-MONO 1963

2011-11-14T03:37:00.002-08:00

•7 INCH SPOTLIGHT•

LONNIE MACK-

memphis / down in the dumps

GORDY-Canada-MONO 1963

listen to the single-both sides at lower quality streaming A/V:

DOWNLOAD LINK IN COMMENTS FOR 16/44 version

•7 INCH SPOTLIGHT• ray Bryant CIty Tribal Dance-Little Suzie Stereo 1967

2011-11-14T03:34:00.001-08:00

•7 INCH SPOTLIGHT•

RAY BRYANT-

city tribal dance / little suzie

stereo 1967 Chess-canada

listen to the single-both sides at lower quality streaming A/V:

DOWNLOAD LINK IN COMMENTS FOR 16/44 version

•7 INCH SPOTLIGHT• TOMMY BOYCE & BOBBY HART Goodbye baby / Alice Long 1972 Canada-MONO 45

2011-11-14T03:30:00.001-08:00

•7 INCH SPOTLIGHT•

TOMMY BOYCE & BOBBY HART

Goodbye baby / Alice Long

1972 Canada-MONO 45

listen to the single-both sides at lower quality streaming A/V:

DOWNLOAD LINK IN COMMENTS FOR 16/44 version

•7 INCH SPOTLIGHT•GRIFFIN-Mississippi Lady-Whatever Happens 1972 STEREO 45

2011-11-14T03:26:00.001-08:00

•7 INCH SPOTLIGHT•

GRIFFIN-

Mississippi Lady-Whatever Happens

1972 Canada-STEREO 45

listen to the single-both sides at lower quality streaming A/V:

DOWNLOAD LINK IN COMMENTS FOR 16/44 version

Download 16/44 CD quality version below

•7 INCH SPOTLIGHT•FAMILY-My friend the Sun / Glove 1972 Canada STEREO 45

2011-11-14T01:26:00.002-08:00

Thanks for stopping for a moment to see our first new type of posting.

I have many 45 - 7" singles I want to share and end up archiving many
but don't have much time. But the time I have had to work on this segment
to focus on the 7" vinyl disk, is fun and I'm happy to be able to use the web
to give you a A/V preview and a lossless download link of both sides.
Lossless at 16/44 CD specs from original singles.

Up first is :

FAMILY-My friend the Sun / Glove
1972 Canada STEREO 45

listen :

DOWNLOAD LINK

IN COMMENTS

Pump It UP (HIP HOP TV) BIZ MARKIE LIVE Beastie Boys-dee barnes LOST TV- 1991 G-son aka - BIZ VS. NUGE

2011-10-23T23:34:00.003-07:00

WATCH :

Pump It UP (HIP HOP TV)

BIZ MARKIE LIVE

Beastie Boys-dee barnes

LOST TV- 1991-rare G-son

aka - BIZ VS. NUGE

This is a near mythical "lost" Episode of Pump It up - Hosted by Dee Barnes
(the one that got knocked out by that Satanic hip hop producer Dr Dre of NWA fame)

This was recorded the day it aired in summer of 1991.

Biz was promoting the "I need a haircut" album and they tied in the Beastie boys and
you see the Live performance of Biz vs. nudge (sp?) that the Beasties ended up tacking
onto the So whatcha want Single a few years later.

We had this up on our old channel but in worse quality and we have since shared the
footage with the Beastie boys museum in Europe so it quite possibly may make it onto a compilation.

They told me that this was officially lost and it was very rare. Seems it is at least rare, as
others have Pump It up footage, but never this episode. Hope the suits don't try to take
this down. It's here for you, the fans of hip hop.

Technical : recorded from TV bringing in feed from "antenna"

to MONO VHS VCR , mid grade tape.

Dumped to digital DC30+ PCI card

WATCH THE 7 PART SERIES :

(if problem viewing on the blog, go to youtube.com/user/freqazoidiak

and search for " PUMP IT UP-BIZ MARKIE" )

*****************

****************

If a problem seeing the video visit :

www.youtube.com/user/freqazoidiak

SHAKIN-ALL-OVER canadian 60's GARAGE FUZZ PUNK psychedelic documentary

2011-10-23T23:23:00.001-07:00

WATCH :

SHAKIN-ALL-OVER canadian

GARAGE FUZZ PUNK psychedelic documentary

Segments from the made for TV documentary put out through CBC

in mid 2000's.

An obvious pat on the back for those involved. If only the corps had the true foresight

not to erase most tapes of Let's Go, ect. Amazing some of this footage exists,

as they really treated it as disposable TV. Worth alot now, not then, only commodity charts.

Sad there is scant Mashmakhan footage.

WATCH THE 9 PART SERIES :

(if problem viewing on the blog, go to youtube.com/user/freqazoidiak

and search for " SHAKIN-ALL-OVER "

If a problem seeing the video visit :

www.youtube.com/user/freqazoidiak

WATCH :MOTOWN MUSIC IS FOREVER-40th anniversary TV special VHS

2011-10-23T04:05:00.003-07:00

WATCH :MOTOWN MUSIC IS FOREVER-

40th anniversary TV special VHS

In a continuous series of digital transfers from VHS
'oatstao' is sharing this TV episode special from 1998.

11 parts below.

If a problem seeing the video visit :

www.youtube.com/user/oatstao

WATCH THE 11 PART SERIES :

(if problem viewing on the blog, go to youtube.com/user/oatstao

and search for " Motown 40th TV special"

and also for part 5 and 7 which youtube rejected go to :
http://www.dailymotion.com/freqazoidiac

************************************

Part 5

http://www.dailymotion.com/video/xm9n3t_motown-40th-tv-special-1998-part-1-5_music

MOTOWN-40th TV special 1998 part 1.5 by freqazoidiac

************************************

part 7

http://www.dailymotion.com/video/xm9oip_motown40-part1-7

motown40-part1.7 by freqazoidiac

************************************

WATCH :Robbie Robertson Documentary - canada 2001- the band-bob dylan

2011-10-23T03:41:00.001-07:00

WATCH :Robbie Robertson Documentary -

canada 2001- the band-bob dylan

In a continuous series of digital transfers from VHS
'oatstao' is sharing this interesting documentary seen on
Canadian Television early 2000's.

3 parts embedded below.

If a problem seeing the video visit :

www.youtube.com/user/oatstao

_______
part 1 of 3
_______

part 2 and 3 to come *

DO TURNTABLE PROTRACTORS REALLY MAKE A DIFFERENCE FOR SETUP ?

2011-10-16T08:14:00.001-07:00

I finally got around to wrapping my head
around alignment protractors to
get the most out of my turntables' transcription ability.

A while ago (few years) I had been stumped by some other Protractor
that I didn't really get, so I did not pursue it.

I then revisited the idea after reading about Seb's Arc Protractors online.

I personally had no issues using the standard Technics tool
for aligning my cartridge to the headshell.
It's still not a bad choice. But what I learned recently
shows defining proof that the Protractor gives you the most
refining possibility.

For one of the most helpful and free (you can donate via paypal)
resources for dialing your turntable into it's absolute best,
visit :

http://www.vinylengine.com/cartridge-alignment-protractors.shtml

For most Turntables and for what I'm focusing on the TECHNICS SL-1200MKII series

you can find effective protractors under

"Seb's Arc Protractors"

*image above is an example..do not use this image

to print for your template. Go to the actual

vinyl engine site and download the PDF

with the proper dimensions.

Before I get into details about my test and the results, I have to say using this method
I do get a positive very clear enhancement in the reading of grooves by my 1200
and Cartridge of choice.

After setting up 3 different Carts, the proof was there with all 3.
The carts I used : audio technica AT150mlx, AT554sa and the Nagaoka MP50

I have read rhetoric like "amazing new details revealed when using protractor" or "HUGE increase in lower distortion" ect ect. I DO believe some amazing changes could occur, but if you took the time
initially to set your turntable up with the white technics overhang gauge and zero out your
balance points and tweak your arm height for your individual cartridge, you should experience
a SUBTLE benefit. This is also keeping in mind you also know how
to use Anti Skating, and have a noise free system from link to link .
There is nothing that will knock your socks off like some act. It's a welcome
benefit, but I stress, it's not a new dimension in the way you hear a record.

Ok, now to the test results.
The Cartridge I'm spotlighting here is the lowest end Cart of the 3 I own, but it's no
slouch. It's an older Audio Technica (1974) AT554sa with Shibata diamond cut.

__________________________________________
CLICK ON PICTURE BELOW TO
SEE A HIGH QUALITY CLOSE UP
OF SONOGRAPH DATA -
EASY TO SEE THE SUBTLE CHANGES !
__________________________________________

RECORD A-
SONOGRAPH DATA :
taken from 'DAKOTA STATON sings
ballads and the blues'
*original Mono Capitol pressing

A-1 : this is the example with the technics overhang
gauge settings

A-2 : this is the example with the Baerwald Arc
Protractor settings

RECORD B-
SONOGRAPH DATA :
taken from 'Various artists play
ROCK HITS' mid 70's canadian
unknown studio band (this LP
has bad dynamic range and lots of
noise/tape hiss present)

B-1 : this is the example with the technics overhang
gauge settings

B-2 : this is the example with the Baerwald Arc
Protractor settings

RECORD C-
SONOGRAPH DATA :
taken from 'Chris Montez'
45rpm MONO single
"call me / go head on" 1966

A-3 : this is the example with the technics overhang
gauge settings

B-3 : this is the example with the Baerwald Arc
Protractor settings

SUMMARY :

I see a clear difference when dialing in to the Arc Protractor.
What is visually seen in the Sonograph data, is some obvious higher end clarity and
data retrieval in all the examples, the most subtle being the first LP.
The 45, you can see very readily the extended frequency range retrieved with the
Baerwald settings.
You can see I have inverted a small passage on each just for contrast purpose
and have the pink box at top to see another contrast of diffusion of higher frequency as
it rolls off above 33khz.

