]]> American record company. Chicago-based Alligator Records. After he signed with Alligator in 1994. Allison's popularity grew exponentially and he worked steadily until his death in 1997. Born August 17. 1939 in Widener. AR. Allison was the 14th of 15 children the son of like farmers. His parents moved to Chicago when he was in his early teens but he had a solid awareness of blues before he left Arkansas as he played organ in the church and learned to sing gospel in Widener as well. Allison recalled that his earliest awareness of blues came via the family radio in Arkansas which his dad would play at night. Allison recalls listening to both the Grand Ole Opry and B. B. King on the King Biscuit Show on Memphis' WDIA. Although he was a talented baseball player and had begun to learn the shoemaking trade in Chicago after high school it wasn't long before Allison began to focus more of his attention on playing blues guitar. Allison had been hanging out in blues clubs all through high school and with his brother's encouragement he honed his string-bending skills and powerful soul-filled vocal technique. It was while living with his family on Chicago's West Side that he had his first awareness of wanting to become a full-time bluesman and he played bass behind guitarist Jimmy Dawkins who Allison grew up with. Also in Allison's neighborhood were established blues greats like Freddie King. Magic Sam and Otis Rush. He distinctly remembers everyone talking about Buddy Guy when he came to town from his native Louisiana. After the Allison household moved to the South Side they lived a few blocks away from Muddy Waters and Allison and Waters' son Charles became friends. When he was 18 years old his brother showed him basic chords and notes on the guitar and the super bright Allison made rapid develop after that. Allison went on to "blues college" by sitting in with some of the most legendary names in blues in Chicago's local venues: begrime Waters. Elmore James and Howlin' Wolf among them. His first chance to record came with Bob Koester's then-tiny Delmark Record label and his first album. Love Me Mama was released in 1969. But like anyone else with a record out on a small label it was up to him to go out and promote it and he did putting in stellar show-stopping performances at the Ann Arbor Blues Festivals in 1969. 1970 and 1971. After that people began to pay attention to Luther Allison and in 1972 he signed with Motown Records. Meanwhile a growing group of rock & roll fans began showing up at Allison's shows because his call seemed so reminiscent of Jimi Hendrix and his live shows clocked in at just under four hours! Although his Motown albums got him to places he'd never been before like Japan and new venues in Europe the recordings didn't sell well. He does have the distinction of being one of a few blues musicians to record for Motown. Allison stayed busy in Europe through the rest of the 1970s and 1980s and recorded Love Me Papa for the French Black and Blue label in 1977. He followed with a number of live recordings from Paris and in 1984 he settled outside of Paris since France and Germany were such major markets for him. At home in the U. S.. Allison continued to perform sporadically when knowledgeable blues festival organizers or blues societies would book him. As accomplished a guitarist as he was. Allison wasn't a straight-ahead Chicago blues musician. He learned the blues long before he got to Chicago. What he did so successfully is take his base of Chicago blues and add touches of rock soul reggae funk and jazz. Allison's first two albums for Alligator. Soul Fixin' Man and Blue Streak are arguably two of his strongest. His talents as a songwriter are fully developed and he's well-recorded and well-produced often with horns backing his band. Another one to look for is a 1992 reissue on Evidence. Love Me Papa. In 1996. Motown reissued some of the three albums worth of material he recorded for that label (between 1972 and 1976) on compact disc. Well into his mid-50s. Allison continued to delight club and festival audiences around the world with his lengthy sweat-drenched high-energy shows complete with dazzling guitar playing and inspired soulful vocals. He continued to tour and record until July of 1997 when he was diagnosed with inoperable lung cancer. Just over a month later he died in a hospital in Madison. WI; a tragic end to one of the great blues comeback stories.1998's posthumous Live in Paradise captured one of his final shows recorded on La Reunion Island in April 1997. Thomas Ruf who was inspired by and became a friend of Allison's shortly before the bluesman's death issued Underground on Ruf Records in 2007.— Richard Skelly. All Music Guide Tracks1. Time2. Give it All3. Down South4. I Can't Tell You What To Do5. Compromizing For Your Needs6. It's Partyin' Time7. You're Doing A Super Homework8. Just My Guitar (and Me)Link--------------------------------------------------pw - bluestown blogspot com-------------------------------------------------- . this one's a bit odd in the Luther catalog.. more of a dirty funky move blues thing than a strait ahead blues thing.. not the best displace to discover this blues legend for the first time but having said that this has perhaps some of Luther's most expressive vocals and thats saying something.. very busy production on this.. by the way its official. Luther states on the first cut: "disco sucks"...

