The Fugs the Fugs II Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

The Fugs the Fugs II Mp3, Flac, Wma The Fugs The Fugs II mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: The Fugs II Country: Italy Style: Folk Rock, Garage Rock, Psychedelic Rock MP3 version RAR size: 1947 mb FLAC version RAR size: 1549 mb WMA version RAR size: 1761 mb Rating: 4.7 Votes: 712 Other Formats: WAV AUD ASF RA TTA MOD DTS Tracklist Hide Credits A1 Frenzy 2:00 A2 I Want To Know 2:00 A3 Skin Flowers 2:20 A4 Group Grope 3:40 A5 Coming Down 3:46 A6 Dirty Old Man 2:49 B1 Kill For Peace 2:07 B2 Morning, Morning 2:07 Doin' All Right B3 2:37 Written By – Berrigan Virgin Forest B4 11:09 Written-By – Alderson* B4.1 Out Of Chaos B4.2 Birth Of Aphrodite B4.3 Structured Investigation Of Rousseau B4.3a I. Squack-man Meets The Lunatic Vagina B4.3b II. Dog Style Diversion B4.4 Gobble Chorus B4.5 Dance Of The Freak-Gropers B4.6 Burroughsian Time Grid B4.7 The Theme Of The Virgin Forest B4.8 Death Stay Thy Phantoms Companies, etc. Made By – Base Record Copyright (c) – United International Credits Backing Vocals – Betsy Klein Bass, Backing Vocals – John Anderson Design [Cover] – Bill Beckman Engineer – Richard L. Anderson* Guitar, Backing Vocals – Pete Kearney, Vinny Leary Liner Notes – Allen Ginsberg Percussion, Backing Vocals – Ken Weaver Photography By – Jim Nelson Piano, Celesta [Celeste], Bells, Backing Vocals – Lee Crabtree Tambourine, Maracas, Backing Vocals – Tuli Kupferberg Vocals, Backing Vocals – Ed Sanders Written-By – Sanders* (tracks: A1 to A6, B4), Crabtree* (tracks: B3, B4), Kupferberg* (tracks: B1, B2), Leary* (tracks: B3) Notes Originally released in 1966. One of a least 3 variations Made in Italy by BASE RECORD: ESP FOLK ARCHIVE RECORDINGS. Front Sleeve has a white Border with ESP 1028 STEREO written along spine ('twice') and THE FUGS written in the centre. [No number along top edge as on the Original.] Back Sleeve design differs from the Original US 1st pressing on ESP 1028 [ http://www.localhost/Fugs-The-Fugs/release/1399448 ] by having the 3 photos of Band members in a row along the top half of the sleeve. Band Members are written on the left side and the original Review Notes written by Allen Ginsberg 6th March 1966, are reproduced on the right. NB. Back side of the sleeve is almost identical to The Fugs II: Base Record – ESPS 1028. Release ID 3840596 [ http://www.localhost/Fugs-The-Fugs-II/release/3840596 ] which has written "Exclusive Distribution For WEST GERMANY: BASE RECORDS" directly below the Track-listing - This variation has "Made in Italy by: BASE RECORD Via Collanarini 26, Bologna tel. 051-534697 - relex 051-538017." Note: The Label is completely different from the b&w ramp/rolling ball logo used on The Fugs -Fugs II: Base Record http://www.localhost/Fugs-The-Fugs/release/383583 and has ESP. DISK written in large black letters with a yellow '3rd Eye' (chakra) Design flashing through the text on a white background. Label Number is ESPS 1028. Barcode and Other Identifiers Rights Society: S.I.A.E. Matrix / Runout (Side A: Etched): ESPS 1028 A Matrix / Runout (Side B: Etched): ESPS 1028 B Other versions Category Artist Title (Format) Label Category Country Year The Fugs (LP, Album, ESP 1028 The Fugs ESP Disk ESP 1028 US 1966 Mono, Riv) ESP 1028, ESP- The Fugs (LP, RP, ESP Disk, ESP ESP 1028, ESP- The Fugs US 1967 1028 Album, Shi) Disk 1028 The Fugs Second Album ESP-1028 The Fugs Sonet ESP-1028 Sweden 1968 (LP, Album) The Fugs (LP, Mono, ESP Disk, ESP 1028, ESP- 1028 The Fugs 1028, ESP- 1028 US 1966 RP) Disk The Fugs Second Album CDWIKD 121 The Fugs Fugs Records CDWIKD 121 UK 1993 (CD, Album) Related Music albums to The Fugs II by The Fugs Task Force - Fugs R Us A Fine Frenzy - Live Session EP (iTunes Exclusive) The Fugs - It Crawled Into My Hand, Honest Shedding Skin - Time For Inner Confession Trisector - Morning Rain / Structured Light Body 13 - #007: And I Will Kill Her Children With Death Will C. - John Wayne's Seat Belt Dirty Water - Dirty Water The Fugs - The Fugs First Album Goo Goo Dolls - The Audience Is This Way.
