9:14 PM

a live one here, oooh man.

This thing is criminally underrated,  well actually I can’t say that because I don’t  know how it was rated  and that’s because I never hear any body talk about it. All that aside, there is savage blues music here.  You might be afraid at the outset that perhaps the collaboration might lead either artist into a territory where they’re not their best, but god dam it these dude are fukin groovin.

There is power on display here, no faking it. I know nothing about this session or the origin of this album though you do notice it combines studio and live cuts. I’m just taking it as it comes and it’s got me good bro.

It’s on MGM and some times there are sleepers lurking on these sprawling  labels that are dope and this is one of them. I feel like  johnny Bristol and maybe roy orbison are also on MGM  at times, so there is some good shit going on over there you just gotta pick at it here and there from time to time.

Side two Jams you hard from the beginning, the guitars are lively stabbing knives that morph into smooth waves of fuzz when this phased wah starts pumping. But It’s the chorus  on this grinder (Soledad) that’s super guttural and grabs you.

It’s well recorded  for damn sure.

It says

“Produced for Far Out Productions, Inc.
Recorded at Wally Heider’s and MGM studios in Hollywood, California through July 1971
Track A5 recorded on location.”

It Sounds titties!  well done gentlemen.

Killer Players on this thing.  Including lee oscar  jammin some harp.

sit down with this one and  lean back for a minute, they cover a nice swath and  the Gospel touches leave me with  a real floaty headphone high.





For whatever it’s worth it was this pressing I listened to:

Matrix / Runout: SE-4791 MGS-2668

Matrix / Runout: SE-4791 MGS-2669-Re 1




Love Over Gold

love over gold german resize


I had never really listened to this LP beyond the limited air play a few of the cuts received and decided to take an adventure.

This record is often discussed in Dire Straits circles as well as in audiophile circles, and as the cover telegraphs, it is a bit of a lighting rod. Heralded by some as the high watermark of Knopfler’s output with Dire Straits and not so warmly received in other circles.

It certainly is a departure from the initial Dire Straits releases, something I usually look forward to with the artists I really love. It’s part of a journey you take with someone, or perhaps a journey they take with you, either way when everybody’s on the same page it’s symbiotic and it’s awesome. This unfortunately is not the case for me here. I don’t care much for this journey .

The album strives from the outset to deliver an historical opus that is something of a Dos Pasos nod, intended or not. The problem I find is that it meanders, and not in a good casual-stroll kind of way. In more like a “shit, I got up late and now I’ve wasted the whole day just milling about my house.Fuuuck!” kind of way. Very Sunday.

There is of course great guitar work here and it is presented in a great manner sonically, especially in the acoustic passages, but that alone can’t save it. David Fricke in his generally positive assessment of the record said it was a ” challenge to the average pop fan’s attention span,” well call me the average pop fan then. I am down with 14  minute indulgences and I am also down with artists making grand or overblown choices, hell I have  been an Axl apologist over the same issue in debates past. I’m not taking issue with the length, to me the songs, and by extension, the story is just not compelling.

Some people consider this  first side a  masterwork and I may get people riled up over my take on things but I don’t like it. So much so I am questioning why I even own it. I’ve had it for some time but never really delved into it truly and fairly until now.

Side two employs too much like the Walk -of-life-carnival-style Straits sound (industrial disease) and those aren’t songs I particularly like. I guess I prefer my Straits in a slower tempo and/or a minor key on the whole.

Love Over Gold is a great sounding record in the moments that I like it. In fact I believe the reason I own it in the first place was because it is always held up as a must listen from a recording standpoint on audio forums.  I have an original German pressing that sounds very good but uses digital mastering so I am sure some will says this reason is why I was unable to enjoy the LP to its fullest, but the truth is, I just don’t like the material sufficiently. This is disappointing because I love Dire Straits catalog overall as well as some Knopfler solo material.

It has it’s moments, most obviously where there is standout guitar work, but overall the experience left me headphone harshed and that’s a bummer.

Wish You Were Here



The days are getting just a touch shorter, it’s not too appreciable yet if you don’t stop and focus on it, but it’s coming and it may have been a factor in my slightly reflective mood.

It had been some time since I had wrestled with this one. In fact, I couldn’t remember the last time I experienced it as an album, in other words, as it was intended. I hear the singles all the time by virtue of merely existing in the west,  but I hadn’t given it a front to back listen in probably five to ten years.

Dropping the needle on side A  was an instant reminder of why this headphone classic has such a deserved rank as an all time great.   Mr. Gilmour’s tone , which can be described most essentially as lush,  laid over a creeping organ bed, is  at once ehtereal  and captivating, in a dusky hash binge kind of sense.

Laying on my back on the floor, I can sort of levitate since the ground is hard enough.  Rick Wright’s Volume Swell Organ lead after the First solo is so Fucking Regal! It is mind blowing.

Then a whisper in the ear; “remember when you were young….”

No point in using words to try to describe this opus too intimately or too linearly because its all laid out for us on the tape.  It was, however, important  to slip into the full album version to be reminded of just what kind of genius is lurking here. I feel like I have gotten the truncated version too often and  miss out on the real greatness.

Same can be said as I am welcomed to the Machine. It has never been a favorite of mine  when comparing it to the rest of the cannon, but I am now realizing this status is a direct result of hearing a radio single edit too often.  Context is everything and being in my current state, the sense I was  being lowered, via  freight elevator, to the bowels of industrial hell was real and palpable.

A captive  in this place, I was shown the grounds and  forced to confront my own role in what was being revealed to me. The role we all play in the order of things, is not examined as often as perhaps it should be, probably because it can be ugly. We would rather not look at it, but it’s there and since these gentlemen are pulling back the curtain my attention is fixed upon it.

That door being shut, literally and figuratively,  and being now dumped directly into a soiree  of  decadence I am again taken  with my own vanity. I  let the whispers and promises  of my most narcissistic fantasies mingle, delighting in unassuageable temptation and greed. They can grow exponentially when left unchecked for too long.

but only…

“…..if we all pull together as a team.” Hey, nothing is free, right? We all get caught up some times,  its tough not to. Falsehoods and friendships are as fleeting as success in the modern era so be careful whose siren song you find yourself humming while you day dream.


The Dynamic range of this thing is unreal, and for all it delivers in audio dynamics it backs up with an emotional dynamic of an equally contrasting intensity.

It is easy to get lost on the road, no matter where one is going , or perhaps more accurately no matter where one set out to go. Some times its not quiet enough to dial in the right station unless you focus carefully on tuning out distractions . However,  if you listen intently enough it’s out  there, hone in on it, the message may reveal something you are not expecting.  In this case  it compels us to inventory what we have traded, on all fronts, in every capacity, in every sense. To reflect on the blood, the treasure, the dignity and any other currency in which we may have trafficked  and  reconcile the cost with what we have received therefore.

Collecting the entirety of one’s experience into an existential  and coincident whole is no small task, and yet we do it every day. We all do, we have to. That is essentially what must to be done every so often, to stay this side of madness, if such a place exists. For this evening, in this sense at least, this is the “here” from where it is wished you were.

This one definitely leaves a headphone high.