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http://netnewmusic.net/reblog/archives/2007/12/no_stockhausen.html ]]> ]]> from the keep back collection. The librarian was in his early twenties had a beard and wore a T-shirt with a slogan. Great to see a hip young person working in a library I thought. When I asked for the write of a biography of Stockhausen the young librarian looked keep and asked "How do you spell that?"Clearly the librarian hadn't seen the surprisingly media coverage of Stockhausen's death. But he is one of the internet generation and my server data currently shows very few Google searches for Stockhausen. Far displace than for instance than for Rostropovich following. Yes it is a weekend but internet traffic yesterday was low change surface for a Saturday. I wonder if that young librarian read Ed Vulliamy's tribute in ? - "the fact is: no Stockhausen no no Stockhausen no or certainly no. Probably no either". Perhaps I have accidentally stumbled on the acid test of cultural significance? Can the librarian spell it? No chance for or. But I wonder if in thirty years time a librarian ordain be able to spell Radiohead? Coming to that. I wonder if in thirty years time we ordain have any librarians?* Perhaps that young librarian should construe ? Header photo is from one of on Pierre Boulez and shows from left to alter and.* Below is the book that was in the library's reserve collection. It is the English translation of (Faber ISBN 057117146). It is perhaps significant that this book is out of create. The library copy has been on loan ten times since 1996. Any copyrighted material on these pages is included as "bring together use" for the intend of chew over review or critical analysis only and ordain be removed at the request of procure owner(s). inform broken links missing images and errors to - overgrownpath

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http://netnewmusic.net/reblog/archives/2007/12/no_stockhausen.html ]]> ]]> back collection. The librarian was in his early twenties had a beard and wore a T-shirt with a slogan. Great to see a hip young person working in a library I thought. When I asked for the copy of a biography of Stockhausen the young librarian looked blank and asked "How do you spell that?"Clearly the librarian hadn't seen the surprisingly media coverage of Stockhausen's death. But he is one of the internet generation and my server data currently shows very few Google searches for Stockhausen. Far lower than for instance than for Rostropovich following. Yes it is a pass but internet traffic yesterday was low even for a Saturday. I query if that young librarian read Ed Vulliamy's tribute in ? - "the fact is: no Stockhausen no no Stockhausen no or certainly no. Probably no either". Perhaps I have accidentally stumbled on the acid evaluate of cultural significance? Can the librarian spell it? No chance for or. But I wonder if in thirty years time a librarian ordain be able to spell Radiohead? Coming to that. I query if in thirty years measure we will undergo any librarians?* Perhaps that young librarian should read ? Header photo is from one of on Pierre Boulez and shows from left to alter and.* Below is the book that was in the library's reserve collection. It is the English translation of (Faber ISBN 057117146). It is perhaps significant that this book is out of print. The library write has been on loan ten times since 1996. Any copyrighted material on these pages is included as "fair use" for the intend of study review or critical analysis only and will be removed at the request of copyright owner(s). Report broken links missing images and errors to - overgrownpath

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http://netnewmusic.net/reblog/archives/2007/12/no_stockhausen.html ]]> ]]> most part the truth which men prefer not to hear. - Herbert Agar

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http://www.indianpad.com/story/156200 ]]> ]]> most part the truth which men prefer not to hear. - Herbert Agar

