Wolf People - Steeple

Wolf People show their reverence for classic British psych-rock on their full-length debut, Steeple.
Tracks

Title
Composer
Time
1 Silbury Sands Wolf People 5:18
2 Tiny Circle Wolf People 5:10
3 Painted Cross Wolf People 3:23
4 Morning Born Wolf People 4:09
5 Cromlech Wolf People 3:17
6 One by One from Dorney Reach Wolf People 5:35
7 Castle Keep Wolf People 7:34
8 Banks of Sweet Dundee, Pt. 1 Traditional, Wolf People 3:27
9 Banks of Sweet Dundee, Pt. 2 Traditional, Wolf People 5:11

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Black Mountain - In the Future

During the nearly three years between Black Mountain's self-titled debut album and its sophomore full-length In the Future, there had been extensive touring, a first attempt at recording which proved to be a false start of sorts (though some of those songs ended up here), and a kind of development that would seem radical if these Vancouverites weren't so quirky to begin with. Certainly, the roots of this sound are evident on the debut album. It's loaded with trippy neo-psych folk and rock tropes. But these are counterweighted with a drenched-in-prog-and-Sabbath bombast that makes the title seem ironic. If not laugh out loud funny. That's right: prog rock and Black Sabbath-like riffery and knotty, multi-part structures worthy of Greenslade are all entwined with pixie-ish protocol, acid-laced folk (think Melanie meets Sandy Denny meets Grace Slick's early period duets with Marty Balin and Paul Kantner on the Jefferson Airplane's Surrealistic Pillow and Volunteers). The weird thing is, despite its obvious nods to rock collections, including not only Sabbath's Master of Reality but Jethro Tull's Thick as a Brick, Hawkwind's Warrior on the Edge of Time, Peter Hammill's entire Charisma period, Eloy's first three albums, Rush's 2112 (where some of these rather drenched-in-warped-myth lyrics were derived from; but then they're Canadians too), and Led Zep's Physical Graffiti, with a touch of the optimism of Thunderclap Newman and Graham Nash -- all is tempered by Neil Young's sleepy delivery -- sometimes in the same song! The sheer heaviness of tracks like "Stormy High," that wails out of the gate with guitars in full pummel riffage, fuzzed out bassline, and floor tom, bass drum, hi hat fury are stretched out by layers of Mellotrons! Then, Stephen McBean and Amber Webber begin wailing wordlessly à la "Immigrant Song," before McBean takes the lead vocal and you're ready for your space rock pith helmet! Where's Michael Moorcock when you need him? He's about all that's missing. It gets more insistent before it lets up with the starting-in-fifth-gear "Tyrants," that winds and wends its way through a multi-dimensional journey densely packed with sonic wonkery, key and time changes, and the feeling of a journey through time and space for over eight minutes. The sheer sonic throb is balanced by long, droning Mellotron and analogue synth drones, tribal, chant-like drumming, and the pleading, world-weary, vulnerable voice of McBean. It's quite a thing, but it's only a precursor to the truly epic "Bright Lights" near the end of the set that rages on for nearly 17 minutes. Fuzzy electrics, shimmering acoustics, and trance-like keyboards flit in and out between the alternating vocals of McBean and Webber. The music picks up intensity, shifts direction numerous times, and careens across the rock and folkscapes of rock's history from the late '60s through the '70s with great focus, wit, and ambition. There are other things like this here, too, with the utterly beautiful and tender lysergic folk explorations in "Stay Free," where unplugged six-strings, tambourine, McBean's falsetto, and Webber's harmony are seamless, as of one voice. The lyrics are direct, but the sheer sparseness of the mix (organs hover in the backdrop) stands in such sharp contrast to "Wucan" and "Tyrant" that it's like a wake-up call from the ether. (Movie music directors, take heed: this is the one you want for those long reflective moments where the two main characters have parted to rethink their positions.) It picks up, but never too much; the bridge is wonderfully constructed with just enough ornamentation to take it up a notch texturally and dynamically. "Wild Wind," clocking in under two minutes could be a lost Kevin Ayers' outtake. It's only a shame it's so brief. "Evil Ways" -- no relation to the Santana number -- is all metallic stoner rock with rumbling, quaking tom toms, piercing guitars, and huge organs challenging one another to overcome the vocals. As atrocious as this all sounds, perhaps, it's actually quite wonderful and it works without faltering. For what it is, is a stunning extension of the root sound Black Mountain arrived with. Part of the credit has to go to John Congleton for his amazing mix. It's packed with stuff, but there's enough space here, and wonderfully warm atmospheres, to bring the listener right into the deeper sonic dimensions that Black Mountain is trying to create. That it's done without artificial sounding punch up or tons of digital effects makes it come together as a whole. There is no sophomore slump here.
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Frank Zappa - You Can't Do That on Stage Anymore, Vol. 6

