Rainer Ptacek performing "Voodoo Music" in the kitchen of "The 818 Club" during a live cablecast of the local music show "Electric Window".
Hosted and Produced by Chris Wagganer
Cameras: Don Dalen, Chris Babbie, Ben Minot
Audio: David Slutes
Engineering: Roy Knappenberger, Chris Babbie
Cablecast Support: Mark Taylor
June 6, 1986
Thanks to my friend Alex for the tip on this 2015 live set featuring Zakir Hussain on tabla, percussion instruments and Rakesh Chaurasia playing bansouri.
The video’s page gives the following info:
“ZAKIR HUSSAIN is undoubtedly one of the greatest legends of world music, virtuoso of the tabla, and artist who tours and records with many other acclaimed musicians, including those form the world of jazz. His father was the famous musician Ustad Alla Rakha. Thanks to his father, Zakir learned to play musical instruments from his youngest days. He started performing as a teenager, and when he was 19 years old, he travelled to the US for the first time, appearing alongside Ravi Shankar. Audiences remember Hussain’s acclaimed albums, especially “Making Music” recorded for the famous ECM label. It is regarded as one of the finest musical fusions of the East and the West. Hussain was accompanied by John McLaughlin, Jan Garbarek and the legendary Hariprasad Chaurasia – uncle of Rakesh, who joins Hussain in Kraków. Hussain has worked with McLaughlin many times, for example when creating recordings with his groups Shakti and Remember Shakti. He also worked alongside Bill Laswell, leading the group Tabla Beat Science bringing together acclaimed tablists and percussionists. He has also co-created the outstanding projects Planete Drum and Global Drum, and worked with some of the greatest musicians of all time, from George Harrison and Van Morrison to Pharoah Sanders and Charles Lloyd. He is a living legend himself.
RAKESH CHAURASIA is more than just a nephew of Hariprasad Chaurasia – he is also one of his most talented pupils. He plays the bansouri, a traditional South Asian bamboo flute. He has worked with musicians including Talvin Singh, participated in recording dozens of albums, and he leads the RAF ensemble – Rakesh and Friends. Recorded at ICE Kraków 08.07.2015.”
Visit Zakir Hussain’s official website
Follow Zakir Hussain on Facebook
Purchase Zakir Hussain’s music at Amazon
Listen to “Raga Kedar: Gat In Ektaal” by Pandit Shivkumar Sharma & Ustad Zakir Hussain on Episode 17 of the Global Elite Music Radio Podcast Superhsow.
Visit Rakesh Chaurasia’s official website
Follow Rakesh Chaurasia at Facebook
Purchase Rakesh Chaurasia’s music at Amazon
Ever wonder what “Playing In The Band” might sound like as an extended instrumental free-jazz-space-rock suite? Well, I did.
Inspired by Save Your Face and their various Grateful Dead mixes, I edited six different performances of “Playing In The Band” into an instrumental suite.
I’m not entirely happy with a couple of the transitions, but I dig how it turned out overall, seeing as how I am not a professional, I didn’t actually spend that much time on this, and I really only made this for myself to listen to either while I work or commuting. Enjoy.
Here are the deets for the six pieces making up the Suite:
00:00 - 11:39 :: 09.21.72 at the The Spectrum in Philadelphia, PA (released as Dicks’s Picks 36)
11:39-25:45 :: 03.24.73 at the The Spectrum in Philadelphia, PA
25:245 - 34:47 :: 11.10.73 at Winterland Arena in San Francisco, CA (released as part of Winterland 1973: The Complete Recordings)
34:47 - 44:09 :: 05.17.77 at Memorial Coliseum, U of Alabama, MS (released as part of May 1977)
44:09: 52:31 :: 05.28.77 at at Hartford Civic Center, Hartford, CT (released as To Terrapin: Hartford '77)
52:31 - 56:27 :: 05.28.77 at at Hartford Civic Center, Hartford, CT (released as To Terrapin: Hartford '77)
I chose these performances for no real reason other than that this is the time-period of the Dead that I listen to most and these shows happened to be on my laptop when I decided to try out this idea.