Recommended publications
  • “The Zine Age,” Artforum, March, 2018
    THE ZINE AGE artforum.com/algo.html Cover of Yeah, no. 3, June 1962. Yeah, edited by Tuli Kupferberg. New York: Primary Information, 2017. 342 pages. NOW LET US PRAISE the less famous Beats. Naphtali “Tuli” Kupferberg was born in 1923 into a Yiddish-speaking, secular Jewish family on Cannon Street in New York, five blocks from the East River on the madly congested eastern edge of the lower Lower East Side. He died eighty-six years later, only a mile and a half west, having spent most of his life in the city. A Beatnik bard and a hippie sage, a Young Communist turned anarcho-pacifist, noted in Allen Ginsberg’s 1955 poem “Howl” for having jumped off the Brooklyn Bridge (although it was really the less-glamorous Manhattan one), Kupferberg was, with Ed Sanders, the cofounder of the Fugs and the man who coined the phrase “Kill for peace.” The raucous song that followed made him something of a celebrity, stalking Manhattan in full combat mode cradling a toy M-16 and flashing a demented orangutan grin in Dušan Makavejev’s 1971 post-Godard masterpiece W.R.: Mysteries of the Organism. (He subsequently played the title character in the 1972 underground movie Voulez-vous coucher avec God? as an unkempt, hairy schmoozer—like Middle America’s worst nightmare.) Kupferberg was also a soldier in the mimeograph revolution. Before the Fugs were founded, in 1964, before the Beatles recorded “She Loves You” in 1963, there was his affirmatively titled zine, Yeah. An ephemeral and barbaric East Village yawp that was originally given away or sold for a quarter (and is now preserved and reprinted, inserts included, in a facsimile edition Primary Information published last year), Yeah ran for ten issues, published between late 1961 and mid-1965—approximately the period between the Berlin and Cuban Missile crises, and of the apotheosis of the civil-rights movement, the assassination of JFK, and the first escalation of the Vietnam War.
    [Show full text]
  • Radio Unnameable
    RADIO UNNAMEABLE A Documentary Film by Paul Lovelace and Jessica Wolfson 87 minutes / 2012 / USA / English HDCAM / 16:9 / Stereo LT/RT / Color and Black & White PRESS CONTACTS: Rodrigo Brandão – [email protected] Adam Walker – [email protected] PRODUCTION CREDITS DIRECTED AND PRODUCED Paul Lovelace and Jessica Wolfson EXECUTIVE PRODUCERS P. Ellen Borowitz, MJ Glembotski, Caryl Ratner CINEMATOGRAPHY John Pirozzi EDITOR Gregory Wright ORIGINAL MUSIC Jeffrey Lewis SOUND RECORDIST Paul Lovelace SOUND DESIGN AND MIX Benny Mouthon CAS and Brian Bracken INTERVIEWS INCLUDE Margot Adler (Radio Personality) David Amram (Musician) Steve Ben Israel (Actor) Joe Boyd (Record Producer) David Bromberg (Musician) Len Chandler (Musician) Simeon Coxe (musician – Silver Apples) Judy Collins (Musician) Robert Downey Sr. (Filmmaker) Marshall Efron (Humorist) Ken Freedman (WFMU Station Manager) Bob Fass Danny Goldberg (Record Producer) Wavy Gravy (Performer/Activist) Arlo Guthrie (Musician) Larry Josephson (Radio Personality) Paul Krassner (Comedian) Kenny Kramer (Comedian) Julius Lester (Musican/Author) Judith Malina (Actor) Ed Sanders (Writer/Musician –The Fugs) Steve Post (Radio Personality) Vin Scelsa (Radio Personality) Jerry Jeff Walker (Musician) and many more… ARCHIVAL AUDIO AND VIDEO APPERANCES INCLUDE Bob Dylan Shirley Clarke Dave Van Ronk Jose Feliciano Kinky Friedman Karen Dalton Allen Ginsberg Abbie Hoffman Holly Woodlawn Herbert Hunke The Incredible String Band Carly Simon Kino Lorber Inc. • 333 West 39th Street #503 NYC 10018 • 212-629-6880 •nolorber.com [email protected] SHORT SYNOPSIS Influential radio personality Bob Fass revolutionized the airwaves by developing a patchwork of music, politics, comedy and reports from the street, effectively creating free-form radio. For nearly 50 years, Fass has been heard at midnight on listener-sponsored WBAI-FM, broadcast out of New York.