The last volume of the series You Can't Do That on Stage Anymore is one of the strongest, especially for those who prefer Frank Zappa's sex-oriented songs. There is not much complex material or instrumental pieces in this collection, but catchy humorous songs abound, along with more of that stage craziness the series tried to capture. Live incarnations of Zappa's band from 1970 up to 1988 are represented (the original Mothers had a whole disc devoted to them on Vol. 5). Most of disc one revolves around sex, starting with "The M.O.I. Anti-Smut Loyalty Oath," where the 1970 Mothers solemnly swear not to show their private parts on stage. Disc two is more varied, but tracks like "Catholic Girls" and "Crew Slut" make it fit right in. "The Poodle Lecture" and "Lonely Person Devices" reveal important Conceptual Continuity Clues. The "Camarillo Brillo"/"Muffin Man" medley provides a highlight, as does the frantic rendition of "Dirty Love." Lisa Popeil, who sang the 1982 track "Teen-Age Prostitute," makes her only other Zappa-related appearance in "Lisa's Life Story." Most of all, the music from the movie 200 Motels -- still unavailable on CD when this album came out -- was given special attention. Even today, the renditions of "200 Motels Finale" and "Shove It Right In" stand out as important tracks. This volume is less focused on the die-hard fan craving rare material. It will appeal to a wider range of casual listeners, while portraying with much fidelity the atmosphere of Zappa's concerts.
Tracks
Disc 1


1 The M.O.I. Anti-Smut Loyalty Oath 3:01
2 The Poodle Lecture 5:02
3 Dirty Love Zappa 2:39
4 Magic Fingers Zappa 2:21
5 The Madison Panty-Sniffing Festival 2:44
6 Honey, Don't You Want a Man Like Me? Zappa 4:01
7 Father O'Blivion Zappa 2:21
8 Is That Guy Kidding or What? 4:02
9 I'm So Cute Zappa 1:39
10 White Person 2:07
11 Lonely Person Devices Zappa 3:13
12 Ms. Pinky Zappa 2:00
13 Shove It Right In Zappa 6:45
14 Wind up Workin' in a Gas Station Zappa 2:32
15 Make a Sex Noise 3:09
16 Tracy Is a Snob 3:54
17 I Have Been in You Zappa 5:04
18 Emperor of Ohio 1:31
19 Dinah-Moe Humm Zappa 3:16
20 He's So Gay Zappa 2:34
21 Camarillo Brillo Zappa 3:09
22 Muffin Man Zappa 2:25
Disc 2


1 NYC Halloween Audience 0:46
2 The Illinois Enema Bandit Zappa 8:04
3 Thirteen 6:08
4 Lobster Girl 2:20
5 Black Napkins Zappa 5:21
6 We're Turning Again Zappa 4:56
7 Alien Orifice Zappa 4:16
8 Catholic Girls Zappa 4:04
9 Crew Slut Zappa 5:33
10 Tryin' to Grow a Chin Zappa 3:33
11 Take Your Clothes Off When You Dance Zappa 3:46
12 Lisa's Life Story 3:05
13 Lonesome Cowboy Nando Zappa 5:15
14 200 Motels Finale 3:43
15 Strictly Genteel Zappa 7:07

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Frank Zappa - You Can't Do That on Stage Anymore, Vol. 5