What is also apparent to me is what looks like 'smearing' of data with the
Technics overhang guage settings. It seems boosted in sections with strong
energy but it's a loss of detail. That makes sense especially when one can
see the fine details being traced with the Baerwald settings and some 'air'
between notes. The sound could be described as fuzzy or smeared with the
Technics settings. At times sounding aliased even.
I stress, this is MINOR, but it is apparent.
For instance, the 2nd LP is part of a disco track that had an analogue
drum machine mixed deep into the sound. On the first setting, it sounds more
digital like. With the Baerwald setting, it stands out a little more in space of
the staging, and sounds organic, without an aliased sound.

I gathered with my time, a very revealing and 'sound' test (excuse the pun)
This turns out to be one of the few, free, effective tweaks anyone can do.
I highly recommend it if you want the most out of your vinyl.
(oh and a cartridge that is at least Shibata or Micro-line)

AUDIOPHILE MYTHS- PART 1B - external video- AUDIO MYTHS WORKSHOP by Ethan Winer

2011-10-16T04:06:00.000-07:00

CURIOUS ABOUT PHASE SHIFT AFFECTING YOUR CABLES OF CHOICE?

JUST ONE OF MANY AUDIOCENTRIC MYTHS BUSTED !

Uploaded by EthanWiner on Jan 13, 2010

description from : http://www.youtube.com/user/EthanWiner

This is a video version of Ethan's Audio Myths workshop from the October 2009 AES show in New York City. For copyright and other reasons, Part 1 of this video includes only a portion of the live event that also featured James Johnston, Poppy Crum, and Jason Bradley. Parts 2 and 3 present a more focused recreation of my presentation, including many topics we didn't have time for at the live show.

In this video you will hear what phase shift sounds like, compare high- and low-end converters, learn about proper test methods, understand why hearing is not as reliable as test gear, and much more. So set aside an hour when you won't be disturbed, and enjoy.

The original high quality example Wave files mentioned in Part 3 can be downloaded from Ethan's web site: http://www.ethanwiner.com/aes

DON'T GET CRUSHED BY THE MONSTER PRICES OF BOUTIQUE CABLE

HOME DEPOT HAS THE

SAME QUALITY

BY -THE -FOOT

ON SALE FOR
$3 A FOOT ALL
YEAR ROUND

THE GUESS WHO ? chad allan expressions-Shakin all over-1964-Quality MONO-canada-V1756 LPCD

2011-09-28T21:41:00.000-07:00

TORRENT ACTIVATED-NOW SEEDING

the original MONO 1st pressing of the Guess Who's first LP.

NFO :

From the year 1964, comes the band that eventually became probably, the biggest and most

well known rock group from Canada. Initially under the tutilage of a one Mr.Chad Allan

from Canada (he seriously is a musical genius) the band (which included the nucleus

of what would remain a driving creative force of Pop Rock goodness until the current

day) would chart massive success first in Canada, then the USA and to the astonishment of the band, worldwide. This album is PRE- Burton Cummings, who would fly in from a dynamic

Garage band around the corner to add I guess the band thought, some "sex" appeal. But as Guess Who fans know, he's no slouch musically, handling a deft vocal range, keyboards, guitar, and flute among his bag of tricks. A perfect replacement for Chad Allan, and listening to this first album, it sounds like Burton at times, but this is Burton emulating Chad, and Chad emulating Cliff (Richards). haha.

Following is a nice bit of info from www.hillmanweb.com ( a tribute to Chad and the Guess Who) :

THE GUESS WHO CONNECTION:

THE CHAD ALLAN YEARS

Crossed-Paths Anecdotes

by Bill Hillman

In the late '50s, the radio ads for a new Winnipeg rock 'n' roll band drew my attention. I had just bought my first electric guitar, a shiny black, Les Paul-shaped instrument with gold fleck and white binding. It was made by the Harmony guitar company for the Simpson's-Sears Company of Canada and was called a Silvertone. Obviously this guitar left an impression on this new group of young musicians led by Chad Allan (Allan Kowbel) as they had named their new group: Allan and the Silvertones.

Bill Hillman

and his Silvertone Guitar

Allan and the Silvertones

Business Card

Allan Kowbel, Johnny Glowa and

Ralph Lavalley: Early Silvertones

In 1961 I packed up my ever-present Silvertone and moved to Brandon where I had enrolled in a Bachelor of Science programme at Brandon College. My first years in college in the early '60s were exciting musical times. I was performing in a country band on a daily TV show, a jazz combo, pick-up bands, old-time groups, and various rock bands where I played guitar instrumentals for four hours a night. The manager of one of these rock bands also owned the Brandon Roller Rink which featured some of the top USA touring bands of the day: Ventures, Fireballs, Conway Twitty (when he was a rocker), Johnny Burnette, Dorsey Burnette, black blues bands, Bobby Curtola, etc. Through our connections with the manager we got to see and meet them all. There was, however, a local band that consistently drew as well as the American acts: Chad Allan and the Reflections from Winnipeg.

For years I had been importing records and magazines from England through friends, relatives and obscure record catalogues: mainly LPs by Lonnie Donegan and his Skiffle Group, and later, Cliff Richard and the Shadows. Strangely, many of the first folk and blues songs and guitar riffs I learned were by way of Donegan who had adapted London library archival blues and folk recordings from America into a music craze that swept England in the '50s. In these pre-Beatles days very few bands did many vocals so I was on a constant search for good guitar instrumentals. England's Shadows with Hank B. Marvin's unique Stratocaster interpretations fit the bill nicely and provided material that wasn't available to most other guitar players of the time.

Whenever the Chad Allan band came to town however, I was thrilled to hear that they were tapping many of the same sources I was using for music ideas. They owed much of their stage presentation, sound and show material to the current British music scene and they obviously had a trans-Atlantic pipeline similar to the one I had found. Later I learned that the source of most of their material was through collector extraordinaire, Wayne Russell, whom I would meet many years later when he moved to Brandon to take over the operation of a specialty record store.

Lead player Randy Bachman played a Gretsch similar to the one I used but thanks to an innovative tape delay setup he was able to get authentic Shadows sounds that would make any lead player drool in envy. Drummer Garry Peterson was one of the best drummers I had seen anywhere and bassist Jim Kale livened every show with his onstage antics. In those years it was very hard to mike pianos to get a good sound but the band's sound system made good advantage of Bob Ashley's piano fills.

Singer/rhythm player Chad Allan had a unique voice, somewhat similar to Cliff Richard's in tonal quality. By the time the Beatles phenomenon hit Canada, many Chad Allan fans actually thought that the fab four were imitating the Reflections as the band had been doing Beatles songs with authentic arrangements and harmonies long before they became popular over here. The first time I saw them they were working toward releasing some of their unique stage material on record: A Tribute to Buddy Holly done with a Shadows sound, a rockin' piano instrumental actually written by Chad and a driving guitar number by Randy that he pieced together from imported British guitar instrumentals: Made In England. This was big time!

Throughout the '60s the Reflections, later to become the Expressions and still later the Guess Who, played Brandon many times in many different venues: the Brandon Roller Rink, the old Brandon Arena, Brandon University Gym, CFB Shilo and probably a few more I've forgotten. I attended most of these shows and along the way developed a passing acquaintance with the guys.

The band was one of the few prairie bands that was successfully releasing records and most of the local fans and musicians were intrigued by this. We looked forward to each new release by them. I remember requesting the same song, show after show - a song which jokingly became known between us as "the one with the shivering minors." (Actually there were no real minor chords in the song but Randy's distinctive use of his Bigsby tremolo gave it a driving minor feel.) It was obvious to me that this song had to be their next recording project: Shakin' All Over. (Listen)

I attended summer school at the University of Manitoba in the summer of '63. One of my courses was Atomic Physics and coincidentally Chad Allan was also taking the course. He mentioned that he, Randy Bachman and Jim Kale were playing downtown every night in the Gold Coach Lounge at the Town and Country nightclub. Garry Peterson wasn't allowed to play with them in the lounge because he was underage but for some reason he was given permission to play in the house band upstairs in the main dinner theatre.

From then on, too many of my nights were spent in the T&C lounge - time that obviously would have been better spent studying physics and calculus. The music was great and the audience in this small intimate room was almost as entertaining as the band: brawling Winnipeg Blue Bomber football players, ladies of the night with their sugar daddies, media personalities and radio DJs, musicians, groupies, young and old, rich and poor. During one of the breaks each night I would make a reconnaissance trek over to the nearby Marlborough Hotel lounge to check out the size of the crowd that the rival band, The Squires, had drawn. I'd hear a few songs by this group that featured another Gretsch player - a singer with an unusual voice - and then rush back with my report to the band and to catch the rest of the shows. The guitar player with the unusual voice was actually NeilYoung who later moved to California where he did quite well.