    [Show full text]
  • Ed Sanders a Head of His Time
    BeyondTHC.com BeyondTHC.com O’Shaughnessy’s • Winter/Spring 2013 —63— The Legendary Ed Sanders A Head of his Time Fug You By Ed Sanders Da Capo, New York, 2011 424 pp. Reviewed by Martin A. Lee When poet-activist Ed Sanders published the first issue of his “Marijuana Newsletter” in 1964, cannabis legaliza- tion was not on America’s political radar. “Time is NOW for a Total Assault on the Marijuana Laws!” Sanders declared. “We have the facts! Cannabis is a non-addictive gentle peace drug!” Calling for “an in- telligent, sensitive public campaign” to change the law, Sanders advocated “pot-ins at government headquarters, public forums and squawking, poster walks, hemp farm disobedience.” For these early marijuana activists, the “Hemp is the WAY!” he proclaimed. Three years later Sanders and his outrageous folk-rock struggle against censorship and the fight ensemble, the Fugs, stood on a flatbed truck and performed against pot prohibition were inseparable. “The Exorcism of the Pentagon” at a huge antiwar protest that bequeathed to the world the indelible photographic During the mid-1960s, the Peace Eye Bookstore served image of flowers sprouting from the rifle butts of young as the unofficial headquarters of the Committee to Legal- soldiers guarding the high church of the military industrial ize Marijuana (Lemar), a group launched by Sanders and complex. Allen Ginsberg to liberate cannabis “from the grouches of the uberculture.” The idea, Sanders explained, was “to get Fug You parts the curtain on a little-known people who use marijuana to stand up and agitate for its chapter of early marijuana activism in the legalization.” United States.
    [Show full text]
  • Moses and Frances Asch Collection, 1926-1986
    Moses and Frances Asch Collection, 1926-1986 Cecilia Peterson, Greg Adams, Jeff Place, Stephanie Smith, Meghan Mullins, Clara Hines, Bianca Couture 2014 Ralph Rinzler Folklife Archives and Collections Smithsonian Center for Folklife and Cultural Heritage 600 Maryland Ave SW Washington, D.C. [email protected] https://www.folklife.si.edu/archive/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement note............................................................................................................ 3 Biographical/Historical note.............................................................................................. 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Correspondence, 1942-1987 (bulk 1947-1987)........................................ 5 Series 2: Folkways Production, 1946-1987 (bulk 1950-1983).............................. 152 Series 3: Business Records, 1940-1987.............................................................. 477 Series 4: Woody Guthrie
    [Show full text]
  • Tuli Kupferberg's Real Fake Real News
    Tuli Kupferberg’s Real Fake Real News printmag.com/daily-heller/tuli-kupferbergs-real-fake-real-news/ Steven Heller 11/28/2017 In the early 1960s the emerging counterculture spawned by the Beats in New York City’s East Village began publishing a slew of what soon became known as “undergrounds.” Many of these cheaply printed publications followed in the Dada and Samizdat traditions. Some were known for raking the muck the mainstream media refused to print while others published real fake news that, paradoxically, turned out to be fake real news. YEAH magazine was originally published between 1961 and 1965 by Tuli Kupferberg (a founding member, with Ed Sanders, of the satiric rock band The Fugs) and Sylvia Topp’s Birth Press. Kupferberg, who created a few self-publishing ventures, called this “a satyric excursion; a sardonic review; a sarcastic epitome; a chronicle of the last days.” Like Paul Krassner‘s The Realist, YEAH threaded “the needle of leftist politics with the sarcasm and sharp creative wit for which he became known.” Now Primary Information, a nonprofit devoted to publishing artists’ books and artists’ writings, has reprinted YEAH‘s 10 ragtag issues. Although it contains no commentary, it is a welcome addition to the growing publishing literature of the era. Kupferberg and fellow East Village denizens contributed poetry, drawings and collages that protested nuclear war, racism, white supremacy, and the conservative, middle-class values that had become the hallmark of 1950s America. By issue 8, Kupferberg dispensed with contributors, choosing instead to feature only his own work. These later issues are very post-dada/pre-punk, with collages of images, illustrations, and articles appropriated from magazines and newspapers.