And if all that weren’t enough goodness, here’s an instrumental edit of the mammoth “Playing In The Band” from the Pacific Northwest '73-'74: Believe it If You Need It (Live) set (Live at Hec Edmundson Pavillion, University of Washington, Seattle, WA 5/21/74).
Being a music fan is highly a subjective thing. We all have different preferences and that includes band names. I don’t care how good you tell me they are, I just can’t see myself listening to a whole of Diarrhea Planet. Or Radical Face while I’m thinking of it. But, then again, everything is subjective and subject to change, right?
Despite years of reading such enticing descriptions as “expansive, looping, shifting synths and rhythms” and even despite their ties to Holiday at the Sea favorite Natural Information Society, I resisted the music of Bithin Bajas because of their name.
But the good folks over at Southern Jukebox Music remind us of why sometimes it’s worth looking past the name. Bitchin Bajas “is a band operated as a side-project by Cooper Crain, who is also guitarist/organist of the band Cave. The other members are Dan Quinlivan and Rob Frye.” Southern Jukebox Music is the project of Matt Beachey who records live performances on a Realistic TR-3000 reel-to-reel. Yes, he lugs that thing to and from shows. Why? He says:
I choose to record shows this way because (a: I just dig the sound of almost anything on tape, and I still haven't found a satisfactory substitute, and (b: I find that sometimes setting up a weird, clunky process of recording invites unique performances out of people. Digital recording has done wonders in democratizing the art of on-the-fly live recording; still, I think there’s something worth keeping around about the way sound waves cling to the iron grains of magnetic tape, and then play back a little jumbled up—a slightly impressionistic version of whatever was recorded. And I guess maybe I feel a sort of kinship with bootleggers of yore who hauled their reels to Grateful Dead shows, putting in the extra effort to make a lasting record of the night, albeit a colored and faded one. Sometimes a grimy record of the past better suits your memory anyway.
Whatever the reasons, we’re glad he does it and happy to support on Bandcamp where any proceeds will go to the artist. We first featured a selection from Southern Jukebox Music in August 2019 with Chris Forsyth and the Broken Mirrors Motel Band’s 07.11.19 performance. Today we feature Bitchin Bajas “Live at the 7th Street Entry.”
The Deets:
Live at the 7th Street Entry. Any proceeds will go to the artist.
Released June 15, 2018.
Composed and performed by Bitchin Bajas, recorded and mixed by Matt Beachey
I first came across Kiran Ahluwalia while doing research for the Global Elite Music Radio Podcast Supershow. I highlighted her track (featuring Tinariwen) “Mustt Mustt (Extended) on Episode 02 and have followed her ever since.
The other day I came across a 2018 live performance for KEXP along with Souad Massi, who was new to me.
From the video’s Youtube page:
http://KEXP.ORG presents Souad Massi and Kiran Ahluwalia performing live in the KEXP studio.
Recorded April 19, 2018.
Songs:
Kiran Alhuwalia - Khafa (Up In Arms)
Kiran Alhuwalia - Saat (Seven)
Souad Massi - Hayati
Souad Massi - Amessa
Souad Massi & Kiran Alhuwalia - Deb
Host: Darek Mazzone
Audio Engineer: Kevin Suggs
Cameras: Jim Beckmann, Scott Holpainen & Justin Wilmore
Editor: Justin Wilmore
Visit Kiran Ahluwalia’s official website
Follow Kiran Ahluwalia at Facebook
Purchase Kiran Ahluwalia at Bandcamp
Purchase Kiran Ahluwalia’s music at Amazon
Listen to "Mustt Mustt (Extended)" by Kiran Ahluwalia on Episode 02 of The Global Elite Music Radio Podcast Supershow
Visit Souad Massi’s page at Your European Stage
Follow Souad Massi at Facebook
Purchase Souad Massi’s music at Amazon.