For the fifth volume in the You Can't Do That on Stage Anymore series, Frank Zappa prepared two unrelated discs. Disc one features the original Mothers of Invention in unreleased live and studio recordings mainly from 1969 (but also one from 1965 and a couple from 1967-1968). Disc two documents the 1982 European tour. There is something wicked -- almost obscene -- in this pairing, and it surely was intentional. Throughout the 1980s, fans of the early Mothers had attacked Zappa's integrity in the case of the re-recorded CD reissues of We're Only in It for the Money and Cruising With Ruben & the Jets, and often despised the scatological antics and straightforward rock stylings of his latter bands. This was a calculated move, a way to say: "So you want unreleased material from the early Mothers? OK, but you'll have to pay for the 1982 band -- and hopefully listen to it, too." The material on the MOI disc occasionally features meager sound quality (as expected), but it contains many gems for the aficionado ("Run Home Slow," the hilarious "Right There," and "No Waiting for the Peanuts to Dissolve" stand out). This is a place for fans to salivate over bits and pieces, not for newcomers to get the full picture about Zappa's pre-1970 career. On the other hand, the performances on disc two are of more general appeal. Although the 1982 band had not really been documented yet (left only a few tracks on Vol. 1 and Vol. 4 of this series), it was not the case for its repertoire. Of historical significance are "Dead Girls of London" and "Shall We Take Ourselves Seriously?" The other tracks show good performances but don't stand out as particularly original or essential.
Tracks
Disc 1

1 The Downtown Talent Scout Zappa 4:01
2 Charles Ives Zappa 4:37
3 Here Lies Love Dobard, Martin 2:44
4 Piano/Drum Duet Zappa 1:57
5 Mozart Ballet MozartF 4:05
6 Chocolate Halvah Estrada, George 3:25
7 JCB & Kansas on the Bus #1 Barber, Black, Kanzus, Kunc 1:03
8 Run Home Slow: Main Title Theme 1:16
9 The Little March 1:20
10 Right There Estrada, Zappa 5:10
11 Where Is Johnny Velvet? 0:48
12 Return of the Hunch-Back Duke 1:44
13 Trouble Every Day Zappa 4:06
14 Proto-Minimalism 1:41
15 JCB & Kansas on the Bus #2 Barber, Black, Kanzus, Kunc 1:06
16 My Head Invention 1:22
17 Meow Zappa 1:23
18 Baked-Bean Boogie Zappa 3:26
19 Where's Our Equipment? Zappa 2:29
20 FZ/JCB Drum Duet Zappa 4:26
21 No Waiting for the Peanuts to Dissolve Zappa 4:45
22 A Game of Cards Sherwood, Tripp, Underwood, Zappa 0:44
23 Underground Freak-Out Music Zappa 3:51
24 German Lunch Zappa 6:43
25 My Guitar Wants to Kill YourMama Zappa 2:11
Disc 2


1 Easy Meat Zappa 7:38
2 The Dead Girls of London Zappa 2:29
3 Shall We Take Ourselves Seriously? Zappa 1:44
4 What's New in Baltimore? Zappa 5:03
5 Moggio Zappa 2:29
6 Dancin' Fool Zappa 3:12
7 RDNZL Zappa 7:58
8 Advance Romance Zappa 7:01
9 City of Tiny Lites Zappa 10:38
10 A Pound for a Brown on the Bus Zappa 8:38
11 Doreen Zappa 1:58
12 Black Page, No. 2 Zappa 9:56
13 Geneva Farewell 1:38

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Frank Zappa - You Can't Do That on Stage Anymore, Vol. 4