    [Show full text]
  • CLINE-DISSERTATION.Pdf (2.391Mb)
    Copyright by John F. Cline 2012 The Dissertation Committee for John F. Cline Certifies that this is the approved version of the following dissertation: Permanent Underground: Radical Sounds and Social Formations in 20th Century American Musicking Committee: Mark C. Smith, Supervisor Steven Hoelscher Randolph Lewis Karl Hagstrom Miller Shirley Thompson Permanent Underground: Radical Sounds and Social Formations in 20th Century American Musicking by John F. Cline, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Dedication This dissertation is dedicated to my mother and father, Gary and Linda Cline. Without their generous hearts, tolerant ears, and (occasionally) open pocketbooks, I would have never made it this far, in any endeavor. A second, related dedication goes out to my siblings, Nicholas and Elizabeth. We all get the help we need when we need it most, don’t we? Acknowledgements First and foremost, I would like to thank my dissertation supervisor, Mark Smith. Even though we don’t necessarily work on the same kinds of topics, I’ve always appreciated his patient advice. I’m sure he’d be loath to use the word “wisdom,” but his open mind combined with ample, sometimes non-academic experience provided reassurances when they were needed most. Following closely on Mark’s heels is Karl Miller. Although not technically my supervisor, his generosity with his time and his always valuable (if sometimes painful) feedback during the dissertation writing process was absolutely essential to the development of the project, especially while Mark was abroad on a Fulbright.
    [Show full text]
  • The Fugs the Fugs II Mp3, Flac, Wma
    The Fugs The Fugs II mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: The Fugs II Country: Italy Style: Folk Rock, Garage Rock, Psychedelic Rock MP3 version RAR size: 1230 mb FLAC version RAR size: 1256 mb WMA version RAR size: 1777 mb Rating: 4.1 Votes: 584 Other Formats: DXD MP2 AIFF MMF RA AAC VOC Tracklist Hide Credits Frenzy A1 2:00 Written-By – Sanders* I Want To Know A2 2:00 Written-By – Olson*, Sanders* Skin Flowers A3 2:20 Written-By – Sanders*, Kearney* Group Grope A4 3:40 Written-By – Sanders* Coming Down A5 3:46 Written-By – Sanders* Dirty Old Man A6 2:49 Written-By – Sanders*, Goldbart* Kill For Peace B1 2:07 Written-By – Tuli Kupferberg Morning, Morning B2 2:07 Written-By – Tuli Kupferberg Doin' All Right B3 2:37 Written-By – Crabtree*, Berrigan*, Leary* Virgin Forest B4 11:09 Written-By – Sanders*, Crabtree*, Alderson* Credits Art Direction [Art Director] – Bert Glassberg Bass Guitar – John Anderson Design [Cover Design] – Bill Beckman Engineer – Richard L. Alderson* Guitar – Pete Kearney, Vinny Leary Harmony Vocals, Voice [Groans, Yelps, Ooos] – Betsy Klein, The Fugs Chorus* Liner Notes – Allen Ginsberg Mastered By – DBH* Percussion – Ken Weaver Photography By – Jim Nelson Piano, Celesta, Bells – Lee Crabtree Tambourine, Maracas – Tuli Kupferberg Vocals – Ed Sanders Notes Made in Italy by: BASE RECORD Via Collamarini 26, Bologna tel. 051-534697 - Telefax 051-538017 This release has different labels/ back cover. It is quite similar to these releases: The Fugs - The Fugs II The Fugs - The Fugs II The Fugs - The
    [Show full text]
  • The Realist and Paul Krassner's 1960S Terry Joel Wagner Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 "To liberate communication": the Realist and Paul Krassner's 1960s Terry Joel Wagner Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the History Commons Recommended Citation Wagner, Terry Joel, ""To liberate communication": the Realist and Paul Krassner's 1960s" (2010). LSU Master's Theses. 3562. https://digitalcommons.lsu.edu/gradschool_theses/3562 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. “TO LIBERATE COMMUNICATION:” THE REALIST AND PAUL KRASSNER’S 1960S A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The Department of History By Terry Joel Wagner B.A., Rice University, 2002 August 2010 Acknowledgements This project would have been inconceivable without the regular encouragement and aid of my parents, Desley Noonan-Wagner and Robert Wagner. I thank them not only for providing a sounding board for the ideas explored in this project, and for research assistance, but also for a lifetime of putting my education foremost. Thanks especially to my mother for teaching me how to write. I also want to acknowledge my sister, who has the zany idea that what I study is cool.
