Frequent Fire: Miles Immemorial

It is May 26th and that can only mean one thing.

88 years ago today Miles Davis III was born. He changed music not once, not twice, but a total of about five or six times.

He is responsible for so many innovations and so many indispensable records, it's impossible to overstate what he means to the music of our lifetimes. Not just jazz music either.

The only jazz musician ever inducted into the Rock and Roll Hall of Fame, Miles' "electric period" music alone -- in which he almost singlehandedly fused jazz with rock into some of the most frighteningly intense sonic assaults that will ever be mounted by anyone -- stands as such a monumental influence on other musicians that without him what we know as modern music is almost inconceivable.

You could point to several of his recordings -- Birth of the Cool, Kind of Blue, Sketches of Spain, Miles Smiles, Nefertiti, Bitches Brew, On the Corner and Agharta -- as being benchmarks that altered the trajectory of music and art irrevocably. Precious few musicians can even claim one such album.

As essential as his albums are, his live concerts are the stuff of myth and legend and have transformed the lives of millions of people. The live work from 1970-75 has no precedent and no one has approached it since. During those years Miles must have been tapped into some eternal, galactic Funk Force that drove him to create music undreamt of at the time and arguably still light years ahead of its time.

To celebrate I am going to post two segments. Two facemelting concerts from the same venue in Tokyo, dating from the halcyon days of the mid-1970s, and a compilation of all the tunes made by Miles in yet another genre he pioneered: that of quieter, mellower, ambient-themed compositions in jazz-rock fusion. You should pull all of them down from the cloud immediately if not sooner.

Miles Davis III

Directions In Music, 1969-74

I.

Miles Davis Septet
Shinjuku Kosei Nenkin Hall
Tokyo, Japan
6.19.1973
pre-FM fan remaster

cd1
01 Turnaroundphrase
02 Tune in 5
03 Right Off
04 Funk
05 Unknown F

cd2
01 Ife
02 Aghartha Prelude
03 Zimbabwe

Total time: 1:30:55

Miles Davis - trumpet, organ
Dave Liebman - tenor and soprano saxophones
Pete Cosey - guitar, percussion
Reggie Lucas - guitar
Michael Henderson - bass
James "Mtume" Heath - congas, rhythm box, table percussion
Al Foster - drums

II.

Miles Davis Septet
"Another Unity"
Shinjuku Kosei Nenkin Hall
Tokyo, Japan
1.22.1975
EN pre-FM remaster

01 Prelude & Funk
02 Maiysha
03 Ife
04 Mtume
05 Turnaroundphrase
06 Tune In 5
07 Untitled

Total time: 1:19:58

Miles Davis: trumpet, organ
Sonny Fortune: alto & soprano sax, flute
Pete Cosey: guitar, synthesizer, kalimba, table percussion
Reggie Lucas: guitar
Michael Henderson: bass
James "Mtume" Heath: percussion, rhythm box
Al Foster: drums

both shows are zipped together

1.03 GB FLAC

III.

Miles Davis

Shhhh.... Peaceful

ambient recollections

1969-74

cd1

01 In a Silent Way

02 Recollections

03 Shhh, Peaceful (EN secret edit)

04 Nem Um Talvez

05 Selim

06 Lonely Fire, pt. 1

07 Yesternow, pt. 1

08 Guinnevere

cd2

01 Ife (variation 1)

02 Orange Lady

03 Yaphet

04 Little Church

05 Ascent

06 Right Off (interlude)

07 Early Minor

08 Take It or Leave It

09 Ife (variation 2)

10 Peace

11 Sanctuary

12 He Loved Him Madly (flute edit)

Total time: 2:37:43

916 MB FLAC

all material archived together/May 2014 archive link

88 years and a lifetime that changed the world forever... now that's my idea of a Memorial Day.

May 26, 1926 - September 28, 1991

Birthday Bard Bonanza: If My Thought-Dreams Could Be Seen

I don't usually post 15 GB of unissued material, but when it's the pre-eminent songwriter of all time, I am fairly certain that I can make an exception.

Born May 24, 1941 and still making it happen at age 73, there is the craft of songwriting before Bob Dylan and there is the craft of songwriting after Bob Dylan. And those are two vastly different things; so great is the gulf between the two that they are almost indistinguishable from each other.