Like the first volume of the series, You Can't Do That on Stage Anymore, Vol. 4 was put together without a specific theme in mind. It has a little of everything, from straight rock songs to more complex numbers, from stage antics to guitar solos. All eras of Frank Zappa's career are visited (including tracks from the 1988 tour), but the '80s provided the majority of the material. Highlights include the only official recording of the live arrangement of "The Evil Prince," very different from the Thing-Fish version and truly a must-have for the fan; a rare performance of "Filthy Habits"; and impressive performances of "Stevie's Spanking" (with "Church Chat" explaining its story), "Disco Boy," and the challenging "Florentine Pogen." Doo wop lovers will appreciate the closing six-track medley that ends with "The Man From Utopia Meets Mary Lou." Those looking for historically significant recordings have only little bits to chew, like the 1969 improvisations "Are You Upset?" and "You Call That Music?" (the latter with Dave Samuels guesting on vibes), or "Tiny Sick Tears," an impersonation of Jim Morrison's Oedipus-inspired delirium. The real treat is the original version of "The Torture Never Stops," sang by Captain Beefheart over a blues motif -- not a fantastic music moment, but an important piece of Zappa history. Neglected songs, live rarities, old favorites: volume four aims at both the die-hard fan and the casual listener, but it probably doesn't fully satisfy either of them.
Tracks
Disc 1

1 Little Rubber Girl Walley, Zappa 2:57
2 Stick Together Zappa 2:04
3 My Guitar Wants to Kill YourMama Zappa 3:20
4 Willie the Pimp Zappa 2:07
5 Montana Zappa 5:47
6 Brown Moses Zappa 2:38
7 The Evil Prince Zappa 7:13
8 Approximate Zappa 1:49
9 Love of My Life Collins, Zappa 1:58
10 Let's Move to Cleveland [Solos] Zappa 7:11
11 You Call That Music? Zappa 4:07
12 Pound for a Brown [Solos 1978] Zappa 6:30
13 The Black Page [1984] Zappa 5:15
14 Take Me Out to the Ball Game Norworth, VonTilzer 3:02
15 Filthy Habits Zappa 5:40
16 The Torture Never Stops [Original Version] Zappa 9:15
Disc 2

1 Church Chat Zappa 2:00
2 Stevie's Spanking Zappa 10:51
3 Outside Now Zappa 6:10
4 Disco Boy Zappa 3:00
5 Teen-Age Wind Zappa 1:54
6 Truck Driver Divorce Zappa 4:47
7 Florentine Pogen Zappa 5:10
8 Tiny Sick Tears Zappa 4:30
9 Smell My Beard Duke, Zappa 4:30
10 The Booger Man Brick, Duke, Zappa 2:47
11 Carolina Hard Core Ecstasy Zappa 6:28
12 Are You Upset? Zappa 1:29
13 Little Girl of Mine Cox, Cox, Levy 1:41
14 The Closer You Are Lewis, Robinson 2:05
15 Johnny Darling Statton, Statton 0:52
16 No, No Cherry Ceasar, Gray, Grey 1:26
17 The Man from Utopia Meets Mary Lou Donald, Woods 1:16
18 Mary Lou Jesse, Jessie 2:14

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Frank Zappa - You Can't Do That on Stage Anymore, Vol. 3

Most of You Can't Do That on Stage Anymore, Vol. 3 is devoted the 1984 band which, at the time of this set's release, had not been properly documented (the live Does Humor Belong in Music? was made commercially available in the U.S. in 1995 only). Most of the material comes from late-'70s/early-'80s albums like Sheik Yerbouti, Joe's Garage, and You Are What You Is. Disc one is 1984 only (excerpt for a few edits in "Drowning Witch") and lacks interest. This band (Ike Willis, Ray White, Bobby Martin, Alan Zavod, Scott Thunes, Chad Wackerman) was competent but square and performances tended to resemble one another. Of significance for completists are "Ride My Face to Chicago," "Carol, You Fool," "Nig Biz," and "Chana in de Bushwop," all regular inclusions during that tour and unavailable elsewhere, but for the casual listener they hardly make the album worth buying. Disc two contains a few gems: the original version of "Dickie's Such an Asshole" (from December 1973), a slow and seductive "Zoot Allures" from 1975, and a 25-minute "King Kong" that collages wild performances from 1971 and 1982. Unless you happen to love the 1984 band, this volume is the weakest of the series.
Tracks
Disc 1