    [Show full text]
  • Graded on a Curve: Patty Waters, Live September 17, 2019 by Joseph Neff
    Graded on a Curve: Patty Waters, Live September 17, 2019 By Joseph Neff No discussion of the 1960s avant-garde is complete without touching upon the work of singer Patty Waters, as she predated such vocal iconoclasts as Yoko Ono and Linda Sharrock. Additionally, she was a prime influence on Patti Smith and perhaps most pertinently, Diamanda Galas. Live, her latest and first new release on vinyl since 1966, was captured in performance at the First Unitarian Congregational Society in Brooklyn on April 5, 2018 with the pianist from her debut Burton Greene, bassist Mario Pavone, and percussionist Barry Altschul. Dedicated to the great pianist Cecil Taylor on the day of his passing, its run of 1,000 LPs and 750 CDs is out September 20 via Blank Forms. “People ask me (about) my influences, I would have to say Patty Waters. They say other people and I say, nahh, Patty Waters, listen to Patty Waters. I listened to her twice. That’s all it took for some grain of inextricable influence” —Diamanda Galas Patty Waters’ two greatest albums, Sings from 1965 and College Tour from the following year, combine to secure her reputation as an avant vocal priestess of the first order. They were cut for the storied label ESP Disk, an enterprise known for its stable of fringe ’60s artifacts ranging from the proto out-rock of The Godz and Cromagnon, assorted strains of folk including The Fugs, Pearls Before Swine, The Holy Modal Rounders, Erica Pomerance, and Ed Askew, and most prominently, a ton of the era’s avant jazz; in fact, it was saxophonist Albert Ayler who introduced Waters to ESP’s owner-operator Bernard Stollman.
    [Show full text]
  • The Ed Sanders Archive Including the Fugs, Peace Eye Bookstore, Fuck You/ a Magazine of the Arts, Allen Ginsberg, D.A
    The Ed Sanders Archive Including the Fugs, Peace Eye Bookstore, Fuck You/ A Magazine of the Arts, Allen Ginsberg, d.a. levy, Claude Pélieu, and John Sinclair Ed Sanders backstage at the Fillmore East with his friend Janis Joplin, March 8, 1968. Introduction The Ed Sanders Archive is a remarkable record of the legendary poet, writer, editor, publisher, activist, Fugs founder and icon of American counterculture. Beginning with his first poems written while he still lived in Missouri (1955), it encompasses all of Sanders’ expansive life and career. The archive is a unique resource that allows for the exploration into Sanders’ seminal contributions to the Mimeo Revolution and American poetry, as well as his legacy in the American underground and counterculture with his political activism and his music. The archive itself has long been spoken of by scholars as well as fans. Sanders organized the archive over a 10-year period. Due to its size it is housed in multiple buildings and locations at his and his wife Miriam’s home in Woodstock, NY, where they have lived since 1974. [Unless otherwise noted all quotes are from Ed Sanders’ Fug You: An Informal History of the Peace Eye Bookstore, the Fuck You Press, the Fugs, and Counterculture in the Lower East Side (De Capo Press, 2011). Along with Ed Sanders’ notes, Fug You served as the primary source for other information in the archive’s prospectus.] Archive Contents Biography Archive Summary Archive Highlights The Fugs Peace Eye Bookstore Fuck You Press Friends Allen Ginsberg d.a. levy Claude Pélieu John Sinclair Spain Rodriguez Writing & Projects Poetry Glyphs Musical Instruments Manson Family Olson Lectures Chronological Boxes Activism & Assorted Ed Sanders Biography Left: Ed Sanders “flashing a mudra” taught to him by Allen Ginsberg in 1964.