It wasn't always acceptable practice to write songs about just anything, you know. A strict dogma ruled the art form at one time, which held unwritten but fearsome rules that said only tunes about love and its pursuits, joys and disappointments were allowed. The subject matter was the ups and downs (and occasionally the ins and outs, but not as often as we would have liked) of human pair bonding. Even the folk songs of olde had to have the principal ballad ingredients of romantic intrigue and betrayal for the slaughter and revenge verses to be set up correctly.

Then this fellow showed up and kind of pushed all that to the side. Not that he didn't write about those topics and continue those traditions in his own way, but he went so far beyond the existing conventions even in his love songs that the whole world was forever changed. You could say that songwriting itself -- and by extension, modern music -- grew up to adulthood when Dylan had his advent upon the cultural songscape in the early 1960s.

Understandably the most covered artist in music history, he has inspired untold millions to make music great, good, mediocre and awful... a lot of sensitive young men and women who never should have been allowed near an acoustic guitar were driven to the torment of their friends and families because of Bob Dylan. But that's true of any colossally influential artist in any discipline. For all the tinny folk warblers out there, there are the Neil Youngs and the Joni Mitchells and the Tim Buckleys and the countless writers who have come after them who might not have ever felt free to write about the whole spectrum of human feeling and concern had it not been for the inspiration and example provided by the birthday Bard here.

When I was a kid, I didn't get it and thought Dylan was just an irritating scold with a harp rack and a sandpapery voice that made ice cream impresario Tom Carvel sound like Tom Jones. You kind of have to grow up -- or try to -- to appreciate what is going on in these songs. The nuance of expression and the literary modalities present in his work reveal themselves slowly, often as the grapes of youth ripen to the wine of life.

To really get Dylan, you have to go through breakups where you feel as if the other person has a lot of nerve to say they are your friend. You have to watch close friends come to the brink of total emotional collapse from living the unintentional, but no-less-devastating betrayal of being outgrown by someone -- and the complexity of feelings brought about by that -- to be able to relate to the "You're a Big Girl Now" moment everyone dreads. You have to get so fucking fed up with slavery disguised as a freedom to be celebrated that you just simply cannot bring yourself to work on Maggie's Farm no more. You have to run into people so stuck in the status quo that something is happening but they don't -- or can't -- know what it is. You have to had threw the bums a dime in your prime, didn't you?

All of this is manifestly so. Bob Dylan, love him or hate him, is the undisputed heavyweight champion of modern songwriting... the alpha and the omega of the art form, without whom we'd all likely still be sitting around a jukebox somewhere, pumping nickels into it (OK, today it would cost $20 per song) so frivolous little ditties about how I loved you and why did you leave me could play for our endlessly peripheral amusement. But did you know he also liked to make movies?!?

Yes, in addition to his side career as an actor in films like Pat Garrett and Billy the Kid and Masked and Anonymous, Dylan is responsible for a couple of really strange films, including one 4-hour epically allegorical one that chronicled his separation and divorce from his first wife Sara Lowndes. Neither has ever seen the light of day on home video, despite the fact that their creator is one of the most celebrated artists of our lifetimes, if not the central, dominant artistic figure since 1963 when you take into account the debt all songwriters since then owe him. Someday this may change and these will be reissued with the care and thoroughness this reality demands, but until then with regard to their absence I heartily declare that that's what Baby Jesus invented the Internet for.

Bob Dylan

films and TV broadcasts, 1966-78

I. 

Eat the Document

1966

directed by D.A. Pennebaker and Bob Dylan

edited by Bob Dylan

Total time: 51:41

NTSC DVD sourced from what looks like a master VHS tape made from the original 16mm reels

3.33 GB total

II.

Renaldo & Clara

1978

directed & edited by Bob Dylan

Total time: 3:45:02

PAL DVDs sourced from never-played VHS master tapes made with top-flight equipment under optimal conditions off the air from UK Channel 4 in 1982, the only time this film has ever aired on television

 7.40 GB PAL

III.

"Hard Rain" TV special w/ The Rolling Thunder Revue

Hughes Stadium

Colorado State University

Colorado Springs, CO

5.23.1976

01 A Hard Rain's a-Gonna Fall

02 Blowin' In the Wind

03 Railroad Boy

04 Deportees

05 I Pity the Poor Immigrant

06 Shelter from the Storm

07 Maggie's Farm

08 One Too Many Mornings

09 Mozambique

10 Idiot Wind

11 Knockin' On Heaven's Door (end credits)

Total time: 53:09

NTSC DVD sourced from a VHS tape made from a master VHS tape
2.8 GB NTSC

IV.

