Some record reviews

Compiled from TOMB starting 1-14:

Mad Season, Mad Season Deluxe: awesome sound, great to get the vid on DVD (I had it on VHS), with tons of bonus footage. Staley actually played a fair amount of guitar.

Steve Wynn, Northern Aggression: Cuppla years old now, but I keep going back to it for the psychadelia and sounds; altho’ the mouth clicks annoy I recently saw a video of “The Life of Donnie B” and realize he’s sometimes singing into a EV 667, so I can forgive.

Miles, Live Evil and Bitches Brew: great late nite grooves and intricacies.

Joe Cocker, Sheffield Steel: a nostalgic fave, and if the snare sounds 80’s, it’s Sly & Robbie and Cocker’s in top vocal form. Cool songs, too, including the Dylan cover.

Paul Westerberg: Stereo/Mono. You think you are a song writer. You are not. Not until you hear this, absorb this, live this, love this, be humiliated by this, inspired by this and play this again. And again. And again …

Page & Plant, No Quarter: a bit weirder (“Nobody’s Fault”, “Evermore” – kudos to the Denny-part singer), and a lot better than you prob’ly remember. Plant especially is in good voice, and when Page lets rip (“Since I been Lovin’ You”) it’s very reminiscent of the best of some radioactive-containing prophylactic.

DBT’s DVD, Live at the 40 Watt Club: makes me wanna quit writing, especially when “Cotton Seeds” comes on, and Cooley ain’t even the famous writer, much less Isbell’s “Decoration Day”. But instead, I am inspired. Cool Also, since I have alla Hood’s, I need to start gettin’ Cooley’s and Isbell’s solo stuff. And now mebbe Tucker’s.

MBV, Loveless: I still think it’s some weird shite, even if I kinda like it because it’s some weird shite.

The Murder Junkies, Road Killer: I have this, but can’t (I’m sure), play it with the kids in the house. And my singer is dating one of GG’s gurrlfriends. And I’m scared to listen to it but keep lookin’ at it – more to come.

Mudhoney, Vanishing Point: not, mebbe, as cool as the movie, but damn-b-damn close.

MSMW, Out Louder: I wanna be in this band.

Steve Wynn, Live in Bremen: it’s kinda a “storytellers” thing where just he and TM3 guitarist Castro play guitars and do the songs, including Dream Syndicate songs, and Wynn talks between ’em – ver’ cool.

Mark Lanegan and Duke Garwood, Black Pudding: I didn’t like this at first, but like all things Lanegan it’s growing on me, very goth-blues and kinda atmospheric, mostly just acoustic guitar and THE VOICE. Loving his recent greatest hits release, BTW, especially the new tracks.

MBV, Loveless: because I ain’t rode the spinning love rollercoaster in a while.

Silversun Pickups, Neck of the Woods: it’s only fair, and ain’t make me swoon.

The Cult’s Electric/Peace is pretty cool having the original rejected studio tracks (what sound more like “Rain”) and the Rick Rubin stuff. Ah the memories, dancing in Smart Bar to “Love Removal Machine” … Twisted Evil

Sonic Youth, Goo: coulda been recorded yesterday, and I like the Chelsea Moving Lights record, also.

Miles, Kind of Blue‘Round Midnight: you already know.

DBT, Decoration Day: way too over-looked, this is one of their best albums, but then, they are all one of their best!

The latest DBT, Oceans: ver’ cool, with Hood and Cooley trading off songs, no 3rd writer, it’s great on all levels except sonically, where it’s just a touch lo-fi or sompin’.

Sharon Jones & the Dap Kings, Give the People …: speakin’ of lo-fi, it’s a intentional, wonderful choice here, and she and the band are in fine form – I can’t believe how panned-mono works so well, and I love the writing/arrangements, also.

The Quintet, Jazz at Massey Hall: Gillespie, Parker, Powell, Mingus, Roach. So well-recorded, so brilliantly played (a plastic alto?), currently in my top 10.

Bowie, Hours: a kinda forgotten album from ’99, almost like his latest but with heavy doses of Gabrel, “Thursday’s Child” and “The Pretty Things Are Going to Hell” stand out.

Screaming Trees, Last Words: the Final Recordings: the band is in fine form, and Peter Buck is all over it in rhythm guitar, recorded in ’99 but not released until ’11, I just found out about it and am sorry I didn’t hear it sooner, yesterday or in ’99.

Shonna Tucker & Eye Candy, A Tell All: from the former DBT bassist and ex of former DBT guitarist/writer Jason Isbell, her with former DBT guitar guy John Neff (who is excellent), a very cool collection of Southern rock, lotsa and not too much chick-flick stuff, nice production.

Patti Smith, Twelve: quite possible the best covers-record ever.