1 Sharleena Zappa 8:54
2 Bamboozled by Love/Owner of a Lonely Heart Anderson, Horn, Rabin, Squire, Zappa 6:06
3 Lucille Has Messed My Mind Up Zappa 2:52
4 Advance Romance [1984] Zappa 6:58
5 Bobby Brown Goes Down Zappa 2:44
6 Keep It Greasey Zappa 3:30
7 Honey, Don't You Want a Man Like Me? Zappa 4:16
8 In France Zappa 3:01
9 Drowning Witch Zappa 9:22
10 Ride My Face to Chicago Zappa 4:22
11 Carol, You Fool Zappa 4:06
12 Chana in de Bushwop Zappa, Zappa 4:52
13 Joe's Garage Zappa 2:20
14 Why Does It Hurt When I Pee? Zappa 3:07
Disc 2


1 Dickie's Such an Asshole Zappa 10:08
2 Hands With a Hammer Bozzio 3:18
3 Zoot Allures Zappa 6:09
4 Society Pages Zappa 2:32
5 I'm a Beautiful Guy Zappa 1:54
6 Beauty Knows No Pain Zappa 2:55
7 Charlie's Enormous Mouth Zappa 3:39
8 Cocaine Decisions Zappa 3:14
9 Nig Biz Zappa 4:58
10 King Kong Zappa 24:32
11 Cosmik Debris Zappa 5:14

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Frank Zappa - You Can't Do That on Stage Anymore, Vol. 2

In his contract with Ryko, Frank Zappa had to put together 12 CDs worth of live material for the series You Can't Do That on Stage Anymore. The fact that he decided to devote two of them (all of Vol. 2) to a Helsinki concert from 1974 illustrates how good and representative he thought it was -- and he was right. This two-CD set features the 1973-1974 band (Napoleon Murphy Brock, George Duke, Ruth Underwood, Tom Fowler, Chester Thompson) near the end of their tour, in a concert in faraway Finland on September 22, 1974 (there were actually two concerts performed that day and, as usual, Zappa edited the best moments together). The set list comes mostly from the Roxy & Elsewhere repertoire, except that here the songs are taken at a faster tempo and free of the overdubs found on the original album. "Echidna's Arf (Of You)" and "Don't You Ever Wash That Thing?" are very exciting, but without the vocal overdubs "Cheepnis" feels empty. But the treats lie elsewhere, as in the playful "Inca Roads" (Zappa used the guitar solo from this concert for the One Size Fits All version); "RDNZL," still a work-in-progress at the time; the unreleased "Approximate" (including hilarious stage craziness); and "T'Mershi Duween." The band is in great shape, Zappa being particularly witty and good-humored. When a member of the audience requests the Allman Brothers song "Whipping Post," he spontaneously rewrites the lyrics to "Montana" -- and backup vocalists Brock and Duke have to adapt! For fans of the man's complex, progressive rock-tinged music of the mid-'70s, this is a must-have, even though it also contains very average moments ("Dupree's Paradise," for instance). Sound quality is very good, superior to any bootleg from this period.

Tracks
Disc 1

1 Tush Tush Tush (A Token of My Extreme) Zappa 2:47
2 Stinkfoot Zappa 4:20
3 Inca Roads Zappa 10:54
4 RDNZL Zappa 8:43
5 Village of the Sun Zappa 4:33
6 Echidna's Arf (Of You) Zappa 3:30
7 Don't You Ever Wash That Thing? Zappa 4:56
8 Pygmy Twylyte Zappa 8:22
9 Room Service Zappa 6:22
10 The Idiot Bastard Son Zappa 2:39
11 Cheepnis Zappa 4:28

Disc 2

1 Approximate Zappa 8:12
2 Dupree's Paradise Zappa 23:59
3 Satumaa [Finnish Tango] Mononen 3:51
4 T'Mershi Duween Zappa 1:31
5 The Dog Breath Variations Zappa 1:38
6 Uncle Meat Zappa 2:28
7 Building a Girl Zappa 1:00
8 Montana (Whipping Floss) Zappa 10:15
9 Big Swifty Zappa 2:16

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Frank Zappa - You Can't Do That on Stage Anymore, Vol. 1