The fantastic Boiler Room has been putting out some terrific content as part of their “Streaming From Isolation” series. Holiday at the Sea favorite Sarathy Korwar recently gathered two songs for a half-hour performance. From the Boiler Room page:
A very exclusive & exciting multi-way jam w/ Sarathy Korwar & friends from London & beyond.
From Sarathy Korwar’s Facebook page:
Tunes:
”Raga Malkauns” - Charanjit Singh (from 10 Ragas to a Disco Beat)
”In C” - Terry Riley
Players:
Bex Burch - Gyil/Bells/Water Drums
Tamar Osborn - Horns
Al MacSween - Synths, Harmonium
Dan Leavers - Synths
Sarathy Korwar - Drums/Tabla/Udu
Visit Sarathy Korwar's official website
Purchase the album at Bandcamp
Visit Korwar's Facebook page
Visit Korwar's Twitter
Purchase the album from Amazon
Listen to "Bismillah" by Sarathy Korwar on Episode 08 of The Global Elite Music Radio Podcast Supershow
Browse all Holiday at the Sea posts tagged Sarathy Korwar
The other day Phil Cook posted to his Instagram page:
“That’s The Way The World Goes Round by John Prine
I got a text from Oliver Wood over a year ago wanting to get together and spend a day with him in Nashville writing music. I was nervous and excited as Oliver was one of my favorite songwriters and singers around. We hit it off famously and have gotten together more since then. We were supposed to spend a week together in April but those plans got shut down by the pandemic. So we found something else to work on together. Today we lovingly and humbly dedicate our version of John Prine’s “That’s The Way The World Goes Round” to Fiona , Jody, Tommy and Jack. Long Live John Prine!”
Excited about collaborating with my musical soulmate Phil Cook He took my plain rendition of a John Prine classic and made it a party. Here’s to many more parties and collaborations Phil! And Much love to the Prine family.
Enjoy (and, sorry, I don’t know why that huge “comments” section is there).
Visit Phil Cook’s official website.
Follow Phil Cook at Facebook.
Follow Phil Cook at Twitter.
Support Phil Cook at Bandcamp.
Purchase Phil Cook’s music at Amazon.
Listen to “Another Mother’s Son” by Phil Cook in the Musical Worldview Project (finding wisdom in lyrics).
Visit The Wood Brothers’ official website
Follow The Wood Brothers at Facebook
Follow The Wood Brothers at Twitter
Support The Wood Brothers at Bandcamp
Purchase The Wood Brothers’ music at Amazon
I was digging through Ye Ole CDR spindle the other day and came across this 2006 live set from Akron/Family. If you’re not familiar with the band, think one of those geographically spread out bands that comes together to make blissed out space-folk for the existential campfire singalongs.
Anyway, I was going to upload it here and did a quick search only to find that the band themselves have already uploaded it at the amazing Live Music Archive.
Anathallo was a band from Michigan (though they later relocated to Chicago if I remember correctly?). The fluctuated in size and the arrangements grew in complexity and beauty. The early recordings are great but they don’t quite yet arrive at the sophistication of the later work. And isn’t that all of us? Hopefully as we grow older we also mature and grow more nuanced in our thinking, even learning to allow time for the quiet moments which are as much part of the story as the loud parts. Can you really feel a crescendo when it’s all loud to begin with? The hills and valleys of the journey. And I’m rambling.
So allow me to ramble a bit more.
I’m sure you know what I mean when I say that music often carries with it memories and feelings associated with particular time periods. Certain albums or artists or songs often carry with them very specific memories. And now I’m digressing. Let me get back to rambling.