Blowoff, Blowoff: quite possibly the gayest record in my collection, because even next to Boy George or whomever, this one is like, really, gay. What isn’t a bad thing; that’s the point; it’s gay-themed club music with some Husker Du-ish guitars and Mould singing about half of it, Richard Morel the other half. I more than half like it, too – it sometiimes actually rocks damn, eh, hard.

The National, Alligator: interesting to see hwere they come from, I like ’em a lot better on the 3 records after this, not least because here they just sound ordinary.

Nebula, Heavy Psych: indeed. I’m not necessarily a stoner-rock fan, altho’ I like QOTSA (to the extent they still are stoner-rock) and its predecessor Kyuss well enuff, and the guitars are plenty heavy and the vocals plenty funny – but this drummer rocks.

Tom Petty & the Heartbreakers, Mojo: if you haven’t heard this, you are missing one of his best, with great songs and live performances, and awesome production. I can’t believe Petty doesn’t rule the airwaves, I’m sad that he doesn’t, and thankful he keeps putting out some of the best American rock band music, ever.

Gov’t. Mule, Shout!: I didn’t play this for about a month and a half and then I did and I regret wasting that month and a half. Everything I said about Petty, above, and near-virtuoso musicianship, without even talking about the amazing bonus disc of other singers doing alternative takes.

Bustout’s drum session, 3-23-14


Zoom R16 (before cabling) & M-Audio powered monitors & headphone amp (the paper is me explaining sound envelopes and why we need to dampen the kick; the book by the awesome Ainglish police procedural writer, Nick Oldham)

Cabled …

The warbler in the makeshift (scratch) vocal booth constructed of carpet pad on top of tires – the drums are to the right, the recorder behind the photographer

The mic’s I brought – some were even utilized!

Drum kit – the kick mic (Sennheiser E602) is all the way in about 6″ from the beater – the “vocal booth” is behind and to the right of the photographer, the recorder behind and to the left

Mic placement: 1&2 are AT4040 OH’s; 3 is EV RE320 splitting the floor toms; 4 is Sennheiser MD421II splitting the rack toms; 5 is Shure Beta58 on snare; 6 is the E602 in the kick; the other two tracks are scratch vocal and scratch (DI) guitar

My phat arse (no, that’s not a dick mic)

Why my arse is phat

Another E-bog battle …

Posted at TOMB:

So I bid on the E-bog and got a ADK TC mic from ’07, from a music store seller in New Jersey.

Preliminary power-up and it works fine, I think.

But when I take off the body there’s rust on the side rails, rust on the tube holder, the tranny, and various screws. There’s also some fine powder-grey corrosion on some of the solder.

The body itself has water-marks where its edge fits into the headbasket – if the marks are to be believed the mic was mebbe laying sideways in about 1/2″ of water …

I emailed the seller for history, etc., and to ask permission to open it and check the capsule because there’s paint on the headbasket screws and/or corrosion which will make it obvious if I open it.

What risks do you forsee if I keep this?

Is there anything I can do to prevent future problems?

Also, while the “Turbo-Tube” power box seems 100%, there is rust on the welds of the shock-mount and the screws on the pop-screen.

The case seems fine and there’s no smell, as if the thing was caught inna flooded basement, mebbe, and then washed quickly but not quite completely dried, and they failed to take the mic body off or else missed completely cleaning it …



I got a good price on it (US$310 shipped) but the seller just responded with some apparent anger, and offensive denial.

Based on that attitude, I’ll wait for response to my reply, and then probably demand a refund.

Then I’ll probably have to fight about who pays return shipping … Rolling Eyes

As requested by the seller, I sent some photo’s as evidence, and here are 2:

Note the rust on the side rails, the tube-holder and glass, the screws, and the powder-corrosion on the solder.

The white stuff is water residue especially visible along the edge where it fit inside the headbasket assembly; the inside of the cover is filthy.

If anyone is interested in the dialogue, I’m happy to post that, altho’ I expect I’ll again get flamed for being mean to the seller. Twisted Evil


Further evidence that it’s not natural humidity corrosion, but from immersion:

The seller, tho’, is insistent, “Our qualified electronic technician went over this microphone, with all of its accessories, and everything tested perfectly.”

Glad it/he/she is not my “qualified electronic technician”! Twisted Evil


After the initial push-back, the seller agreed to a full refund and paid return shipping. Good on him.

