Tuesday, April 26, 2011

The Misfits Dearborn 01/07/1983 Boston 03/20/1983

I've got something to say...

This blog is absurd...There has to be some direct way to the hardcore rush of a thrill than all this rock video nonsense...In a few seconds, the species will be able to inhale computer particles directly into their brain, which will explode with the heat of a 1000 orgasms. In the meantime, how pathetic the universe is. I remember, (can anyone tell me what magazine?.) Kim Fowley in a New Orleans strip club telling us..."Fuck the Seeds, the Music Machine...et.al  all that nostalgia shit is for deadweights.  If you just got out of your mom's basement exactly right now, there's some band ripping it up just as good"  Which is exaggerated...but not much.  Down the road right now, there are a bunch of knuckleheads moshing the piss out of each other to the out of tune of loud guitars.  Doubtful, that band has quite the balance of the chops and the energy and the humor of the misfits, but it beats what you are doing exactly right now...

An audio/video recording of the horror punk band The Misfits. Recorded for the cable access TV program "Why Be Something You're Not". Filmed in a storage room at Group W Cable in Dearborn, Michigan on January 7, 1983.

This recording has not been officially released and only circulates as a bootleg.

01. Earth A.D.
02. Band Introductions
03. Interview With Glenn Danzig
04. I Turned Into A Martian
05. Skulls
06. Devilock
07. Queen Wasp
08. Mommy, Can I Go Out And Kill Tonight?
09. Hate Breeders
10. Braineaters
11. Halloween
12. Bullet
13. Horror Business
14. We Are 138

The Misfits:
Glenn Danzig (Lead Vocals)
Jerry Only (Bass Guitar, Vocals)
Doyle (Lead Guitar)
Robo (Drums)
This blog is absurd.  In the future, which will be a sort of paradise. memories and desires, awareness, will be a movable feast software that can be downloaded onto genetically perfected human livestock...generation to generation.  In the meantime, there is a new sandwich from mCCdonalds, there is a buddy of mine telling me that seeing bad religion again, twenty years later, seemed like punching the timeclock deadend of inspiration...Meanwhile, there is the new html 5 video tag...which I feel like if I was more computer savvy and more imaginative, I would be more excited about.  please help me to be entertained.  Should I buy an Ipad?  Can the Devil see me right now?  Is there an internet in the afterlife?

20 Eyes
Wolfs Blood
All Hell Breaks Loose
Mommy, Can I Go Out And Kill Tonight?
Devils Whorehouse
London Dungeon
Die Die My Darling
Violent World
Astro Zombies
Green Hell
I Turned Into A Martian
We Are 138
Nike A Go Go
Hate Breeders
Rise Above
Horror Business

The Dearborn footage has a much better image than the Boston.  But I played this for pretty strong fans and the mediocre quality of it made them lose their attention.  The sound is not that great.  I imagine there are some audio boots from around this time that have a lot more fidelity and are worth hearing.  Anybody with knowledge about that, give me a comment.  I've got some Bad Brains cdrs from around this time which are really hardcore....

Friday, April 22, 2011

Do It Yourself: The Rough Trade Story

From BBC four website:  " When Spiral Scratch was released in 1977, the idea of putting out a single without the support of an established record company was incredible."


if you are under the age of twenty five, you can remember a time when actually making a decent fidelity recording...having access to the technology that could do this...Making records was very nearly indistinguishable from magic...often black magic, a handshake and compromise with some morally corrupt corporate authority.

Do It Yourself, even today, can seem nearly the sole criteria of Aesthetic quality.  Whether or not you have an emotional response to symbols comes down to whether or not you believe that actual individual people were manipulating them...following no other compulsion than their own pleasure, curiosity, free will.  The story of Rough Trade is that the success of this has a ceiling.  The record label would give the bands a start, but eventually they defected to the majors.  Organizations that could make musicians into household names.

The odd thing is that even though the barriers to entry are lower, superstardom is still an elite margin with occult gatekeepers.  The 80-20 law :80 percent of awareness is owned by 20 percent of the population.  One of the thermodynamic axioms of psychohistory perhaps.

This documentary is so well made that I was interested in it without being too big of a fan of any of the Rough Trade musical acts.  I don't believe that it is available for viewing in a way that is commercially beneficial to its producers- another downside to the 80/20...if something is in the long tail of popularity, the revenue you generate from making it available for distribution does not exceed the cost.  But actually, I have to confess that the BBC is rather a unique network.  How it finances its content, and profits from that content, is far more complex than I can even pretend to understand. 