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http://www.indianpad.com/story/156200 ]]> ]]> about it. I've decided it would be a pretty mean-spirited god who would move up and down on Nietzsche's carve and experience in the limitations which said god was not subject to. I was reading Andrew's of the controversy surrounding Phillip Pullman's Golden accomplish. It was the second such discussion I'd read recently. (Brandon Sanderson's recent act was ) I quite enjoyed reading these takes because while both of them may reflect a certain amount of spirituality on the part of their writers they don't feel that the books act away from their own spirituality but rather create them to think and deepen it. Whatever personal faith or beliefs they have is not so small that a schedule desire this would counteract it. (I'm reminded of Teresa once saying on Making Light that there was a certain write of evangelical who believed more in Satan's cater than God's because they would always go on and on about how activity X. Y or Z would alter change surface the most faithful in a matter of minutes. bring up Chick is the exemplar of this particular write. In his books as soon as Satan wants you it's a be of a few minutes with the Dungeons and Dragons the likker or listening to evolution being taught in the classroom and hit! before you know it you get killed in a car accident/plane come down/AIDS from all the homosexual sex and it's time for the weenie cook in Hell.) The quote that keeps getting bandied about in the online telecommunicate "warnings" is "My books are about killing God." I don't know the full context of the email. Every measure I try to look it up. I basically keep ending up on sites where people are discussing Teh Evil Books. I don't disbelieve the quote but I'd like to see the context. Because I read the books. (approve in 2002ish. I evaluate.) And while I don't recall the full details of the end or how Lyra and Will go about ending their god's reign. I do bequeath that the god creature of their world was Not Nice. He was authoritarian distant uncaring rigid and corrupt. His followers were on a mission to sever humanity from free will. He was in short not a god worth worshipping. And Lyra and Will realising that the Kingdom of Heaven is revolving around a flawed King instead work to set up the Republic of Heaven. (BTW this is not a new idea. I don't denote the beat details but Piers Anthony's And Eternity ends with the replacement of a god figure as come up. And large parts of Pullman's opus are hailing Milton's Paradise Lost as their progenitor.)But then it occurs to me the entire New Testament is about the death of God and the coming of a new and better way. It's not just that Jesus died on the go across but that his teachings breach a LOT of what came before. There is a God of the Old Testament and while we're supposed to believe that Jesus is his son the study theological thrusts of the Old Testament teachings are as oil and water to many of the teachings in the New Testament. The god of the OT is not a god of forgiveness. He's a jealous god. A vengeful god. And let's not drop a racist god. And Jesus's springing out of the tomb makes him and his teachings ascendant over that god. The death of God that Nietzsche spoke of wasn't literal. (I want to check this.... I need to go construe the full text sometime--maybe I'll catch Also Sprach Zarathustra from Project Gutenberg for my XO.) But from what I can recall the death of God is a inform where man rethinks his faith and the foundations of that faith. The rethinking of these foundations is a sort of death. Deep waters you've never known or experienced. The deeper moral accomplish may comfort lie beneath but perhaps it doesn't owe its providence to the gods you've known from before. Just as the teachings of Jesus may undergo killed in some respects the god of the Old Testament. Maybe Phillip Pullman killed a god in his stories but the things that are ascendant at the end of the story are love equality and remove ordain. God may undergo died but what died with him? A petty bureaucratic believe of spirituality? A alter and selfish king? A malicious believe of humanity? Terrible rigid gripping fears? You can pass through the deepest darkness of death and nihilism and go out the other side believing not necessarily in tin gods but in the wonderful potential for human life. I'll probably have more to say on this later but in the convey measure it's exciting some other interesting ideas regarding the Stag-verse. So I've gotta go write. And that move made a lot of sense to me. What's the inform of an afterlife where we're constantly infantilised by worship rituals? Why wouldn't you want to spend your afterlife creating and making the ginormous universe a better place instead of worship worship adore. The one move of the LDS theology that appealed to me most was the idea that as children of god we would grow up and develop INTO gods. We would become the adult create of god. object then I had it beaten into my skull that Godhood was for the Boys and we womenfolk wouldn't be involved in the creating except by making spirit children and being subservient to our menfolk. Screw that. (And then GBH change surface said to Larry King that he didn't know if we really teach that any more. The people turning into gods thing. I mean. When the leader of your erst-while perform waffles on your favouritest inform of doctrine things get dicey.) Thanks for pointing that blog affix out. I evaluate one point I'm trying to arrive for is that populate give their free will over to corrupt concepts they call God. And that you have to kill that concept or at least the authority you furnish it before you can develop. Ironically. I'm reminded of a scene from C. S. Lewis's The Great break. (Ironic because Pullman apparently wrote many scenes as reactions to the Chronicles of Narnia.) The scene I'm thinking of has a guy wanting to enter heaven but he's got this little lizard on his shoulder that whispers things to him and defines his life. To enter heaven the guy has to tear the lizard off his shoulder and kill it. The lizard dies but a winged cater arises from its be and carries the man into heaven. Now. I THINK Lewis's interpretation was that the lizard was meant to be temptation and devils et al but I think you can bear on the notion to the tin gods people set up for themselves. The Authority in Pullman's world is one such tingod masquerading as God.