The Original Guess Who

During this summer I was invited over to Chad's parents' house a number of times - a few times to study physics together which didn't work out too well as we spent most of our time discussing music - and another time after the lounge closed when he and Randy shared the excitement of showing off their new Rickenbacker guitars that had arrived from the States earlier that day. They were a tad disappointed in the instruments as they appeared to be 3/4 size guitars . . . much smaller than what they had expected.

Randy had admired my Gretsch Nashville Chet Atkins model guitar and when I mentioned that my dad could order them wholesale through his business he asked if I could order him one (Soon after another acquaintance was able to import one for him from the States and we didn't follow through on the venture). Randy's familiarity with my Gretsch served me well, however. The guitar was stolen from me a year later, and sometime after that I got word from Randy that he had recognized the instrument in a Winnipeg Main Street pawn shop. I contacted the RCMP and eventually my guitar was returned... after a year's absence. This early exposure to Gretsch guitars has had a lasting effect. I eventually collected five of them . . . and Randy went on to amass the largest collection of Gretsch models in the world. His collection now makes up the bulk of the guitars hundreds of guitars at the Gretsch Museum.

At the peak of the explosion of teen bands in Winnipeg in the mid-'60s we often drove in from Brandon to play community clubs, arenas and school gyms in the area. Our most memorable gig, however, was on November 16, 1964, when we opened a show for the Everly Brothers, Roger Miller and the Newbeats at the Winnipeg Auditorium. Following our opening set we backed Larry Henley (years later Henley wrote Wind Beneath My Wings) and the Newbeats as they did all their hits. Adding to the thrill of appearing on this show was the satisfaction of seeing all the members of the Chad Allan and the Reflections group seated in the front row of the audience. A month later we started a winter tour as backup band with Canadian pop star, Bobby Curtola - a job that Chad Allan and the Reflections had done a year earlier.

Dovermen Opening for Everly Bros. & Roger Miller ~ On Tour with Bobby Curtola

Chad Allan and the Reflections On Tour With Bobby Curtola

Sometime in '65 or '66 Sue-On and I attended one of the band's shows in Brandon, probably at the Brandon University gym. We were invited to their hotel room for an after-show reception where I proudly introduced my fiance to the band. Soon after, on one of my regular visits into Winnipeg to see Sue-On during our forced separation in the winter of '65/'66 we managed to see the band at Transcona's Pink Panther club - a show where Chad and newcomer Burton Cummings shared the spotlight as lead vocalists. This was one of Chad's last performances with the band.

Around this time we attended another of the band's shows in the Brandon Arena in which they shared the bill with an up-and-coming young singer whose main claim to fame at that time was that he had written a song for the Monkees: Neil Diamond.

In the '67/'68 TV season I managed to tape most of the CBC Winnipeg Let's Go shows on my audio reel-to-reel recorder. This collection of shows is a unique time capsule of the mood and hits of the late '60s and it is also an interesting curiosity piece for any Chad Allan and Guess Who fans. By this time Chad had departed from the group but was hired by CBC to host this weekly TV show which showcased the Guess Who as the feature band.

Let's Go on CBC: Guess Who with Chad Allan as host

In 1968, while we were performing at the Junior Ranks Club at CFB Shilo, the Guess Who came into the club after a CBC-TV taping on the base and jammed with us into the wee hours. Burton played Sue-On's Hohner electric pianet keyboard while Randy played through my Fender Twin Reverb amp. The night got more than a little wild as the guys were in a celebratory mood. In fact, Randy got so carried away with feedback that he blew a speaker in my amp. The band had cause to celebrate as they were preparing to leave in a few days for their first major RCA/Nimbus 9 recording session in New York. Although very excited about this break, the band expressed frustration with producer Jack Richardson's choice of material for the first session. The song drawing most of their ire was a sappy ballad called These Eyes - hardly a fitting debut for a band that wanted to rock the world. They just didn't think that this song would get any airplay, nor was it representative of their style. Richardson won out however, and alas, the single only sold a million copies . . . and launched the band on a wave of success unequalled by any other Canadian group. The band would not return to the Brandon area for another three decades.

AFTER THE GUESS WHO YEARS

We crossed paths with Chad Allan again in the early '70s. Sue-On and I were recording our second album at the original Century 21 Studios on Winnipeg's King Edward Street. Chad had dropped around to check out the studio's new facilities and coincidentally we were recording the old Buddy Holly hit, O Boy, in a rock medley. At just about the time he walked through the door we were recruiting everyone within shouting distance to add a handclap track to the song. This definitely was not one of the most prestigious recording assignments he had ever done, but it was fun. During a break in our session we learned that neither of us had done too well with the Atomic Physics course we had both studied so many years before. But both of us had gone on eventually to earn a number of university degrees -- Chad in psychology and myself in geography, computers and education. Another Guess Who/Bachman sideman, Marc LaFrance - veteran of hundreds of rock albums - played drums on our sixth album.

Hillmans in the Studio and On the Road in the Early '70s

Younger fans of the Guess Who and even Canadian music historians are often not aware of the tremendous talent possessed by the band's founder, Chad Allan. He was the group's original lead singer and front man, as well as rhythm guitarist, songwriter and sometime pianist. It was Chad who brought in Bob Ashley and Jim Kale from the Jaywalkers, followed by Randy Bachman and then Garry Peterson from the Jurymen. He went on to mold this group of young musicians into Winnipeg's top group.

He displayed a wide range of vocal stylings, handling everything from throaty soft ballads to rave-up, screaming rockers such as the groups first International hit, Shakin' All Over. Unfortunately, Chad didn't stick it out with the group long enough to share the acclaim and riches the group earned in later years. Ironically, he was also a key element in the formation and later success of the band, Brave Belt that also went on to tremendous popularity under the new name, Bachman-Turner-Overdrive. Chad's contributions to these two groups that went on to incredible worldwide popularity can not be over emphasized.

( GO TO www.hillmanweb.com for TONS more great info )

CARTRIDGE SPOTLIGHT - AUDIO TECHNICA at554Sa SHIBATA AT12s-1974

2011-09-18T05:43:00.001-07:00

The vintage Audio Technica AT554Sa, made in Japan, is a pretty decent cartridge and has excellent abilities in transposing vinyl to sound waves.

This particular cartridge, I found as a package deal online, with a Technics headshell

for $20.00. I would have paid that for the headshell so it was an easy gamble.

It turns out the cartridge and stylus was barely used

but it had very light

corrosion over the cantilever and diamond

(microscope-pic below of front side - Shitbata AT554sa)

I was able to 'buff' the corrosion off the shibata tip by using a simple rubber-eraser.
To do so, you use a razor edge to score a barely visible line at the top of
a flat artistic/pencil eraser, a line that runs at least half inch.

Then you simply run the stylus tip
in the proper direction (as if a record
was playing forward) with the stylus
against both walls of the eraser
and you have the perfect buffer for the
stylus tip. I used the weight of
the stylus only taken off the cart body,
dragging backwards down
the length of the eraser "groove", instead of

risking the weight of the eraser and possibly
instabilityof my hands if I was to "drag"
the eraser against the stylus, but you could
also do this with the cart assembled.
It had a light patina of corrosion, but after
I did the buffing it eliminated ALL of
the corrosion. So no need for chemicals!

(IF ANYONE WANTS TO SEE PICS OF HOW
I CLEAN THE STYLUS OF CAKED ON CORROSION
PLEASE REMIND ME AND I WILL MAKE A BLOG POST)

My guess the cart was sitting unused for years and just gained atmospheric condensation hence the corrosion.

So after I was able to do that, I rechecked the sound and adjustments and
I have a very dependable, revealing, stable cartridge.
The shibata stylus was a real groundbreaking design, still coveted barely
unchanged today and this is one of the first models by AT that used it.
The actual model Number AT554sa is very rare, and not many references
only to point that
the modern equivalent is the AT12S, Consumer Testimony that this has merit!
From what I can tell, this was first issued in 1974!

The photos provided are some shots of the actual cart/stylus and then
I took a series of photos with my microscope of the front/back/side
of the shibata stylus. I did my best to make it somewhat legible.
Not the best camera with the microscope..
Regardless, the Cart is working like new!
--- Review of sound to come --

-video slideshow-

with example of song transcribed with the AT554sa

above - Looking at the front of Shibata from below, you can see hollow cantilever with

rectangle shape crimp at end

above - same shot of SHibata as the top of this post. Looking from the Left side

frontal - you can see clearly the shibata cuts and the odd sleeve

cut around the front. It reminds me of a rose bud coming forth.

above- here you can see looking at the SHibata from below it, and

visible the rear of the stylus shape. Whih is similar to the front, but

narrower, like a dagger. you can also see the detail

of where the corrosion was buffed. You can see the corrosion at

the top of the picture!

above :

looking from below again, but on angle. Looks

like a closed cloven hoof.

above : same shot as below, but inverted. Kinda looks

electron like! Looking from the rear again. This was

an earlier shot where you can still see some corrosion

on the stylus-since has been effectively removed

above - looking at the front from the side. The nicest shot I could get.
You can even see the way the tip
is like a ball peen. Ready to trace those grooves.

below - a detail of the sections of the shibata -
blue is the two edges at front
and the purple at back. the light blue is the stylus
bit.