The Jayhawks Frankfurt 06/XX/95

never gave this band much attention but somehow wound up with a well put together disc with some of their television appearances. The frankfurt material is way over saturated but the sound is good:

settled down like rain
take me with you
two angels
reason to believe
sister citu
waiting for the sun
she picks the violets


waiting for the sun
take me with you
settled down like the rain

three chapters of extras:

hollywood town hall EPK (some songs performed and some very well produced and edited interview footage.  unlike the other stuff this is captured in close to broadcast quality)

ktcz tv 92

farm aid 92

The jayhawks currently doing the twenty year reunion thing where remastered albums are made available with bonus tracks playing concerts for old fans of an entire album in its entirety.

Wednesday, April 20, 2011

Sixties Beat Freaks

I'm a dabbler when it comes to vid collecting.  I got this disc from one of those gray area dvdr b-movie sites.  I really have respect for people who are consumed by ultra rare Shock Cinema style movie collections, and I'd buy more from them if I wasn't so damn broke. If you turn yourself a walking encyclopedia with the planet's only viewable copies of obscure giallo...eurosleaze...made for TV schlock titles, you deserve some cash to get by: you're doing more for civilization than most people.

This disc I'm reviewing is a VCR edit of mid sixties lip sync weekly rock shows. The generation loss of these clips is, for me, kind of a atmospheric positive thing.  In a better life, you'd always be able to wander over to someone's pad and there would be projections of this going on their living room wall.  Aside from the Kinks, the Pretty Things, The Seeds, The Monks, Question Mark and the Mysterians, there are many also ran groups like The Boots and Smoke which, I can't front, I don't know anything about.  I'm sure there are fifty page interviews with them in Ugly Things.  But I can tell you that they are more amusing to watch than to listen to.

No doubt this kind of disc is irritating to hardcore sixties collector/historians, who would want chapter indexes dividing the performances and information about who each group is and what program they are appearing on.  But me, like I said, I'm just about this for the do it yourself ambiance.

Monday, April 18, 2011

Metallica 03/12/1989 Philadelphia

4.02 GB Disc is multicam proshot screenfeed two or three generations down the line.  Picture is fair.  Lacks a lot of sharpness and contrast.  Sound is all mids and borders on crunchy distortion.  Quality of recording makes it probably of interest to only fans, but as far as 80's boots go, I've watched far worse.  The Youtube embed below has perhaps a different audio source, a little more definition but a little less range.  The video is definitely clearer, that boot either came from a different rip or someone stuck it into an editor and worked it over with some filters.

A cleanly laid out, nicely detailed Metallica boot site lists two recordings for the night.  One is a PAL audience.

It seems as if my tribute to tapetrader.com has turned into an epitaph. All of that information is now unavailable to access.  There are murmurings on various forums that the responsible parties were having financial problems with their host.   A long time ago, I was curious as to why, financially, the site existed in the first place. I found an interview with the developer where he explained that he was responsible for training Coldfusion developers professionally and he maintained the site for those purposes. As the years went on, state of the art search (say, for instance, appearances of a specific text string through all the disc descriptions) and web 2.0 features never appeared and made the site seem rickety. But, of course, the main reason the site became less popular is that it was overshadowed by torrent trackers, as downloading a video file is a hell of a lot more convenient than emailing dozens of strangers, burning discs, and going to the post office to send them through the mail. Just the same, I would often go to the site just to survey what has been filmed or taped...Soundboards of the Cleveland Agora, for example. Or all video files ever traded with images of Elvis...It will take a long time for all of this to reappear online. And in a centralized location, perhaps it never will. http://www.setlist.fm has already stepped in for people to wiki in what they know about shows...and there is songkick as well...These may disappear too one day, of course, but as their information is served to the public as webpages, it is a lot more amenable for independent users to crawl and archive. Just as people have archived public sites like dead bulletin boards or yahoo geocities.

01 - The Ecstasy Of Gold
02 - Blackened
03 - For Whom The Bell Tolls
04 - Welcome Home (Sanitarium)
05 - Leper Messiah
06 - Harvester Of Sorrow
07 - Eye Of The Beholder
08 - Bass Solo
09 - To Live Is To Die Jam
10 - Master Of Puppets
11 - One
12 - Seek & Destroy
13 - ...And Justice For All
14 - Creeping Death
15 - Fade To Black
16 - Guitar Solo
17 - Battery

Metallica versus Napster. This was the headline more than a few years ago. The blacks and whites of it all are perhaps now even harder to get to the bottom of.  Technology marches on.  Yesterday's power structure tries to delay its adoption for a percentage of a population for a short time, but eventually it must itself adapt. Browsing Cryptome the other day, I found an interesting link to a recent textbook which attempt to assess the current scope of international entertainment piracy. In historical retrospect, the real significance of the music industry will be seen as a mere catalyst for the mass production of consumer electronics. Where economies of scale will eventually permit the manufacturers to mass produce smaller and more powerful things...things which, inevitably, will create far more social transformation than the creation of audio recordings.