"The World of John Hammond"

Soundstage 

WTTW-TV Studios

Chicago, IL

9.10.1975

01 Hurricane

02 Oh Sister

03 Simple Twist of Fate

Total time: 20:37

NTSC DVD sourced from a VHS tape made from a master VHS tape

III. & IV. are zipped together

total of 3.87 GB

all material assembled and remastered by JTT

2008-2014

all DVDs archived together/May 2014 archive link

I suppose Saturday night is traditionally movie night anyway, so you all have your work cut out for you now! Go ahead and pull one, some or all of those folders down from the cloud and get your Zimmerman on straight through the holiday weekend, as we memorialize (OK, not so fast, he ain't dead yet folks) the staggering achievements -- in songcraft and in cinema! -- of Bob Dylan, acknowledged globally as the father of modern songwriting and forever young at 73 :)--J.

Centenary of the Sun

We commence this afternoon with a real freaky deaky... it is Sun Ra's 100th birthday and if I'm not posting the very weirdest and most wonderful warped thing I am not doing the man justice.

Born Herman "Sonny" Blount in 1914, he claimed to be from Saturn and to be researching Earth for his home planet. I'm not sure he wasn't telling the truth. If you listen to his music -- which is both as out there and as unique to him as can be -- it's hard not to take him at his word.

For today's celebration of 100 years of Outer Space Arkestral amazement, I have worked hard to bring you the very cream of the craziness crop the man was and is still famous for. The swingin-est Big Band this side of Saturn had many different phases and ways to blow your mind, and in the mid-to-late 1970s and early 1980s he did not disappoint with a foray into funk and a rockishly insane futurist dance music he termed Disco 3000.

I scoured the archives for the toppermost tracks from this period -- most featuring the relentless twin trumpet attack of monster brass stalwarts Eddie Gale and Michael Ray -- and I'm serving them up on two CD-sized platters, full up with 80 minutes each of the most primal pure "P" from the Ra Funk Era. Sonny's oeuvre is sort of infamous for its sprawling, impossible-to-annotate knottiness, and gets further complicated because some sessions sound like they were recorded under the tour bus outside a studio somewhere in between live dates. This occasional low-fi loopiness presages the 8-bit skronky techno of today sonically, and of course only adds to the mercurial madness never far from the surface in the music of Sun Ra.

Sun Ra & His Arkestra

Solar Jazz Fun Krock

1975-1982

cd1

01 Say

02 Astro Black

03 Lanquidity

04 UFO

05 Sky Blues

06 Dance of the Cosmo Aliens

07 Oriental Mood

08 Door of the Cosmos

09 Rebellion

cd2

01 Media Dreams intro/Disco 3000 (edit)

02 Where Pathways Meet

03 Friendly Galaxy

04 Twin Stars of Thence

05 Space Is the Place

06 One Day In Rome

07 Watusa

08 Nuclear War

09 Astro Nation

Total time: 2:38:39

938 MB FLAC/May 2014 archive link

This one is not to be missed, I'm afraid... I'm not sure anyone has ever attempted to compile this part of Sun Ra's tremendous output in one place before, and I've been meaning to make the attempt, so here we are. Honestly, I couldn't imagine a more unusual and interesting (and danceable!) view into the World of Ra than by getting into some of his more far afield experiments outside of more straight-ahead fare... I swear in some of these tracks you'd think Ra was hanging with Miles Davis On the Corner, or absorbing some of the Harmolodics of Ornette Coleman's Body Meta period with Prime Time. All crossed with Bruce Haack and Fletcher Henderson, wow and it's 100 years! Has it really been that long? Ah, but the music of Sonny will last countless centuries into the future... this was just the first one :)--J.

It's Christmas In Cape Town

All right, here we are with Day Four of Taurus Prog Warrior Week, this time featuring one of the genre's most luminary participants. That's right, Rick Wakeman is 65 today! I wonder if Bill Bruford ever teased Rick for being exactly one day his junior.