I have always loved music. That’s just part of who I am. And in hindsight, I should have paid more attention to the red flags early on. I had just graduated seminary and was moving in to my first role as “Lead Pastor,” though this church used the title “Teaching Pastor.” My family had not yet moved from Kentucky to Texas yet but we had already accepted the position and I flew to Minneapolis to meet the staff and elders for a pastors conference.
I was wearing a Tortoise shirt that disappeared some time over the years. It was yellow and I wish I still had it. I was in the elevator with one of the staff members who made a comment about liking my shirt and being surprised that the new pastor knew who Tortoise is but that I might want to keep things like that to myself because the other leaders weren’t really into secular music. I’m paraphrasing of course, but you get the gist. And then we moved there.
I don’t know if you’ve ever visited a church that just didn’t feel like “home”? If you have, then you might be able to imagine pastoring a church where you felt like that all of the time. If you’ve never had that experience, just imagine that you are continually not allowed to be yourself because when you do, it just seems to cause trouble, so you create a version of yourself that pleases the other people and you have to live in it 24 hours a day. It’s something like that.
Anathallo was touring the amazing Floating World album and I took several of the college students in the church to go see them. The next day I got called in to my own office where I rebuked by the other elders of the church because I was a small group leader and had missed small group in order to attend the concert. Even though I arranged for someone to facilitate in my absence. And, even though I knew it already, it was then confirmed for me the rest of the leadership of that church and I shared very different visions and approaches. It was totally worth it.
We left Texas in 2008 and Anathallo went on “indefinite" hiatus in 2009 and I guess that’s my story.
Here is a full show from the band’s 2008 tour. Apparently this was released on a very limited (now out of print I think ) tour DVD which some fine person uploaded for the rest of us and I could pass it along to you and we could watch it together. Let’s:
From the video’s Youtube page:
Anathallo @ O-Nest Japan during their 2008 tour. I was searching for this for a long time and couldn't find it anywhere. Finally got a hold of the DVD from Japan. Absolutely fantastic band, lucky to have seen them live a few times.
Dokkoise House 00:00
John J. Audubon 07:05
Hanasakajijii (four: a great wind, more ash) 10:55
Hanasakajijii (one: an angry neighbor) 15:25
Hanasakajijii (two: floating world) 18:55
Italo 25:20
Northern lights 28:42
Holiday At The Sea 32:26
All the First Pages 39:15
Cuckoo Spring Blood (Encore) 45:40
Kasa no hone (Encore) 49:00
Starflyer 59 is the long-running Southern California shimmery guitar pop project led by Jason Martin. The band has been filled out by a revolving cast of players over the years, but the sound has remained consistent.
It can be a powerful thing when an artist finds their voice. Martin has crafted a musical world in which, you know it’s a Starflyer 59 song, but somehow each one is unique. Martin has created a musical world made up of variations on surfgaze (a term I think I made up about Southern California bands drawing from the shimmer of Shoegaze) without sounding repetitive.
Last week Martin released his latest single, “This Recliner.”
Check it.
Lyrics:
I feel a hanging cloud over my head and I’m sore, and my insides hurt like never before so what if I get out just to get back in, it’s what I’m living through and living in so when I’m laid out on my back, everything is cold on this recliner It’s when I toss and turn the most, I just wanna go where I’m not tired There’s a stormy cloud over my head and what’s more, and my insides hurt down to the core so what if I get out just to get back in, it’s what I’m living through and living in so when I’m laid out on my back, everything is cold on this recliner It’s when I toss and turn the most, I just wanna go where I’m not tired
Misc. Notes:
The track was recorded at Le Shed Studio, mixed by JR McNeely, and mastered by TW Walsh. The players on this track are: J. Martin (vox, guitar), S. Dali (bass), and C. Martin (drums). Lyrically the song is ultra autobiographical. For undisclosed reasons, Martin spent a handful of nights in the hospital this February. The Recliner recounts his own worry, discomfort, and the yearning to feel safe and well.
