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50+ videos Play all Mix - Grifters 'Bummer' Official Smash Hit Video from One Sock Missing YouTube Grifters '#1' Official Smash Hit Video from One Sock Missing - Duration: 2:02. Sherman Willmott.

From Wikipedia

1. Berkeley Electronic Press Selected Works.
2. For a debut album from a relatively young band (most of the members are still teenagers), Phantom Planet Is Missing is very accomplished and appealing. While the hooks aren't particularly strong, the band makes up for it with youthful exuberance and very colorful instrumentation - the music is upbeat and synthesized flourishes abound.

One Sock Missing is the second album from the Grifters released in 1993 on Shangri-La Records. 'Certainly the most low-key (if not lo-fi) of the Grifters' early records, 1993's One Sock Missing is less noisy and aggressive than its immediate predecessor, So Happy Together[1]' The album received comparisons to Captain Beefheart and Pussy Galore[2]. One Sock Missing signals the direction and sound the band would work on throughout their career [3].

Track listing

1. 'Bummer' - 2:53 (vocals Shouse)
2. 'She Blows Blasts of Static' - 4:04 (vocals Shouse)
3. 'Shark' - 4:16 (vocals Taylor)
4. 'Teenage Jesus' - 3:02 (vocals Lamkins)
5. 'Side' - 2:50 (vocals Taylor)
6. '#1' - 1:16 (vocals Shouse)
7. 'Tupelo Moan' - 5:06 (vocals Shouse)
8. 'Wonder' - 1:20 (vocals Taylor)
9. 'Corolla Hoist' - 4:02 (vocals Shouse)
10. 'Encrusted' - 2:19 (vocals Shouse)
11. 'The Casual Years' - 3:19 (vocals Shouse)
12. 'Sain' - 2:28 (vocals Taylor)
13. 'Just Passing Out' - 3:21 (vocals Shouse)
14. 'I Arise' - 4:35 (vocals Taylor)

Album credits

Grifters

credited as

• Stank Gallimore
• Tripp Lampshade
• Diamond Dave Shouse
• Slim Taylor

Additional musicians

Greg Easterly (Compulsive Gamblers) - Violins and Bass on Wonder

Skronkadelic Orchestra Unlimited on I Arise

Grifters One Sock Missing Rar Files Full

• Jack Adcock - Gourd
• Jimmy Enck - Sax in Tune
• Robert Gordon - Jamming Untensil
• Fields Trimble (Compulsive Gamblers) - Saxophone

sitting in

• Jim Cole - Kwirrr Machine
• Sherman Willmott (Shangri-La Records) - Bike Horn
• Roy Berry (The Simple Ones)

Additional credits

• Largely recorded at the Flower Shop by Roy Berry
• Additional recording and mixing at Easley Studios by Doug Easley & Davis McCain
• Album and disc art by Roy Berry
• Cover drawing by Tripp Lamkins
• Cover design by Paul W. Ringger XXIV
• Paintings of the Grifters as a young band by Kelly
• Cover production by Towery Publishing

Album Trivia

• 'I Arise' is carries the annotation '(Bonus Track)' on the sleeve, but on the CD itself it listed as the '(boGus TrAck)'

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Doug Carn
“Infant Eyes”
Released 1971 on Black Jazz Records (BJ/3)

Welcome 1:15
Little B’s Poem 3:50
Moon Child 7:56
Infant Eyes 9:50
Passion Dance 5:58
Acknowledgement 8:45
Peace 4:30

Doug Carn – piano, electric Piano, organ
Jean Carn – vocals
Bob Frazier – flugelhorn, trumpet
George Harper – flute, tenor, saxophone
Al Hall Jr. – trombone, trombone
Henry Franklin – bass
Michael Carvin – drums

Produced by Gene Russell

Although he recorded a 1969 album in a trio setting for Savoy (which I’ve never heard), Doug Carn is of course most famous for his relationship with the independent Black Jazz label. His albums on that imprint may be single-handedly responsible for the label’s canonical status in Afrocentric spiritual jazz. They are remarkable for many reasons, not least of which is the presence of innovative lyrics sung by his then-wife Jean Carn, who not unlike Abbey Lincoln used her voice as part of the ensemble arrangements rather than as a vocalist with a backup band. The communal family vibe is accentuated by the beautiful album cover photography and the opening tune Little B’s Poem; together with the cover photo, I feel like I knew their daughter and wonder where she is now and how she feels about all the musical attention today. While the following albums from the Doug and Jean Carn would push further with original material, this first album is noteworthy for it’s reworking of compositions by jazz heavyweights that they admired – Bobby Hutcherson, Horace Silver, Coltrane, McCoy Tyner, and Wayne Shorter. In particular, adding lyrics to that material and making the compositions into something else is the big achievement here.

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I have a repress vinyl of this that sounds pretty good and began to mess around with a digital rip of it, but am unsure whether or not to keep working on it. This CD pressing from 1997 sounds okay but the second side (of the original LP) suffers from nasty wow and flutter from whatever source tape they used. This was the first appearance of this album on CD and I am not sure if there has been any other remastered versions since, but I kind of doubt it. In fact last year somebody claiming to have a set of Black Jazz master tapes was selling the whole bundle on Craig’s List for a hefty sum; the auction was dubious as they were comprised of 1/2″ reels, which even for a studio on a budget in the early 70s would have been a substandard format, and claimed to come with full reproduction rights. Most likely the reels were production copies or just plain counterfeit, the listing was not online long before it was either met with an offer or taken down. Hopefully that doesn’t mean that we’ll be seeing a new series of reissues mastered from 1/2-inch tape.. Unfortunately a few of the other extant Doug Carn reissues have the same wow-and-flutter problem. Badly stored tapes, damaged playback equipment, sloppy transferring, or all of the above, it doesn’t really matter – the end result is that this precious, important music hasn’t received the treatment that it merits. But the most important thing is that it is still available and people can hear it. Since the reissued vinyls were most certainly just the CD master with an R$AA equalization curve applied, there isn’t much point in having both versions except for purely fetishistic reasons. Unless I can manage to get my hands on original vinyl pressings, they are however all we’ve got..

The liner notes by Doug Carn are a treasure. Written just for the reissue, they have a remarkable amount of detailed recollections for being composed more than thirty years after the recordings, showing just what a special time this was for everyone involved. While this is not my favorite of the Carn albums on Black Jazz, it is unique and on its own it is a great record. The title cut, which according to the notes was the first fruits of Doug’s experience with writing lyrics to other peoples’ music, stands out as the most fully realized work here.

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