Of course, I call his shipper, UPS, and they want US$7 to pick it up, so I had to contact the seller again …

I appreciate his/its situation but for any sellers reading this, please consider why someone in my position is less than thrilled/satisfied:

1. I am not your QC guy to test your item, and I further resent your questioning my immediate report of your self-created problems as tho’ I’m scamming (Other buyers have scammed you? Consider: other sellers have tried to scam me, too – or been so oblivious/incompetent/unconcerned/stupid that they have made mistakes at my cost, like you);
2. It is extra work for me to take and upload photo’s to prove that your “experienced tech doosh” didn’t open your item and check for damage (glad he’s yours, I don’t need another assault charge);
2. Many of us, with larger items, have to arrange add’l transport after receipt; ex., I had to pay for two cabs to get the item from my office to the train, and back (I ain’t carryin’ that un-padded-handle case for a mile thru the city along with my other shite, in my suit and tie).
3. In this instance, since your shipper, UPS initially said I don’t exist, I had to return a long-distance call to you to confirm my Pay-Pal listed address (tho’ you already rec’d my money from that account);
4. I have over an hour involved just in emails/PM’s and posting pic’s to assuage your baseless suspicions that I am the bad guy (when it was you fucked up);
5. You have had the use of my US$300+ (in this case) for about 3 weeks, at a minimum (Who’s the scammer? How about some interest? Go borrow $300 atta check-cash place, see what they charge!);
6. You treat me like the bad guy by refusing to return my money until you receive the defective item you fucked-up in sending in the first place, and I have to wait patiently and trust you to do so (See no. 5, above).

Anywhat, next week? I still want a ADK Tc or like-level tube mic … Twisted Evil

Vlayman: “End (How It All Will) “

End (How It All Will)
c. ’14 Vayman Produx

In the grey morning on the first day of the month,
I heard the calling of the birds for their mates,
There was no warning on that first day of the month,
that you’d be late.

In the red morning just before the storms began,
I heard the mothers calling for the children,
There was no other warning before the storms began,
But for the light and then the wind.

In the bright morning just before sun fell down,
I heard you calling out my name,
There was no warning just before the sun fell down,
And it never will ever rise up again.

Oooh, my dear
I know just what you fear
You see what I do but you fail to comprehend
How it all will end

Drums: Vezina
Bass: Alvz-Brick-dbx160XT
LD&BV’s: EV664-Meek VC1Q
BV’s: FXEV664-Meek VC1Q
RthmGtrs: SG-ProJr-E609-ISA1Pad
LdGtr: G&Lf100-Marshall-SuperluxPRA628-ISA1Pad

Some mic notes

Digital Reference DR-KX1 Kick/Bass Drum Microphone; it’s prob’ly not too good on kick, but it’s nice and small and sounds aiight on bass (here) – I’m thinkin’ for toms, tho’.

Sterling Audio SP50 and SP30: not sure why I bought these other than they were so cheap, but they are interesting in that the “LDC” and “SDC” styles have the same small diaphragm. The 50 is actually pretty solid feeling, but the 30 records a cuppla dB hotter. Not unusable mic’s, but nothin’ to make me wanna use ’em, either (they are the response vox on this, 50 on the left, 30 on the right.)

ADK TC Mk9 TUBE Condenser Mic: I have the Sputnik (all vocals and guitars, here) and really like it but – is there something the matter with me? (other than the obvious, I mean) – I prefer the MXL V69ME with a nice RCA 6072 (stacked vox here). So I got Friday-night rich (see the latest DBT album for the reference) and bid on this and got it for 1/2 the street price of the Mk12. Shipped today, so I may report back if anyone’s interested …

Vlayman: “Until I’m Late (Wait) “

Until I’m Late (Wait)
‘c. ’14 Vlayman Produx


I know yer inna hurry to get goin’
You got a thing about you needs to move
But if it wasn’t for the things that I am knowing
You wouldn’t move along with such a groove

Don’t you wanna wait
until I’m late?
I know how you hate bein’ slow
Don’t you wanna wait
until I’m late, baby?
Wait for me before ya go

Every buddy’s talkin’ ’bout how’s yer motor’s runnin’
They all see you at the starting line
We all know that you like nothin’ better’n gunnin’
But baby’s got learn to earn her time


Once there was a rabbit thought it knew where it was headed
It passed all the jackyls and the tortise and the snake
That crazy rabbit, tho’ is gonna end up deaded
‘cus she really don’t know how much more I can take

Drums nettage
Bass: EpiGoth-VC3Q

Vlayman: “Aiight”

c. ’14 Vlayman Produx

There’s a way I see myself
in this town
There’s a way I see myself
Goin’ down
There’s a way I see myself

Everything’s gonna be aiight
Everything’s gonna be aiight
Everything’s gonna be aiight
Everything’s gonna be aiight


Funny how you think of me
And you laugh
Funny how you think of me
It’s a gas
Funny how you think of me
Funny how you think of me
At yer last
Everything’s gonna be aiight
Everything’s gonna be aiight
Everything’s gonna be aiight
Everything’s gonna be aiight

Drums: nettage
Bass: IbzAcAlec-Brick-dbx160XT
LdVoc: EV664-Summit-1176
BV’s: BadEV664-Summit-1176; SterlinS50(Rt=S30)-Summit-1176