If you spent any time “tape trading” after the advent of CDRs, you probably had at least one spindle of shows. At one point I had lots of such spindles. I thought that I had gotten rid of most of them over the years, but I came across one the other day and this was the show right on top so I figured why not share (especially when someone has already archived it at the Live Music Archive).
July 1990 saw Edie Brickell and the New Bohemians opening for the Grateful Dead at Washington D.C.’s RFK stadium (read some brief thoughts from Edie Brickell about her history with the band). I’m pretty sure this would have been right around the time Brickell’s second album, the often-overlooked gem Ghost of a Dog came out.
Edie Brickell and New Bohemians Live at Robert F. Kennedy Stadium on 1990-07-12
Edie Brickell & New Bohemians
7/12/1990
Robert F. Kennedy Stadium, Washington, D.C.
Setlist:
1. She [05:52.41]
2. Nothing [05:02.74]
3. Woyaho [02:50.35]
4. Oh To Be [04:39.60]
5. Stwisted [04:18.29]
6. Carmelito [04:57.08]
7. 10,000 Angels [06:21.23]
8. Strings Of Love [04:35.09]
9. Forgiven [06:12.65]
10. Wait A While [04:47.67]
11. Love Like We Do [05:01.41]
In case you missed it, I posted two tracks from Atlanta’s Naan Violence in September, 2019. I also posted one of their songs in The Global Elite Music Radio Podcast Supershow, the global-music, Xenophobia-fighting weekly music podcast I did for a year.
From Episode 14 of The Global Elite Music Radio Podcast Supershow:
“We first heard Naan Violence when this track was posted by our friends over at Aquarium Drunkard. The group's label, ZAP Cassettes describes them as: "a freak-in transcendental free-sitar underground super-group from Memphis, Tennessee, the home of Isaac Hayes. Lilypadinman.com says: "Fronted by sitar player Arjun Kulharya, Naan Violence creates dreamy, mirage-like sitar music that evokes the mystery of an endless expanse of desert sand. It’s traditional sitar music re-invented for a barroom audience." Aquarium Drunkard describes the music as: "Layered with analog synthesizers, acoustic guitars, flute and tabla, Naan Violence’s expansive palette of sound feels at once organic and untethered." However you'd like to describe the music, we dig it and we think you might too.”
Here is Naan Violence “on Radio Boise's Global Grooves as part of their Treefort 2018 in-studios.”
Aquarium Drunkard calls it “Transcendental free sitar music” and that seems just about right.
From the official Pink Floyd Youtube page:
“‘An Hour with Pink Floyd: KQED’ sees the band filmed performing live in April 1970 by San Francisco cable TV station KQED. Taken from the version featured on 2016 ‘The Early Years 1965-1972’ box set, the film includes performances of Atom Heart Mother, Cymbaline, Grantchester Meadows, Green is the Colour and Careful with that Axe Eugene. Appearing as part of the @YouTube Film Festival until May 17th.
Oki Kano (加納 沖, Kanō Oki) was born in Hokkaido, to a Japanese mother and an Ainu father (renowned wood sculptor Bikki Sunazawa) and grew up in Kanagawa Prefecture. After graduating in crafts at the Tokyo University of Fine Arts and Music, he moved to New York in 1987, where he worked as special effects artist on film productions. He returned to Japan in 1992, and was presented with his first tonkori - the traditional stringed instrument of the Karafuto Ainu.
Oki uses the tonkori, an Ainu stringed instrument, in his performances and mixes traditional Ainu music with reggae, dub and other styles of world music. He also plays guitar and traditional Ainu percussion instruments.
Dive in to the band’s music.
First up is “Suma Mukar”:
Next is the title track from the Sakhalin Rock album Sakhalin Rock.
And here is a live performance
“Filmed at the FMM Sines Festival in 2007, this is a traditional Ainu bow and arrow dance performed by Futoshi Ikabe, to a deep dub mix by the band with Naoyuki Uchida at the desk.”