    [Show full text]
  • Download the Fugs First Album the Fugs
    download the fugs first album The Fugs. The Fugs were a band formed in New York City in 1965 by Ed Sanders and Tuli Kupferberg, with Ken Weaver on drums. Later that year they were joined by Peter Stampfel and Steve Weber of the Holy Modal Rounders. The band was named by Kupferberg who borrowed it from the euphemistic substitute for the word "fuck" famously used in Norman Mailer's novel, The Naked and the Dead. Incidentally, the band is featured in a chapter of Mailer's book, Armies of the Night as they play at the 1967 march on the Pentagon in protest of the Vietnam War (with Scott Rashap on upright bass). The band was named by Kupferberg who borrowed it from the euphemistic substitute for the word "fuck" famously used in Norman Mailer's novel, The Naked and the Dead. Incidentally, the band is featured in a chapter of Mailer's book, Armies of the Night as they play at the 1967 march on the Pentagon in protest of the Vietnam War (with Scott Rashap on upright bass). The Fugs were a satirical and self-satirizing rock band that performed at protests against the Vietnam War nationwide. Their 1968 Transatlantic Records album "It crawled into my hand, honest" (TRA 181) also helped to make them more widely known on the European side of the Atlantic. (This album is now also available as tracks 11 to 30 of "Electromagnetic Steamboat") The band's frank lyrics about sex, drugs, and politics aroused a hostile reaction in some quarters, and enthusiastic interest in others.
    [Show full text]
  • Songs of William Blake,” Which Was Produced by John Mceuen, of the Nitty Gritty Dirt Band
    “A delightful surprise...terrific album” ROBERT SIEGEL, ALL THINGS CONSIDERED “In a brilliant collision of cultures, the powerful blues and soul singer Martha Redbone has recorded an album called “The Garden of Love: Songs of William Blake,” which was produced by John McEuen, of the Nitty Gritty Dirt Band. In it, the mystical, humanistic words of the eighteenth-century English poet are fused with the melodies, drones, and rhythms of the Appalachian string-band music that Redbone absorbed as a child from her grandparents, in Black Mountain, Kentucky.” THE NEW YORKER “Poised to be Americana's next superstar.” THE VILLAGE VOICE “Martha Redbone is a charismatic indie-soul diva whose sound is a just-right mix of retro and modern.” TIMEOUT NEW YORK “This woman is a true original; the kind of artist who sets trends, as opposed to following them.” BILLBOARD MAGAZINE “A truly hypnotic and eloquent roots Americana exploration.” ALLMUSIC GUIDE “A perfect slice of Americana.” NO DEPRESSION “An organic, gorgeous feast for ears and mind.” DUSTY WRIGHT, HUFFINGTON POST Martha Redbone Roots Project transforms the words of William Blake into modern American music | Concert Preview | Chicago Reader MUSIC | CONCERT PREVIEW June 29, 2018 Martha Redbone Roots Project transforms the words of William Blake into modern American music By Jamie Ludwig @unlistenmusic f you were looking for compelling source material for an album of 21st-century Americana, you might not start with poems written in England at the tail end of the 18th century. But the 2012 debut album by Martha Redbone Roots Project, , sets the words of the English writer, artist, and visionary to arrangements that blend elements of Appalachian folk, gospel, soul, blues, and Native American music.
    [Show full text]