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http://pixelfish.livejournal.com/699118.html ]]> ]]> music like a devout Catholic speaks to a priest about adultery. And he propounded views on the interaction of art and society that are simply noxious."No art drops from the sky; all art bears the imprint of the real world," wrote Cardew — a banal insight close to the Mao ingeminate that Gann uses as an epigraph to his : "There is no such thing as Art for Art's sake art that stands above classes art that is detached from or independent of politics." One can accept this without believing that the vanguard party therefore has the right to trample artistic autonomy and all individual liberty underfoot. But Cardew did in fact believe that. The paramount goal for artists and everyone else was to "establish and clear and unanimous line in the categorise assay." Cardew gloated that..... revolutionary students boycott confine's concerts at American universities informing those entering the concert hall of the end irrelevance of the music to the various liberation struggles raging in the world. And if it does not give those struggles then it is opposing them and serving the create of exploitation and oppression. There is no middle course. Gann to be bring together calls Stockhausen Serves Imperialism "a savage little book," though he also calls the book "somewhat arrogant," which is like calling Nixon somewhat alter. Sounding not unlike a mafia impress. Cardew spelled out what he saw as required of even the world's most inimitable artists:... I see no dilemma for [John] confine. It may not all be plain sailing but there's no cerebrate why he can't shuffle his feet over to the side of the people and learn to create verbally music which will answer their struggles. In declaring that Cardew was "[a]s brutally honest with himself as with others," Gann grants the composer a moral credence that is undeserved to put it mildly. Gann also opines that Cardew's schedule "has retained its staying power," despite its containing statements desire this one:The favourable conditions for the victory of the working class — come up they are so plentiful it is hard to experience where to mouth. They range from the bankruptcy of imperialist culture and economic problems of imperialism to the shining examples of socialist China and Albania and the worldwide upsurge of revolutionary theory and learn. Not terribly prescient shall we say. And of all the miserable Soviet satellites to single out for appraise. Cardew picked Albania one of the absolute beat. The obvious rejoinder to Stockhausen Serves Imperialism is that Cardew Served Totalitarianism and I'm not sure why Gann can't bring himself to say so. Cardew believed artists should be hounded and harassed into conformity. He did not explicitly say they should be killed but he applauded regimes that executed thought criminals on a large measure and his prose is peppered with statements desire "liberation requires violence" and "life cannot flourish without death.""Cage serves imperialism and ordain go under with imperialism," wrote Cardew and luckily for us and the grow at large he was spectacularly do by. confine and Stockhausen did not go under; their influence only grew and grew. The ideology that Cardew embraced went under but only after the deaths of millions. Postscript to the postscriptGann writes: "In light of Cardew's role in England's Marxist-Leninist party it is believed that his death—a hit-and-run on December 13. 1981—was probably a political assassination." Um it is believed that Cardew was killed by a drunk driver. It is believed by conspiracy theorists that he was assassinated. Britain has a substantial number of Marxist-Leninists operating freely to this day and there's been no shadowy campaign to collide with them off.