The future, or rather the present, is subscription. Instead of owning the physical medium in which the files themselves are kept (how inconvenient!), digital music files will be something that is subscribed to. This is a gray area of ignorance for me, personally, as I have yet to make the transition to having all of my interest in music satisfied by a recommendation engine powered by Pandora or Spotify and delivered to me on my cell phone...This is the future, of course. Where the content of every communication that appears in the span of your attention will be cataloged into an account specific to your unique identity. Will the Apple or Amazon or Netflix cloud deliver to us this ratty footage of a 20 year old concert by Metallica? Given the grayness of its independent origins, I would say it's unlikely. While Metallica is the kind of band that first world cell phone markets want emanating from their phones, the forces behind Metallica are still powerful enough that they must make these official channels pay recompense.

Yet, the data network corporations are growing to such stature that the concerns of the vestiges of the recording industry will eventually lose all consequence.   Glyn Moody (whose Rebel Code and Digital Code of Life books are very well researched and very perceptive) recently remarked that, with Google's capital, they might as well merely buy all of the record labels outright, rather than be troubled with their lawsuits and licensing demands.

One day, it will all be in the cloud.  And as long as you have this month's subscription fee, the cloud will have your fix.   But what if, one day, the cloud disappears?  Google itself is going to make the 2.8 million videos that people have uploaded to Google Video unavailable for viewing in a weeks time.  Although we can presume that a lot of them A) exist in another form somewhere else or B) has no conceivable bearing on any  cognitive inquiry that the species might imagine, the magnitude of it is pretty staggering.  How many MB were lost with the library of Alexandria?   Of course, headlines claim that Google is erasing this data, but Google says no such thing.  It says that it will only be unavailable for internet viewing.
And how reliable is communication across the cloud?  As of today, you and I can use YouTube to view Metallica playing Philadephia in 1989.  But it could very well disappear tomorrow, just as a video of Prince that I embedded in one of my posts went on to be dutifully removed at the request of the artist himself.   Whatever the rightness or wrongness of these uploads actually happens to be, it is Google, not the artist nor fans, that has much of the power when it comes to deciding if they will remain.  As far as official Hollywood content goes, apparently the network has devised extremely clever algorithms that can automatically, within an hour, identify a snippet of these when someone attempts to upload them into its database.  These methods will only improve.  How long before master of puppet facial recognition programs can return every video in which a person appears, regardless of the age that they appear in those stored images?

A second uploader has nonembeddably posted the concert to youtube HERE, I leave it to the obsessed to determine what the overall lineages are. I guess I'm generally kinda curious as to what the best bootleg is for this tour. If anyone reading this has any opinion, definitely leave a comment.

Wednesday, April 13, 2011

The Pointer Sisters XX/XX/1974 Bremen

The Pointer Sisters
Musikladen Recording Session (Probably Incomplete)
Radio Bremen TV Studios, Bremen, Germany
Recorded sometime in 1974, first aired January 24, 2009

ProShot MPEG B/W PAL 16:9

Video:    MPEG-2, 720x576 25 fps (16:9) PAL, 6586 kbps avg
Audio:    MPEG-1 Audio Layer II, 48 kHz Stereo, 192 kbps

Lineage:  DigiSat BC (Astra DVB-S) >Kathrein UFS 821 >ts >USB >PC HDD
          >ProjectX v0.90.4 >m2v/mp2 >Cuttermaran v1.69a >m2v/mp2
          >mplex v2.2.4 >mpg

Playtime: 28:28 min.

  01 Cloudbusters
  02 Jada
  03 Old Song
  04 Yes, We Can Can
  05 Wang Dang Doodle

! This recording is brought to you freely by !
!     U:S:E -- Usual Suspects of Europe      !
Pulled this down to check on the "Yes, We Can Can"- which really has its time and place in a deeper disco setting.  Performance here is as good as on their first record,  more stretched out, with a breakdown which is nice, but perhaps a tiny bit too loose.  The other songs feature them covering the different styles of tradition that they grew up listening to.  Enthusiastic performance and fine rendering to digital

A few seconds of internet searches show that there is some other footage from that year I saw mentioned:.
BBC "In Concert!"
(UK-TV 1974) 30 Min.

WTTW  Chicago Soundstage set.

What's My Line?
(US-TV 1974) 30 Min.