AUDIOPHILE MYTHS- part 1A - Cleaning Records and basic Storage Tips

2011-09-18T00:33:00.000-07:00

Part 1A- CLEANING RECORDS and Storage ideas

a picture of someone manually washing an LP with basic brush. this is the best way.

The mos tly portrayed as expensive and esoteric practice of cleaning Vinyl records, is like
most 'audiophile' spin and myths, filled with so much disinformation and utter bullshit
it's surprising people actually want to collect Vinyl.

The first 5 years of my collecting Vinyl, I was under the impression that I should not even
wash the records at all.

This was before the web, and this was also a time when I was the only one I knew who
used vinyl. Late 80's early 90's when others were adopting CD's.
Due to an almost tragic exposure of wettness of my 45s and the place I had them stored
I came to the storage and found many of the 45s starting to get some fuzzy mould.
Since they were my Mint Soul 45s I was very alarmed.

This was lesson 1 : STORE YOU VINYL OFF THE FLOOR OR GROUND
Even if you have them in bins, try to put blocks of wood under the bins to generate nice
cycles of air through your storage area.

Lesson 2 : GET PLASTIC BINS FOR YOUR COLLECTION WITH LIDS.
I know lots of people who like to "show off" their collection. That's great - if you have
the space! Vinyl spanning walls and a room, aside from being fascinating for guests
is one of the best sound absorbers for nasty reflections if you tend to like to fill the room
with 80db and louder sound output. Just having vinyl in your room, makes the vinyl you play
sound better. An interesting truth!
Plastic bins, aside from what I'm saying are things you should have on hand. The ones with
handles, and the ones that hold about 100 LPs. Any more LP's and the bins are WAY too heavy.
The ONLY thing I ever buy from Walmart in Canada, are these awesome bins that hold about 100 LPs
and are about $5.00 each. They are made by Sterlite, in Canada, I'm not sure if they sell them at USA walmarts or abroad. This is why I buy them at Walmart, due to them being Canadian Made. They changed the design slightly about 8 years ago or so, and unfortunately the quality dropped slightly but not much. They made the plastic slightly more flexible as they used to be more rigid, the downside of that, a few lids and corners would shatter on cold days when Moving them.

CLEANING MYTHS :

First big myth - and it's one hell of an expensive method.
VACUUM RECORD CLEANER MACHINES
they go by names like MONK, VPI, NITTY GRITTY.

THEY DO WORK! THEY ARE EXPENSIVE!

THEY REQUIRE CONSTANT
MAINTENANCE.
When I say constant, I mean it.
You have to buy fluid. When you clean maybe 5 records, you will start getting streaks on the LP
varying in 'strength' with how much fluid(s) you use.
The time saving aspect may be there to a degree, but you lose the control and
variables that someone who pays attention to detail utilizes.
THEY ARE NOISY AS ALL HELL. You cannot clean your records past 9pm
on Weekdays in Most cases. - how many of you live in the Country?
Just think if the sound of Shop Vac. That's the noise.

Second Myth :
Liquids - chemicals that bond to the vinyl to 'enhance the sound'.
One well known chemical that is actually active once again due to someone finding a whole
NOS batch is called "LAST"
Seriously, it's the LAST thing you should think of putting on your Records.
Don't even put ISOPROPOL Alcohol on your records. Try to get Grain Alcohol if
you need to use it and even then, go easy with it.

This 8oz bottle is $200.00 !! ( equivalent to buying 25 used records)

Next -
I've recently seen this crap from the UK "the RECORD REViRGiNiZER" it's being promoted by
RZA from the old hiphop group "wu tang clan" As If I could care less about what the
RZA has to say.
The RECORD REViRGiNiZER is based on thats retardedly lame concept of smearing wood glue on the LP
and then when it dries, peeling it off to peel away dust. I have to laugh.
It works but is not worth the effort.
With the RECORD REViRGiNiZER you have to pay an astounding amount of money to play with it.
For a $60.00 bottle, you can only clean 16 LP's. Amazingly dumb.
Clip from a TV show promoting it :

Hey it's a clever concept. But it's just not practical if you have over 16 records.

There are also many videos on youtube with people using Window cleaners and other
household products to clean vinyl- To put it simply, DO NOT EVER USE
THAT STUFF ON VINYL. The chemicals in those products are not made
for any type of plastic cleaning. Some even state on the labels with a warning.
WINDEX IS A FREAKING NO NO NO NO NO!!

Next part, I will talk about Manual Methods for Cleaning your precious vinyl.
It costs about $20.00 a year, and that's a high estimate.

SPIRITS-ALAN JONES with THE GHOST HUNTERS - 2001 BOP FUNK & spectacular drumming

2011-08-16T02:18:00.001-07:00

featuring :

Alan Jones : drums

Gary Versace - hammond B3

David Friesen-Bass

Rob Davis - horns-reeds

Jay Thomas - horns-brass

Janet Chvatal - Soprano vocals

Kamau Sadiki - berimbau

This independently released "highDefinition" Cd HDCD was produced for a theatre play in 2001.

It sounds like a labor of love. It's a compilation of 2 very talented people, and of course a cast of

Many other talented folks. The topic is the resonate life behind the 3rd dimension. It's a predominant

master class musical affair as Alan Jones is a very talented Drummer coming from the jazz swing funk bop

side of the spectrum, and a healthy dose of experimentation. He's in the pocket and then swinging like

it's no-ting.

The music structure does the topic very well, being very weird at times, going ambient

to full bodied and interweaving different time signatures for the spritual gumbo being offered up.

I don't know how this was originally distro'd because I found this only a few weeks ago at a thrift store

on the pacific west coast of Canada, and it appears it's from Portland Oregon. It appears this was reissued

just with Alan Jones as the title credit and different package/graphics.

The recording is awesome. They use the seldom used HDCD algorhythm..(which honestly I have to find out more

about) but due to the initial signal chain (which they discuss a bit in the liner notes) they used care to use really

nice analogue gear. It looks like the only digital aspect was the mix down to the HDCD. There is real hammond

organ, real horns, real drums. :D And the drums are mic'd in a very tasty method, not too future, a bit grit but

very clear. I figure this needs more exposure, especially for those that like spiritual jazz music.

TORRENT NOW ON

THE HIP HOP DJ - essay- article by Grandmixer D.ST - DXT Rammellzee feature

2011-08-13T00:53:00.000-07:00

Birth Of TURNTABLISM 1984-rare Grandmixer DST-... by freqazoidiac

I recently had finally found one of my favorite clips from Saturday Night Live.

To me, my most memorable parts of SNL has always been the music. When

I saw the original broadcast of "Rockit" by Herbie Hancock and Grandmixer D.ST

I was very inspired. I tried to scratch my little Disney turntable that had the Mickey

Mouse Arm with the hand being the needle. Not exactly turntablistic made.

This floated around my head for a few days and then it vanished

until around 1986 when I saw more Turntablism. It was some documentary

on Hip Hop which I still am unsure which one it is..seeing all the classic ones

now, it still is a mystery..and it showed A few live DJ's, on film from

the early 80's in some warehouse and street scenes. Similar to

Style Wars, but it wasn't that. It used to run on TVOntario. I think

it had a british narrator. It was pretty low key. Anyways..that brought that

mysterious thing back into focus..and then it was Beastie Boys "licensed to Ill"

with the classic scratching by Hurricane on there. Or is it DR. DRE? (the big one

from NY not LA) ... or did DRE only dj the live shows/?I forget .

To put it short, D.ST was the first guy I remember spinning and manipulating vinyl in a Hip Hop Fashion.

I had seen the Disco DJ in action but that's pedestrian compared.

I'm posting the 1984 SNL clip with Ringo Starr hosting.

It's so cool to see them all jam on this live.

I'm not sure of the name of the first song, but the 2nd song is Rockit.

Both feature D.ST scratching to the rhythm.

Below is an essay written in 1999 by Grandmixer D.ST.

He is a strong artist, obvious innovator

and intelligent. He had a minor 'comeback' in the 90's

when working with Bill Laswell. A real serious tone

on those records, with political / social slants, working with

the now deceased RAMMΣLLZΣΣ, pronounced "Ram: Ell: Zee"

Rammellzee for the uninitiated.

A whole sector of hip hop that remains underground was sparked by

Rammellzee, who is also reknowned for his theories, his artwork

and his style. Some of the best clips from Wildstyle feature Ramm rapping

@ the ampitheatre.

Interview with

Rammellzee

from 2007 :

RAMMELLZEE interview with Uncommon Radio - March 2007 from MATTSKI on Vimeo.

Photo Montage Above of Rammellzee -

He passed away a year ago in July 2010.

The following article was originally posted on the Rock and roll hall of fame

website.