“Exploring the outer limits of jazz since the 1970s.”
Get your cosmic-soul-space-jazz-groove on with a couple of live performances by the Idris Ackamoor & the Pyramids.
First up, a 15-minute journey called ‘Virgin’ live for Music City Sessions in 2019.
Next up is the title-track to the 2016 album “We Be All Africans” performed in 2015 for Unseen Recordings, followed by an interview segment about touring oversees, etc.:
Strut Records put out the band’s 2016 album and posted the following video. There is no song information, but Strut says: “here’s a taste of the original Pyramids experience from a 1975 KQED TV special.”
Today we feature a 1981 concert from Sarod master Ali Akbar Khan in Delhi.
I originally got this recording in my tape-trading days by mistake. I was doing a big trade with a guy, like 10-12 shows. Mostly jazz/funk/groove/jam type stuff (Medeski Martin and Wood, Galactic, Greyboy Allstars, that kind of thing). When the other package arrived, there was one unmarked CDR. I e-mailed the guy and asked what it was because when I put it in my player, no information came up. The other person said they had not meant to that CDR to be in my box, it was supposed to go to someone else, but that it was a recording of Ali Akbar Khan in concert.
In all honesty, I was not ready for this music then and the CDR sat in a pile for years. Then, one day a few years ago, as my musical palette was expanding, I not only pulled out the concert but looked it up online to learn more. The fantastic Flat, Black, and Classical came to the rescue with a full-write-up! Included in their piece are the following observations and details:
The two pieces on this cassette almost sound like two different concerts (which could be the case). An alternative explanation for the differences in aural character between the two is that adjustments at the mixing desk were made during the show, which can often occur.
The first piece is an alap and jod section of Raga Miyan ki Malhar. This has a slightly dull upper end and some minimal distortion at the dynamic peaks. I would have though it was an issue with azimuth adjustment, but the fact is that the second piece sounds more full and with a crisp upper end in comparison. Because of the way cassettes are made, a cut had to be made in the longer piece so that the sides were about equal in timing. The first section of Raga Desh Malhar is on the same side of the tape as the entire alap and jod of Raga Miyan Ki Malhar, but sounds exactly like the rest of the raga on the other side of the tape. So it was not a case of one side of the tape being played with incorrect azimuth. I stitched together the longer piece in a way that is noticeable but not jarring.
Overall, it is an extremely enjoyable live performance from Ali Akbar Khan and tabla maestro Shankar Ghosh, who unfortunately died in late January of this year.
Ali Akbar Khan: Sarod
Shankar Ghosh: Tabla
Side 1: Raga Miyan Ki Malhar: alap and jod
Side 2: Raga Desh Malhar: gats in vilambit (slow) teentaal and medium
I don’t know where your musical palette is at these days, but I highly recommend serenading your Quarantine with some Sarod.
Visit the official website for the Ali Akbar College of Music.
Listen to/download a 1983 Ali Akbar Khan concert from Eugene, OR, here at Holiday at the Sea.
Purchase Khan’s music at Amazon.
Listen to “Raga Hem Behag” as featured on Episode 46 of the Global Elite Music Radio Podcast Supershow.
One of the “good” things to come out of Quarantine 2020 is that a lot of musical artists are having impromptu live sessions and releasing lots of nuggets from their own vaults.
Dentonite Doug Burr recently re-released his phenomenal 2007 album On Promenade on vinyl, and we’re celebrating with a newly-released live track, “Thing About Trouble” from On Promenade.
“A stripped down recording of "Thing About Trouble" made at the Barn, Denton, TX, March 2020. Glen Farris is accompanying on the same Wurlitzer keyboard used in the original recording. This song is from our 2007 album, On Promenade, which has been re-released to vinyl for the first time in April 2020 by Oklahoma record label, Clerestory AV.”
I don’t know how your quarantine is going, but I’m pretty sure it needs Erykah Badu doing Bossa Nova.