Prog's Caped Crusader started out as a session musician, quitting the prestigious Royal College of Music to contribute some truly memorable keyboards to some huge songs. The piano on Cat Stevens' Morning Has Broken and the Mellotron parts of David Bowie's Space Oddity and Black Sabbath's Changes come from him. After a stint in folk-proggers The Strawbs, he joined Yes to replace Tony Kaye and complete the most legendary lineup of that band, contributing to Fragile, Close to the Edge and Tales from Topographic Oceans. Then he left -- dissatisfied with the esoteric content of TfTO -- and rejoined in 1977 for Going for the One and Tormato. All this with a prolific solo career happening alongside.

Today's post is a performance of Rick with his band The English Rock Ensemble, recorded for the BBC in 1976 on the No Earthly Connection tour. It's a pristine pre-FM reel and owing to that fact is indistinguishable from a real live record. Rick's between song announcements are often tremendously hilarious in this one... I LOL'd several times listening back to this.

Rick Wakeman & The English Rock Ensemble
Hammersmith Odeon
London, UK
6.15.1976

cd1
01 BBC intro
02 The Journey
03 The Spaceman
04 Catherine Howard
05 Sir Lancelot and the Black Knight
06 Anne Boleyn
07 The Realization
08 BBC outro

cd2
01 BBC intro
02 King Arthur
03 The Forest
04 Catherine Parr
05 The Prisoner
06 Intro to Merlin
07 Merlin the Magician
08 Medley
09 BBC outro

Total time: 1:41:00

BBC Rock Hour pre-FM reel

735 MB FLAC/May 2014 archive link

That's four heavyweights in four days, wow... so much birthday Prog you'd almost want to blow out the candles in 17/8 time. Anyway, enjoy this show from one of the central figures of Progressive Rock, who like many lucky Baby Boomers (I'm paraphrasing Bruford here, when he's asked how he accomplished it all) had the good sense to have been born in 1949... and thusly were hitting their 20s right when the cultural, social and political shit was hitting the fan! --J.

Boom Bishford: Never the Same Way Once

I'm having a tough day here so this will have to be quick, as I am out the door to visit a friend in hospital who suffered a major stroke 24 hours ago. This post is dedicated to my pal Kurt -- friend of 30 years since college, Six and Violence frontperson, SpacEKraft voyager, and composer of the epic synth score of the new documentary currently tearing up the world, Jodorowsky's Dune. Get better ASAP buddy <3

Today is indeed a special day for more joyous reasons, as it is Day Three of Taurus Avant Awesome Week (I keep changing the name every day, don't I?). The May 17th honoree is none other than Bill Bruford, one of the world's most accomplished and revered hitters of things. You could say that the batterie is included today, if you wanted to attempt the worst pun in blogging history.

A proponent of his own, totally unique approach to drums and percussion -- let's call it Never the Same Way Once -- Billy the B is kind of a Jazz drummer disguised as one of the most powerful Rock drummers ever to flail. It's no wonder that Max Roach himself was such a huge fan of King Crimson... methinks he was in it for the Bruford.

Beginning with Yes in the 1960s and progressing through about a hundred million different heavyweight bands through the 1970s, then founding and leading his own group Earthworks for 20 years... I can't think of a more accomplished player than this man. Who else can say they were in Yes, King Crimson, Genesis, Gong, National Health, Absolute Elsewhere, UK, and Bruford (his own late''70s fusion aggregation)... all before 1979?

Anyway, for today's fare I am posting installment 063 of the Progressive Rock Remaster Project, featuring Bill, Allan Holdsworth, John Wetton and Eddie Jobson: the first version of prog supergroup UK. This is a pristine pre-FM reel recorded at the famous Agora in Cleveland, Ohio towards the end of the first and only tour by this lineup of the band.

UK
Agora Ballroom
Cleveland, Ohio
9.18.1978

01 Introduction
02 Alaska/Time to Kill
03 The Only Thing She Needs
04 Carrying No Cross
05 Forever Until Sunday
06 Thirty Years
07 In the Dead of Night
08 Caesar's Palace Blues
09 Final Announcement

Total time: 58:48

Alan Holdsworth - guitars
Bill Bruford - drums & percussion
John Wetton - bass & vocals
Eddie Jobson - keyboards & electric violin

BBC Rock Hour pre-FM reel, remastered by PRRP as PRRP 063

394 MB FLAC/May 2014 archive link

So a heartily enthusiastic happy 65th birthday to the one and only Bill Bruford, as fantastic a drummer as currently breathes. And an even heartier "get well" wish for my friend Kurt, who I am going to see right now in the hospital just a few blocks from where I sit here. Please keep him in your thoughts and prayerful ideations. Thanks so much. --J.