The Hip-Hop DJ

by DXT formerly known as Grandmixer D.ST

Like the Jedi in Star Wars fighting against evil, enduring strenuous training, accepting a life-long commitment to obtaining the knowledge of the universe and being heard but never seen, the hip-hop DJ has very much the same destiny. The hip-hop DJ has to endure the process of obtaining a vast knowledge of music and rhythm (the force), be able to synchronize the grooves and beats, and continually search for new sounds to maintain his status in the culture. Much as the Jedi is rumored to be the ultimate warrior of the universe, the hip-hop DJ has become just that, a rumor. Nevertheless, the DJ will always play a major role in hip-hop culture despite its ever-changing nature.

In Star Wars, becoming a Jedi meant that a warrior had to feel the "force," know it and always recognize it. The hip-hop DJ has to do the same. As a DJ, a person has to feel the rhythms and identify them as being a natural part of their existence. Either the force is with you or it isn't. Feeling rhythm is a skill that cannot be taught. This was a sign of a true beat hunter - someone who could instantly feel the rhythms. DJs listened to all genres of music from rock, Latin, country, opera whatever, but their main inspiration came from funk and R&B.

Funk/R&B music is the closest source of music that resembles the original drum sounds from Africa. No matter what, funk always moved a crowd. Somehow, after 400 years of displacement out of Africa, the true hip-hop DJ can still feel the rhythm of the drums of Africa. Once you've established a vast music collection, now you have to know how to work it! Not only does a DJ have to know the music on the record; a DJ must also know exactly where the rhythm is on the record. Developing DJ skills requires hours of practice and listening. Techniques such as needle dropping, cueing records, backspinning, scratching and the like are skills that have evolved out of pure hard work and creativity. Developing your own style is key in making your mark in the culture.

The Tri-Force Kool DJ Herc had a style of playing oldies but goodies and only playing the dopest part of the records. He also traveled with a massive sound system that was impressive in its own right.

Grandmaster Flash was a technician about his work. He went against the rules of the disco DJs and left behind smooth mixes. He went straight to the cut. However, despite the equipment and technique, a DJ has to be in total harmony with the rhythms. That means being at one with the force (the rhythms of Africa), and the one who understood that overall was Afrika Bambaataa. He played rhythms that would penetrate your soul and make you move. In the old African tribes he would have been known as the medicine man!

Other DJs during that time (early 1970s) were Kool DJ Dee, DJ Smoke and the Smokatrons, Mean Jean, Disco King Mario (Chuck Chuck City), Pete DJ Jones, Grand Master Flowers and DJ Hollywood, just to name a few. However, Herc, Flash and Bambaataa had the most profound influence on the development of hip-hop culture. These three men represent the Tri-Force of the hip-hop DJ: Kool DJ Herc (presence), Afrika Bambaataa (energy) and Grandmaster Flash (technique). Their examples inspired young teenagers from all over the Bronx to become hip-hop DJs.

Out of the hundreds of DJs spawned from the spirit of the Tri-Force, sweeping through the parks and clubs of the Bronx, only a few stood out, for they had truly harnessed the power: DJ Jazzy Jay, DJ Charlie Chase, Tony Tone, DJ Lil Quick, Imperial Jay Cee, Whiz Kid, DJ Breakout & DJ Baron, DJ Tyrone, Grand Wizard Theodore (inventor of record scratching), DJ Africa Islam (the son of Bambaattaa) and Grandmixer D.ST. whose turntable skills mutated the turntable into a musical instrument. These young men along with Herc, Bam, Flash (the Tri-Force) and their MCs are the Jedi Knights of hip-hop culture. From them you have all the DJs and MCs you see and hear today. In fact, hip-hop culture has disseminated the force from the ghettos of the Bronx, New York to almost every culture in the world.

Looking for the Perfect Beat

(why is Africa throwing up the Dual Baphomets?)

The hip-hop DJ's original mission overall was rocking the house, and to do this he or she needed an arsenal of beats (records). The DJ's ability to keep a dance floor packed relied on his selection of records. Not only did he have to have radio favorites, he also had to keep up with the latest beats the other DJs had. In addition, he had to have his own collection of obscure beats and this wasn't an easy task. It was only a matter of time before the other DJs would find out the names of your beats. So, to keep your uniqueness, you had to constantly search for new beats. Thus begun, "The Quest for Beats!"

Other than the development of the MCs, the "quest" was one of the most important events in hip-hop culture because of the demands of maintaining the codes of discipline. First, you had to develop a vast understanding of music - this required much research. You had to listen to all forms of music, no album or album cover was too serious or silly. Nothing was excluded. If it was on vinyl, it had potential. So the more you researched, the more your knowledge of music grew along with your record collection. Second, always travel alone - and if you were with someone, they had to be part of your crew. Any rare recording found was declared top secret and no one outside of your crew could know its name.

Everyday, DJs would head out into the streets of New York to find beats. They would look for thrift shops with large collections of used records. The major record stores were next, to find the latest radio hits. However, the best stores were the small mom and pop record shops throughout the five boroughs of the city. Unlike the bigger commercial stores, the mom and pop record shops would have the old and the new. There wasn't any place that the hip-hop DJ wouldn't dig for beats. It could be mom's, dad's, aunt's, uncle's, cousin's, neighbor's or friend's. No one's record collection was excluded. If there were mountains with caves full of vinyl, you would find a DJ mining for hip-hop gold.

Once you collected enough beats, sometimes just hours before your next party, you had to remove any part of the record label that revealed the artist or the name of the song. Then, you had to subconsciously find where the new beats would fit in your set. Next was practicing - the new beats had to be played in a way that wouldn't give away the artist. If it was just a drumbeat, it was hard for other DJs to know who made the record. So cutting the beat before the other instruments or singers came in was critical. This meant that you had to be fast and precise, and the fastest way to go from one part of a song to another is needle dropping (placing the needle in the same groove at will). This was the ultimate hip-hop DJ skill and was truly mastered by only a few.

The next best thing was Grandmaster Flash's "Clock Theory" which later became known as backspinning. This technique proved to be very useful and allowed DJs to create more new tricks. However, there is a down side to this technique: the more you backspin the more you destroy that part of the record, and some records are too rare to be used like that. As time went on, hip-hop DJs began to incorporate other instruments (for example, Flash's beat box and D.ST.'s synthesizer) into their sets. Always finding something new to mesmerize the crowd. This competition was key to the growth of hip-hop culture, as each DJ's skills increased, the threshold of hip-hop perfection was raised.

The Empire Strikes Back

The hip-hop DJ now had power throughout the city. People would come from miles around just to see Bronx DJs git down. More people became interested in the culture, because they recognized the true spirit in the expression of hip-hop and its magnetizing effect on people. Some hated it because of its universal potential and some only saw one thing: MONEY. Unfortunately, they all played a part in the decay of the culture and the DJ's transition into the shadows.

First, the DJs themselves made a critical mistake. They allowed non-DJs to learn the names of songs that were secret. People from outside hip-hop culture would come to parties to meet DJs so they could discuss records. Sometimes DJs would need new copies of some of their rare beats, and these men would provide them. In return they would ask for the name of a beat that you played. At the same time they'd offer the name of a beat that they got from your competition that you did not have. By doing this, the hip-hop DJ was breaking his own code of secrecy, unaware that their sacred collection of records (their energy) was being consolidated into what we now know as Super Disco Breaks and Break Beat records. So now without the knowledge that could only be acquired through research and hard work, anyone who wanted to be a DJ had access to the sacred beats. This caused a great disturbance in the Tri-Force, and was the beginning of the hip-hop DJ's transition to obscurity.

Second, record companies began signing hip-hop groups with no true interest in the culture to record deals. The DJ and his MC were the two components of one unit, each complimenting the other. Their presence on stage would create energy levels that would leave crowds in awe. However, this was not important to record executives; they only cared about record sales and the MCs were all they needed to sell records. Record companies began to push the MCs into the spotlight, pulling them away from their DJs (the foundation of hip-hop) and pushing the DJs further out of the picture.

Third, the MC now had his own power, but this power was false because he received it from record company executives through their perversion of hip-hop culture and not from the Tri-Force. (And this is still the problem today.) In this perversion, the MC could easily be programmed to think that he or she was still representing hip-hop, even if he or she replaced a DJ with a DAT tape.

Return of the Jedi (The DJ)

We now see a new genre of music: A distorted by-product of true hip-hop culture called rap music (really rap-u-sic) where the MC has been transformed into something called a "rapper." Where money is energy, jewelry and expensive cars are his presence and he possesses no technique at all. For in his blindness he has been used to destroy everything hip-hop culture stands for. Within this madness, the DJ, who has become nothing more than a sidekick to the rapper, continues to struggle, doing everything he can to bring hip-hop from the underground to the service where it belongs.