And, I have to be honest and say that this post has changed a couple of times because the original video I had hoped to post was a Bossa Nova version of “Gone Baby, Don't Be Long" and it was phenomenal. But between the time I created the post and tried to post it, the video went private on Youtube and is no longer available to stream. So, I went back and discovered two more “Bossa Nova” songs.
The three videos (one of which we can no longer compare) all appear to be from the same performance, and the first one I had hoped to post was preceded by a segment in which Badu let viewers “choose a room” for a song. Apparently the viewers chose the “mystery room” which contained the performance of "Gone Baby, Don't Be Long" in a Bossa Nova style, and I guess these other two songs are from the same performance? These other two videos retain the same band and setting but Badu is in different wardrobe in one of the videos which means absolutely nothing. However, whatever the lack of context, I would be derelict in my duties as Eboy Internet Courier well, if I didn’t gather up the remaining Erykah Badu Bossa Nova videos and get them out to you on the quick-like.
First up is “Get Munny”
Next up is: “Umm Hmm”
Japanese psychedelic rockers Kikagaku Moyo / 幾何学模様 recently posted a fantastic new live video to the social messengers. And it is my duty as a Certified Eboy Internet Courier (not a real thing) to pass awesome nuggets like this along to you, my fellow, faithful Internet friends.
We’re all in this together. The band says the following on their Facebook page:
“We are very happy to share our improvised live session with our friends Jacco gardner & Bruno Pernadas :).
The set was performed & recorded at at St. George church in Lisbon, Portugal back in 2018.
Big thanks to Barking Dog Agency for the video production and incredible opportunity.”
The video's Youtube page provides the following details:
• Live session at the St. George Church in Lisbon with Kikagaku Moyo, Bruno Pernadas and Jacco Gardner.
• RECORDING Rui Antunes Emil Lloyd
• CAMERA Francesco Giacomini David Breda Silva André Chaby Mendonça Ulpiano Capalbo
• EDIT Ulpiano Capalbo
• PRODUCTION Barking Dogs
Browse other Kikagaku Moyo / 幾何学模様 posts here at Holiday at the Sea.
Listen to "Kogarashi”" by Kikagaku Moyo on Episode 10 of the Global Elite Music Radio Podcast Supershow.
Visit the group's official website.
Follow the group on Facebook.
Follow the group on Twitter.
Purchase the group's music at Bandcamp.
Purchase the album at Amazon.
Deep from the bowels of the Interwebs, we spelunked this gem from 1994.
From the notes on the Youtube page:
“1994: VHS video (Abduction: Video 1)
A mind control experiment shot and edited at the cable public access studios of Viacom in Seattle (after TCI pulled the rug out from under us). It was supposed to be aired, but Viacom's tech guy screwed up the dub and it never did. So it was released on VHS. “
Guest appearances by:
Eddy Detroit and Adam Burke (percussion on "The Venerable Song"),
Eddy Detroit (goat calls on "Sam Manilla" and "Brothers Unconnected").
Includes a "video comic book" by Blaine Thurier, narrated by Charles Gocher.
Filmed by: Charles Gocher, Greg Hynes, Javier Gallegos, Keith Parry, Steve Reetz, Erin Lofton, and Bohemia Afterdark.
Songs and ???:
* Flippin the Bird
* An Old Eyeball in a Quart Jar of Snot
* Music For the Funeral of Drama City
* Nay Bah Zay
* Bail Out of Jail
* The Brothers Unconnected
* Bliss of Coma
* Drifting in Smiles
* The Venerable Song Pt. 1 (the meaning of which is no longer known)
* Hitman Boy
* No, There I Go
* Out on the Dixie
* The Momentary Fugitive
* The Venerable Song Pt. 2
* Sam Manilla
* Mamas Milk (Too Dry)
* It's Not a Real Knife
* Let the Night Roar