While most of the other volumes in the You Can't Do That on Stage Anymore series would be compiled around loose themes (whether topical or historical), this first volume contained a little of everything for everyone. The material spans most of Frank Zappa's career, from 1969 live recordings by the original Mothers of Invention (the medley "Let's Make the Water Turn Black/Harry, You're a Beast/The Orange County Lumber Truck" constitutes a highlight) up to the 1984 tour, with about every incarnation of his group in-between. The music is also quite varied, but focuses mainly on songs, with a few instrumentals and moments of live craziness thrown in for good measure. Special points of interest include "Once Upon a Time," a segment from the lost 1970-1971 "Sofa Suite," which provides important elements of conceptual continuity; a performance of "The Groupie Routine" from the same period, which when compared to the previously available version of this Flo & Eddie comedy routine (as "Do You Like My New Car?" on Fillmore East, June 1971) shows how much improvisation the singers poured in their parts; and examples of stage humor ("Ruthie-Ruthie," "Diseases of the Band"). But the real treat is the complete performance of the suite "Don't Eat the Yellow Snow" from 1979, replete with audience participation (spontaneous poetry!) and the finale "Rollo," not officially released before. You Can't Do That on Stage Anymore, Vol. 1 addresses both the dedicated fan and the casual listener.
Tracks
Disc 1

Title
Composer
Time
1 The Florida Airport Tape Kaylan, Volman, Zappa 1:03
2 Once upon a Time Zappa 4:37
3 Sofa No. 1 Zappa 2:53
4 The Mammy Anthem Zappa 5:41
5 You Didn't Try to Call Me Zappa 3:39
6 Diseases of the Band Zappa 2:22
7 Tryin' to Grow a Chin Zappa 3:44
8Let's Make the Water Turn Black/Harry, You're a Beast/The Orange ... Zappa 3:27
9 The Groupie Routine Zappa 5:41
10 Ruthie-Ruthie Berry, Brock 2:57
11 Babbette Zappa 3:35
12 I'm the Slime Zappa 3:13
13 Big Swifty Zappa 8:46
14 Don't Eat the Yellow Snow Zappa 20:16
Disc 2


1 Plastic People Berry, Zappa 4:38
2 The Torture Never Stops Zappa 15:48
3 Fine Girl Zappa 2:55
4 Zomby Woof Zappa 5:39
5 Sweet Leilani Owens 2:39
6 Oh No Zappa 4:34
7 Be in My Video Zappa 3:29
8 The Deathless Horsie Zappa 5:29
9 The Dangerous Kitchen Zappa 1:49
10 Dumb All Over Zappa 4:20
11 Heavenly Bank Account Zappa 4:05
12 Suicide Chump Zappa 4:55
13 Tell Me You Love Me Zappa 2:09
14 Sofa No. 2 Zappa 3:00
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The Unthanks - Last

The second album from the Unthanks (third if you include the early effort they recorded with a different lineup as Rachel Unthank & the Winterset), Last is a striking fusion of British folk music with austere, arty pop, featuring adventurous arrangements and dynamics that recall acts like Tindersticks, Sufjan Stevens, and American Music Club. The vocals by Rachel Unthank and her sister Becky Unthank are beautiful and executed with an impressive skill and unaffected emotional force, and the spare but powerful arrangements, usually built around piano and a small string section, give this music a subtle majesty, dramatically forceful without grandstanding. The group has gathered a diverse range of material for these sessions, including traditional British folk numbers, songs by contemporary songwriters ranging from Jon Redfern to Tom Waits, and even a cover of King Crimson's "Starless," but the Unthanks manage to make all of it sound like their own work, transforming these ten songs into a seamless whole as the often dour tones of the tunes cohere into something dark yet strangely gorgeous. With the measured tempos, subtle musical backings, and ethereal vocals by the Unthank sisters, Last suggests British folk's answer to Low's Secret Name, but just as on that fine album, this is music that doesn't wallow in sadness or troubled moods for its own sake, but as an exploration of how the tragic often carries the same weight as the joyous in the human heart. Last is not the sort of music you'll want to play at a party on a Friday night, but if you're looking for the proper accompaniment as you ponder life's twists and turns on a rainy Sunday afternoon, the Unthanks will give you all the deeply shaded wisdom you could use.
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