The hip-hop DJ now spends more time with samplers, computers, synthesizers and drum machines than with turntables. Now some DJs just call themselves producers and the rap artist depends on them to make up beats with the new technology. So it seems that everything happens for a reason, because now that sampling is the main process of rap music, the producer has to find new sounds to sample. He must educate himself like the original hip-hop DJs did because the only way to compete is to practice hard and research (the new "Quest for Beats"). In this quest/search you will find hip-hop culture; it's there, it's always been there, and it will always be here. For it is truly the cosmic rhythm of the universe and its beacon on this planet is AFRICA THE ORIGIN OF ALL HUMANITY

This article was commissioned for the Rock-N-Roll Hall of Fame and appeared on their website in 1999:

http://www.rockhall.com/exhibitions/past.asp?id=497

http://www.daveyd.com/historythedeejaydxt.html

hindemith-symphony -MATHIS DER MALER-william steinberg-PITTSBURGH ORCHESTRA-Capitol-Canada-P8364-1956-LPCD

2011-06-20T17:42:00.000-07:00

hindemith-symphony -MATHIS DER MALER-william steinberg-
PITTSBURGH ORCHESTRA-Capitol-Canada-P8364-1956-LPCD

TORRENT NOW SEEDING

01-angelic concert.aif
06-allegro impetuoso - scherzando.aif
02-entombment.aif
03-temptation of st..aif
04-molto adagio.aif
05-andante tranquillo - allegro.aif

featuring :

William Steinberg (August 1, 1899 – May 16, 1978) was a German-American conductor.
PITTSBURGH SYMPHONY ORCHESTRA

NFO :

This release has been reissued in many forms over the years. This is sourced
from the first Issue on Vinyl back in 1956.
A Canadian MONO 180g pressing. It's got a bit of surface noise even though
it is an Excellent grade copy. I did not attempt to remove it as it would
effect the very fragile Bell sounds and high end instruments that are supposed to
emulate the Glass Harmonica, and other exotic instruments featured on this
recording. This has such beautiful dynamics and is a Long player
maxing out the recording duration of an LP but with grace.
I have heard other saying this is a slightly noisy pressing but the music contained
overshadows that with colors and feeling. It's an exacting performance
yet is not robotic. There was talk of this being too fast for some, but I don't find that
qualifies. The tempo is still within the realm that makes this pace very enjoyable
and even rushes the blood at times.

Repeated listens will reveal much beauty in this recording.
This is our first offering in the Classical recording realm. We like the cover
of the 1st issue alot too, very cool illustration.

Joan Baez-farewell angelina-VANGUARD-MONO MIX-1965

2011-06-12T22:30:00.001-07:00

JOAN BAEZ-farewell angelina VANGUARD records-MONO-VRS9200 1965

* 16/44 lossless TORRENT MONO now seeding *

01-farewell, angelina (b.dylan)

02-daddy, you been on my mind (b.dylan

03-it's all over now, baby blue (b.dylan)

04-the wild mountain thyme (trad. mcpeake family)

05-ranger's command (w.guthrie)

06-colours (d.leitch)

07-satisfied mind (rhodes-hays)

08-the river in the pines (trad. Americana)

09-pauvre ruteboeuf (ruteboeuf, ferre)

10-sagt mir wo die blumen sind (where have all the flowers gone - p.seeger)

11-a hard rain's a-gonna fall (b.dylan)

I have been listening to this LP for a few years now, but mostly in Stereo Format. My stereo

copy is pretty dodgy, and a few months back I found a very nice USA mono pressing.

I personally am not a huge Baez fan, as her quivering vocal gymnastics can grate

those nerves in a caterwailing quality.

And like some of the most dynamic Jazz and Classical records, it takes a pretty

special Cartridge/Stylus to track her range.

(really, no joke, I had to play with 3 carts to get a good smooth transfer of her Sometimes-SSSSyy SSSParkle SSSaturation in her Voice delivery to get it SSSmooth and less Rasspy.. I think I got it 75% right on the transfer)

It is all the same takes, but it's a true Mono Mix.

The Stereo doesn't

sound much different really, just the placement of the voice is off to the right a bit

and sounds further away and is a tad more naked.

The Mono sounds (like is common) more punchy, and there is a slight bit more

Reverb added to her voice. I like the balance slightly more on the Mono mix

and this to my knowledge is the first time anyone has offered the Mono LP

online.

JOAN BAEZ DOES DYLAN, DONOVAN WITH A FEW OTHER HITS IN BETWEEN

The cover of Donovan's song "colours" is so smooth, the Acoustic bass just throbs and keeps

a great glue contrasting Joan's range.

BYRDS-younger than yesterday-MONO MIX-1967 + BONUS 45s CANADA and USA pressings

2011-05-20T23:09:00.003-07:00

BYRDS-younger than yesterday-MONO MIX-1967 + BONUS 45-2011-freqazoidiac

This particular Byrds album, is one of my favoured LP's from the 'psychedelic' era.
It is on that level to me, on the strength of the original songs, the arrangements, the vibe
the beautiful harmonies,
and the experimentation. It's essentially a 1966 LP , recorded in the dark days of winter
and then released just in time for spring of 1967. It must have been a very strange thing to
hear. It has held up, if one contrasts the glowing reviews you can find on the web.
Over and over I read that this was an unexpected surprise, and the one album that no
one on the ground recommends or mentions. It seems true! I had to discover this by chance,
finding it and then playing it unbiased. That's the approach I favor anyways and have held onto
that intuition. One should trust their intuition!

I have culled together the Canadian first pressing for the first side and the USA first pressing for
the 2nd side. (both Mono)
I have the stereo version on LP , but I prefer the Mono in this case, but the Stereo is NO slouch, don't
get me wrong here.

The main reason I culled the 2 versions is both copies had problems of condition, on opposing sides
so it fit perfect. The mixes and lengths are the same, yet I found the Canadian version to
be a bit more clear in the high end spectrum.

Below, see the labels.
On the Left, you have the USA labels. On the Right, Canada.
Notice it states MONO on the USA and Canada is still using the older
"guaranteed high fi"

I added in 2 Canadian 45's as bonus' -

BYRDS-my back pages /renaissance fair-Canada-Columbia-MONO-45-1967-444054

byrds-eight miles high / why-1966-45-MONO-canada-columbia-443578

I added the single version of WHY released almost a year earlier, as it's ROCKIN' beyond comprehension.
I enjoy both versions, the '66 version is punky, the album version a bit smoother
but all around great track with an interesting theme.

To top it off with a cherry or two, I threw in the 6 bonus non LP or single tracks from
the Legacy issue of the album from 1996.

The cover was remixed with a different colour scheme and arrangement to reflect our compilation.
Seeding as Lossless torrent NOW.

OH-- and if you think the number one album of the hipster scene
"Sweetheart of the Rodeo" is a Byrds album, you are wrong.
It is in Name only. You take Clarke and Crosby out, and you have no Byrds.
hahah

Debbie Lori Kaye vs J.D. Loudermilk

2011-05-19T00:30:00.001-07:00

There was once a time when this little songsprite named Debbie was gracing the halls of
columbia records and making extensive tour route playing with different acts
in many cities throughout Canada and the USA.
At a very young age gaining one of those exotic and dangerous
contracts with prime distro routes and radio playback by hyped djocks, she seemed
to engage with natural flair and passion to do the big pop thing. She is an artist
through and through and there is a reason I feel she is basically unknown to the
consuming public.

A Long shadow,deep dark blue is cast in the industry. Depending on status and chart earnings, that is the scale
where one artist signed, can leverage their own ideals into their music. That is rare
in the Industry to have sustained control. Although Debbie played pop, she did it with
conviction and interpretation. From notes I have gathered from associates or passing
friends of hers on the web, I see a trend that says she became Disillusioned. Why
does that not surprise me. She's small, but too BIG for that control.
You can just tell by her eyes. The scant footage filmed of Debbie, especially the footage in color
of her singing "legend in my own time" from '65 shows a fiery direction yet compassion
and friendliness. Very beautiful girl too, and obviously a unique person through and through.

The record I'm showcasing today is a rare 45 by Lori. Probably released in 1966, and is produced
by Bob Johnston. It has that big sound of Johnston which is matched perfectly on this disc with Kaye.
She brings on home a classic performance with high energy and a rockabilly slant. It's not even listed on Discogs. She seemed to have released a whole wack of non LP 45s which one should automatically buy
if you are a fan of music.
The sole Columbia LP "hey little one" is very hard to find, and is superb mishmash of pop, country and even psychedelia. I have since misplaced my copy, so when I do find it, I will be sharing it.

My only wish is if she had been a little more influenced
by what was going on in Detroit at the time.
Her pipes were perfect for soul. Maybe this ties in with why she
left the industry.... ??

I enjoy this 2 sider very much so, hope you do too!

I think she does J.D. Loudermilk right!

________________________________________

listen-watch

________________________________________

YUKON - DENNIS COFFEY- WHITE BREAD FUNK SOUL-FUZZ PSYCH- canada 45rpm VIDEO

2011-04-24T23:55:00.002-07:00

Psychedelic

white

bread

funk

soul produced and played

by Theo-Coffey.

((( LISTEN TO BOTH SIDES! )))

Dennis Coffey.

Yes!

This babe from the canadian ruff is from 1972, reps his (Coffey) transition from the important Motown work he did.
This guy shows up like Jerry Cole, or other session guys, but he has his gritty signature that brings things
into the heady late 60's early 70's.

Some of the vibe here has parallells with both the Temptations stuff and his Solo work later.
YUKON..did they release and LP?
They are mentioned in Billboard (below) .......
,
briefly
and only mention the 45, so I doubt it.
If anyone knows, let us knows.