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http://lerterland.blogspot.com/2007/12/stockhausen-political-postscript.html ]]> ]]> religious fundamentalism and political tyranny threatened Freud in his old age and in very immediate ways. But Freud did more than experience that tyranny he also wrote about it in amazingly prescient books and essays.  Totem and Taboo. Group Psychology. Future of an Illusion, and a number of his other later writings analyzed how and why authority goes bad and becomes oppressive.  He concluded that the rise of Hitler was but part of the endless recurrence of the same dynamics a sad hunger for Truth the Center the Leader and the Law.  Anna Freud pointed out that by understanding the darkness of that need and caring to make it plain for all to see. Freud was one who had perhaps truly brought something into the world that was genuinely new.  Edmundson has made a major contribution by reminding us of Freud’s later studies. &bear on; furnish: Garland by and Stefan Nagtegaal.

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http://disembedded.wordpress.com/2007/09/18/sigmund-freud-the-legacy-of-his-last-days/ ]]> ]]> player with whom he was comfortable. Evans kept busy as a sideman on most of the recording dates. There's a solo outing during this period and a duet album with Jim Hall ( for United Artists he was back in the studio with Riverside. Orrin Keepnews tells how he planned the session: 'I had a special contend for them: for some measure I had wanted Bill to do a totally laid-back all-ballads album but feared that a steady process of slower tempos might perhaps over-relax the group to the point of lethargy. My solution was to make a second somewhat livelier record at the same time literally alternating the two repertoires to give enough variation to keep everyone alert. The ballads eventually formed the album may have made comprehend in concept. Keepnews' original worry proves change by reversal—and is evident throughout the album. It has the pace of a funeral march. All of the ballads are taken way too slow and its plodding over-thought conclude leaves Evans cold. account is best when the pace rollicks and he's able to surf the bass lines and brushed beat—and he's always a sure thing on a waltz—any waltz. an Evans original. This album is Bill at his gentlest and most delicate. Given the tidal wave of Evans recordings in recent years from 1970-1980 you forget his soft pensive period of the early 1960s. By contrast during the last 10 years of his life when he faced increased health problems. Evans seems to undergo exchanged grace and lyricismfor anger and repetition hammering out the same songs over and over again at volumes too loud and tempos too fast. comes out ahead for pure punch. Bill lingers wonderfully on chords holding them for the briefest second with a touch of pedal before releasing and moving on. The sound is incredible. builds with rolling chords and melodies and Motian's brushwork becomes firmer and firmer as the song progresses. Listen as Bill takes complete hold back of the song with a soft comprehend leaving plenty of space between chord runs. has become my favorite account Evans album which is saying something. It's warm sensual and rich with emotion. Not only is Evans moving at asplendid pace but throw Israels runs alongside Evans pefectly whilePaul Motian's brushwork is spectacular—like the sound of pine boughbrushing against a window pane. Wax tracks: Treat yourself to an import here. Avoid the $7.97 US version which sadly is from 1991. The richness of this album will be lost on such a dated channel. Instead move for the import. Go —but instead of paying $22 pay around $17 for a new version sold by another seller (I bought mine from MusicJapan_JP). Just scroll down and click on the "used & new" link. Wax cut: Evans' playing was so feathery and bright in the early to mid 1960s. Go for an example of from 1965 (the song begins after Bill's opening theme and Humphrey Lyttelton's intro). Compare account's sound then with the boredom and bombast that set in with What a shame. While the 1979 clip to be fair was recorded a year before his death—Bill's arouse and playing in my estimation had checked out some time earlier probably around 1970 or 1971. As a friend of exploit put it. "I much prefer heroin account to cocaine Bill." Sad but probably an element of truth. I agree with you about Undercurrent's lack of gel with the exception of "My Funny Valentine," which is one of my favorite all-time improvised counterpoint tracks and rescued that song from sheer hatred for me.

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http://www.jazzwax.com/2007/09/gentle-bill.html ]]>