Ritchie Yorke writes

his Canada column in the early 70's there

Thanks and enjoy! mastered from original
Canadian sussex 45 MONO .
This is more the type of Coffey sound most
people dig, compared to that too syrupy Gallery project.
I think Gallery was his biggest hits though.

JOHNNY RIVERS- rockin' rivers- RARE UNRELEASED IN THE USA- 1974 LP

2011-04-21T13:44:00.003-07:00

johnny rivers-ROCKIN' RIVERS-canada-stereo-1974 united artists-LPCD freqazoidiac

LOSSLESS TORRENT NOW SEEDING -

AAC VERSION ALSO READY

__________________________
FREQAZOIDIAC - UNIQUES
recorded to digital from original LP 2011

T R A C K S :

01-it's all been said (j.rivers).aif
02-easily madrid (m.georgiades).aif
03-rain song (j.rivers).aif
04-grand ole opry (h.brown).aif
05-take it easy (j.brown, g.frey).aif
06-night ride (j.rivers).aif
07-parchman farm (m.allison).aif
08-it came out of the sky (jj.fogerty).aif
09-don't go to strangers (j.j. cale).aif
10-bye bye johnny (c.berry).aif

This is the infamous unreleased album.
Unreleased in the USA but released limited in Canada, Germany and France.
I was lucky enough to find a very nice Canadian Copy the other day.
I'm not a huge Rivers fan, but this among a few of his other LPs is
just simply a very good listen and the songs are a mixture of his writing
and some not-so-often covered songs.

The sound is a nice blend of country-fried-stoner rock, kind
of a continuation of the sound off his "home grown" album
which itself is a hippie-esque trip, at this point Johnny
ridding himself of his slick suits, greased haircut
and small goatee of the Hollywood A Go Go days.
At this point he looks like the
backyard jew boy with a slightly rugged charm.
The cover looks more like a Santana album though
with a bit of the devil rock vibe with that deep red.

This was Johnny's last album on UA and it is said it was just a contract
obligation, and possibly there was some red tape preventing the release
in the USA..or simply he wasn't happy with it?
I can only speculate.
It looks a bit thrown together in terms of the Graphic design of the cover.
The songs sound all from the same session and care was taken in the mix.
It's not some dodgy outtakes or demo disc.

Scant information is available on this LP. No players are listed but it does sound
like the same crew Rivers was using through the early 70's.
More than likely the same members as the album "home grown"

And that "crew" is one of the best!

Probably goes like this:

Drums : Ronnie Tutt , Jim Gordon or Jim Keltner
(I do hear Jim in the mix on a few songs undoubtably)

Bass : Joe Osborne
Guitar : Mike Deasy
Piano : Larry Knechtel
Dorbro/Slide : James Burton
Flute : Jim Horn
Vocals : Johnny Rivers
Strings : Conducted by Glen D Hardin

__________________________

harry BELAFONTE sings the blues-RCA VICTOR-LOP1006-MONO-canada-1958

2011-04-16T21:30:00.001-07:00

h a r r y B E L A F O N T E
- s i n g s t h e b l u e s -
RCA VICTOR- LOP1006 - M O N O - canada -1958

LIMITED TIME LOSSLESS TORRENT SEEDING NOW

MONO .AIFF FILE (cd redbook quality 16/44)

Design compilation-layout remanipulation by : oatstao@gmail.com
__________________________
FREQAZOIDIAC - UNIQUES
recorded to digital from original LP 2011
__________________________
harry BELAFONTE sings the blues-RCA VICTOR-LOP1006-MONO-canada-1958 LPCD-freqazoidiac

C O N T E N T S :

harry BELAFONTE sings the blues-RCA VICTOR-LOP1006-MONO-canada-1958 LPCD-freqazoidiac
NFO.rtfd
01-a fool for you.aif
02-losing hand.aif
03-one for my baby.aif
04-in the evenin' mama.aif
05-hallelujah i love her so.aif
06-the way that i feel.aif
07-cotton fields.aif
08-god bless the child.aif
09-mary ann.aif
10-sinner's prayer.aif
11-fare thee well.aif
backLPCDbluesBelafonte.jpg
belafonteSingsBluesGRPHXLPCD.pdf
coverLPCDbluesBelafonte.jpg
labelLPCDbluesBelafonte.jpg
__________________________

A seminal album by Belafonte.

Very durable, and a fabulous nod to the Blues

with the high end studio at his disposal.

This is the MONO canadian mix from the 1st pressing LP on RCA Victor.

I have not heard the Stereo mix, but I'm sure that sounds great too being RCA did pretty
nice mastering of both formats.

Turns out this album has been carefully reissued
a few times, including by Classic Records
as one of their first releases.

Never a Canadian Mono until now!

online review - Belafonte Sings the Blues is an album by Harry Belafonte, released by RCA Victor (LPM-1972) in 1958. It was recorded in New York on January 29 (with Alan Greene as leader) and March 29 (with Bob Corman as leader), and in Hollywood on June 5 and 7 (with Dennis Farnon as leader).

This compelling set of vocal blues tunes by Harry Belafonte came as a pleasant surprise in his career. Never before had he sung on records as he did for this 1958 album. There is still much of the performer and the folk singer in his basic presentation here, but there is also rawness and fervor for the blues feeling.

Backed appropriately by superior groups, featuring outstanding jazz soloists —Belafonte always dug jazz—he manages to come through as a fine, warm, moving blues singer of emotional smoothness and control.

MOJO review :

MOJO :

When Tom Waits guest edited MOJO 200 there was one piece he insisted needed to appear in the magazine: an interview with his hero Harry Belafonte. Singer, songwriter and producer extraordinaire Joe Henry was duly tasked with interviewing the great man, delivering an exemplary piece in the process. For the MOJO team, it was a journey of rediscovery into Belafonte's music, and this - his eighth album - proved territory well worth revisiting.

By 1958, Belafonte's glittering career - he was the first artist to sell a million records with 1956's landmark Calypso set - had seen him cut across genres and styles at will, taking in folk, country, spirituals, jazz as well as Caribbean-rooted music. Here, however, he found liberation in the blues.

Producer Ed Welker's skill ensured that covers of Leadbelly's Cotton Fields (subsequently a bop-blues live staple in Harry's set), Ray Charles's A Fool For You and Billie Holiday's God Bless The Child ("the greatest song ever!" enthused the interpreter in the album's sleevenotes) are stirring, warm and utterly exquisite. On release, Belafonte Sings The Blues was his lowest-charting LP to that point. Today this 10-track set sounds like a stone cold classic.

SWEET HOSTAGE-midnight rider- SILVER STAR RECORDS rare heavy bar blooze booze rock

2011-04-09T01:15:00.005-07:00

SWEET HOSTAGE-midnight rider-Silver Star Records
1980-canada-stereo-HRL10480 rare LP

- SHARING NOW FROM ORIGINAL LP

-request in comments

-lossy only at this time

~When dropping the needle on this Canadian
west coast rock-n-roll, I'm treated to a rare point of view,
a glee-filled meditation of the bar scene and the never ending
late 70's party time, all inviting vibe with a rockin' swing.
Rare now-a days, not then obviously.
They drop into each song (I swear!) mention of getting drunk,
drinking ALL the beer in the Bar, Toking, Smoking, Doing huge
lots of Coke, and that's not from the glass bottle. Even the
cocaine influence makes itself into a chorus or two.
I'm not a fan of AC/DC, or other typical Bar music favorites
but this band is the type of bar rock I can dig.

It's ignorant super fun.

Sometimes things are meant to happen once

in the annals of time and history.

Sweet Hostage 'midnight rider', the sole LP by the group, perfectly captures a time of transition, innocence and excess,

the very enthusiastic yet proudly naiive expression of a generation caught between the transition

of the youth growing up and maybe having to soon act in a manner that could demonstrate some sensibilities to what will soon become Gen X, but alas, as this LP so aptly demonstrates

it is a futile endeavor to come out of the perpetual party in the back seat of your cousin's camaro.

This is 1980 we are speaking of, and although I was not yet 10 years
old at the time, all this is very clear in my memory of hanging out
at the local arcades, and the town filled with many "bar rockers"
who I thought were pretty interesting and not surprisingly very erratic
but never scary (as some "parents" might perceive them)

This is not punk rock yet it's recorded at a time of the screaming edge.
It's related more to Joan Jett and the BlackHearts, some edgy - Runaways feel
in a more amateur mode yet it's locked into it's interrelated bar-band vision
of Cocaine, whiskey and dingy wall to wall carpeting inspired by those super van rallies.

In case you wonder, the Hostage, who is dubbed "sweet" as such, is none other

than the Lead singer,who proclaims herself as Shannon, the Hostage.

" I'm the Hostage

I'm not always sweet

My name is Shannon

NOW GET THE HELL ON YOUR FEET "

from "sweet hostage"

I almost believe it. She is having too much fun, to yet notice

what the price is to pay to become a Hostage sandwiched

between three slick dudes that fire up some

really fine licks and fills.

Or is it Licks and Spills?

LISTEN TO ALBUM IN

3 PARTS, BELOW

One charming thing about this album it's all originals where even the drummer
takes the lead vocals on 2 tracks. He's no Levon Helm, but he's got some heavy chops
and a cool voice backed up by Shannon.

The one and only copy I have, is badly warped. If you check out the
audio of the album you may notice the first track on each side has a "thwump"
sound for the first minute or two. It's more pronounced on side 1.
I had to resort to some interesting measures to keep it flat as possible during playback.

The record label is a very small imprint that usually released Country records.
there is a Silver Star Records with similar logo in Texas, but I don't think it's
the same Label and they even release Country records.

We have a whole lot of records to talk about but this just appeared and we got inspired
to let this out to the www because we feel people need a great dose of Rock n roll
good times, everything is gettin' too si-rius out there.

Holly McNarland - the lost EP --TINY WAR- - 1993 cassette wonderful

2011-04-01T02:47:00.003-07:00

For us 'publish to blog for fun and sharing' folk, the next posting could be
categorized as a "syncro-mystical-nicety"!

Otis, who lives on Vancouver Island was rummaging through some stuff in the back shed
at the apartment building he stays at, wilst
looking for some tools and came across a box with demo/promo canadian cassettes, CD's
and even Rehearsal Cassettes from a few groupos.

One of the most interesting of that dingy -

'been out in the soggy shed for at least 15 years'

cardboard box is a very early if not the earliest Demo Tape (4 song EP)

by West Coast Canada Pop singer Holly McNarland,

who had a prominent rise in the late 90's on the mainstream radio scene.

She might have been one of the CBC darlings from what I can remember.

Probably not anylonger as the CBC is taft.

Songs on tape :
1. Tiny War
2. Crazy
3. Fish
4. Madman

So she and her band (uncredited, which is shameful, they are solid I especially dig the bassplayer with a good grounding style with some noodle thrown in) The "band" go through some styles that would make some of her fans kind of double take as it's not electronically enhanced like her voice is today. Sure she belts out great Live
(it shows on this tape) but they process her voice on the radio cuts like they really should-not,
because she has some chops!

The styles range from that common folky-femme sound of the early 90's to a very cool
hybrid punk-psych-screamo sound with a basement production vibe that adds charm.
Online, when musi-historians mention when she started they say 1995.

I have to guess this tape is under-the-radar to most and it does not show up in her
discography anywhere. Not even reincarnations of these songs, unless she changed the names around.

PART 1 AND 2 OF FULL DEMO CASSETTE BELOW ----->

TECH POST -Replacemant power supply for the SONY F505 Li-Ion-Accu NP FS11

2011-02-28T21:16:00.001-08:00

Here is a technical how to

get more out of your crappy NP FS11 Sony Infolithium batteries.

Because the Sony F505 deserves a much better power supply!!!

10 years on, this Camera is still a very good tool.

sony f505v

Replacemant power supply for the SONY F505 Cybershoot with Li-Ion-Accu

Built at: Oct.03.2001

Last update: März 21, 2004

Diese Seite ist auch in Deutsch verfügbar.

from the defunkt website : http://members.fortunecity.de/kapmfs/e-liakku01.htm

I use a digital camera for KAP. This has the great advantage that a photo costs nothing and the waste simply can be deleted. My SONY-F505 is operating with a lithium ion accumulator. Unfortunately, this accumulator is just calculated very small and very expensive and after approx. 1 hour duration use in the air it is emptily. Unfortunately such an accumulator doesn't have any infinite life time and I believe in duration use at KAP, special if I permanently have switched the flashlight on to have a triggercontrol, the accumulator having been a strain strongly and the life expectancy sinks drastically. One of my older accumulators shows the following effect: If I put the accumulator loaded freshly into the camera, then a running time of e.g. 70 min. is reported to me. The indication slowly declines. Arrived at approx. 40 min. suddenly it changes from 40 to zero and the camera switches off after two or three minutes.

So I was searching for a substitute for the original SONY - Accu to use it in my KAP-Rig. My first idea, to take a simply NC-Accu, dosn´t work because SONY has implemented the Stamina-technology. With this technology, the camera and the accu, both change data about the carge and discharge. If the camera dosn´t "see" the original SONY Accu it switches off after some seconds with the message: "for InfoLITHIUM BATTERY ONLY".
So the Camera and the electronic must me outsmarted. Not easy. At first I have made some experiments to get informations on how the Stamina-technologie is working.

Summary from the experiments:

The camera exchanges data about the loading condition and the electricity consumption with the accumulator and the charger.
If the camera or the charger doesn't detect the original accumulator it switches off again after a few seconds.
So any accumulator can only be pluged with the Stamina electronic.
The accumulator can only be charged with the Sony battery charger because the the Stamina electronics must be loaded with data too.
The accumulator and the Stamina electronics may not be separated after charging.
With the "Must-combination" SONY-charger and stamina it can only be loadet Li-Ion-accus.

Considerations:

The Sony accumulator NP-FS11 contains two Lithium ions cells with each 3.6 V. These cells are connected parallel. This will give an output voltage of also 3.6 V. SONY doesn't give the capacity to amps of hours (Ah) but how it is fundamentally better the stored energy in 4.1 watts of hours (Wh) for the accumulator. One converts these results for comparison purposes in Ah one gets 1.139 Ah. If you switch three NC accumulators of the type AA with 0.7 Ah in row, then you get the same voltage of 3.6 V but only onto 0.7 Ah / 2.52 Wh. With this energy the F505 would run approx. 35 minutes. Therefore no solution. In addition, the Stamina electronics both for the charging and discharging must be outsmarted. Therefore only lithium ions accumulators can be used and they (it) must be connected with the SONY stamina technology, since the original SONY battery charger then can be used.


The SONY accu NP-FS11 (above respectively green) has a voltage of 3.6 V and an stored energy of 4.1 Wh. It costs (Okt. 2001) approx. 149,- DM. A far too high price for this little energy pack I find. The JVC lithium ions accumulator for the power supply of a video camera has a voltage of 7.2 V (cells switched in row) and a capacity of 1.4 Ah. This corresponds to a stored energy of 10.08 Wh and would suffice for approx. 2.5 to 3 hour duration use with the SONY F505. It has cost 90,- DM. I also have opened this accumulator to get the two big cells. The Li Ion cells in the JVC accumulator are made by Panasonic. They have a voltage of 3.6 V and a stored energy of approx. 5 Wh each. The Stamina electronic is soldered at the green Sony cells.


Original Sony - accumulator and Stamina electronic with microcontroller. On the left photo one also sees the bright metal stripe, the third connection for the communication between accumulator and camera or battery charger between the two powerplugs.


From the original SONY accumulator NP-FS11 I have removed the Stamina electronic and the two accumulator cells. I need the shell as a connection adapter as usually done by SONY cameras in the mains operation. After that I wanted to seal the case with scotch tape. Unfortunately, only one layer of the tape was too thik and the adapter didn't fit in the camera any more. Therefore I have glued the two case halves together with four drops hotglue at the corners.

To get a light power-supply for KAPing I took only one single cell. With this one cell I get a running time of just two hours duration use and the original SONY accumulator now is spared. With the combination from Li Ion accumulator and SONY Stamina electronics it is possible to use the original Sony Battery charger. If the accu loading is done the electronic and the akku may not be separated so that the Stamina Electronic is powerless. Otherwise when connecting the two parts together again the microprocessor probably becomes resettet in the Stamina electronics and the camera is silent.

Above in the picture you see the green original cells from SONY. After soldering the connection lines I have shrunk the cell.

Some measurements for the operation of the new accumulator with the Sony battery charger and the DSC-F505:

Charging current if is the charge LED is switched on: Approx. 850 mA
Charging current if is the charge LED is gone off: Approx. 300 mA
Discharge current by the camera: Approx. 1.1 A
Discharge current by the camera with a flashlight switched on: Approx. 1.5 A.
Running time with a cell in the Slideshow mode with display switched on: 1 h, 56 min.
Load time till the charge LED goes out: Approx. 2 h.

This part was added at 2003.02.13

Here are two good links to the theme by Markus (Anm. Manfred)

http://www.bealecorner.com/trv900/lithium.html

http://electronics.cnet.com/electronics/0-7618899-1318-1589247.html?pn=2&lb=0&ob=0&tag=st.ce.7618899.top.1589247-2

Gruss
Markus

This part was added at 2004.03.20

A further reliable source for Li ion cells are the accumulator paks of laptop computers. I have opened the shown block with 8 cells carefully with a cutter knife. On the back of the pak you can see the accumulator electronics and protection circuit. After I had separated and loaded the cells, with a length of 65 mm and a diameter of 18 mm, one by one, only one of the cells was fault. The remaining seven still had the full capacity.

The violet cell in the foreground with 65 mm of length and 18 mm of diameter is from a camcorder accumulator.

On the left, the two green original cells from the Sony accumulator NP-FS11 with each 42.5 mm of length and 14 mm of diameter.

Links to other KAPers and more you can find in my Surfers Guide.

I like to be available for questions, suggestions or experience exchange.

I would be very pleased about an entry in my visitor's book.

Manfred
http://members.fortunecity.de/kapmfs/

THanks to : Manfred (please contact us if you want this post removed)

serge plotnikoff-life in our world-CANADIANA doukhobors 1969 FOLK VOL1 (( LISTEN ))

2011-02-27T16:29:00.001-08:00