Revox Populi

Day Two of Taurean Avant Rock week brings you something truly strange, courtesy of today's 68th birthday person (and yesterday's 66th). Yesterday we did the world's foremost producer. Today it's one of the world's most unusual and innovative guitarists. Tomorrow we do drummers, so start running away now so you get a head start!!

Once upon a time, when the music we know today as Rock was still in its relative infancy, it was unacceptable for the songs to be very much longer than three minutes and about anything other than whatever backseat of whatever classic 1950s automobile the listener was trying to get whichever girl into that coming Saturday night behind the golf course. These unwritten rules were observed far and wide as accepted orthodoxies that weren't really given awfully much thought, as accepted orthodoxies often aren't.

The mainstay instrument then and now was and is the electric guitar. Back in the day the guitar players in rock-n-roll based almost their entire approach on emulating patterns, chord progressions and all manner of cliches from American Blues music. This was pretty much 100% the case with guitarists from Keith Richards to Mike Bloomfield and back again. At one time, it might have seemed like it would have stayed that way forever.

One record in particular, and the one very significant band that authored it, changed the game. After The Beatles, there is one group above all that has exercised more influence over other musicians and aspiring players, in particular those keen to expand their vocabularies beyond what has been deemed the norm up to that point. This group was and is called King Crimson, after the Prince of Hell himself. At their ninth-ever performance in London in April 1969, Jimi Hendrix addressed the patrons of the Revolution Club with the Good News that they were not allowed to leave because "This is the greatest band in the world."

The driving force behind the most far-reaching band in the history of Rock -- the only person to appear on all of their records since that first one that almost singlehandedly ushered away the love-in Sixties -- is today's honoree... guitarist, maestro, teacher: Robert Fripp. Widely acknowledged as the first rock guitar player to incorporate non-Blues idioms and gestures in his playing, his initial foray with King Crimson invented one genre (Progressive Rock) and helped touch off several others (Heavy Metal, Avant Rock). And things have only got more influential and groundbreaking since.

The idea that musicians in Rock could be allowed to play more than just blues-shaped music for hormonal teenagers in lovers' lanes caused a lot of controversy and still does. Just a few days ago, Courtney Love said in an interview that "saxophones don't belong in rock and roll," further pointing up some peoples' dogmatic views about what Rock should and shouldn't be. Of course, she neglected to mention several key facts, from the presence of saxophones in rock-n-roll since its baby steps in the 1940s to the fact that her late husband committed suicide whilst listening to the King Crimson album Red from 1974... one of the heaviest Rock records ever made, and one with saxophones aplenty.

But no matter the musings of small minds and the ravings of callous, uneducated Neanderthal twits like Miss Love. The proof is in the longevity -- KC are back with a new incarnation this Fall in a city near you -- and the idea that even side projects such as Fripp's records with yesterday's birthday boy Brian Eno are held today as the albums that invented what we now call Ambient music, a term invented by Eno himself. Some people just can't plug in their amplifiers without changing the whole world, I guess.

I put these mixes together at the end of 2009 and the start of 2010 and they took a lot of effort to make. It's hard to describe what I did and why, other than to say that I picked up on the story of legendary BBC personality John Peel mistakenly debuting No Pussyfooting on his program in 1973 backwards, not knowing the tape had been spooled into the machine in reverse in the studio. I kind of took this idea to the extreme, slowing the pieces down to a quarter of their normal speed and superimposing half-speed and normal-speed versions over that both forwards and in reverse. 

The first two have the 1/4-speed thing throughout, but with An Index of Metals from Evening Star I just used 1/2-speed, because it got lower than the range of human hearing if I took it down below that and turned to a muddy mess. The result was to take some of the strangest, most alien-sounding music ever made and make it even weirder and more alien-sounding... whereas before these sidelong cuts were among the most ethereal and extraterrestrial ever recorded, now they sound like transmissions from another Universe entirely.

Fripp & Eno

EN remixes, 1973-75

01 The Heavenly Music Corporation (quarter speed fractal mix) (83:49)

02 Swastika Girls (quarter speed fractal mix) (76:04)

03 An Index of Metals (half speed fractal mix) (57:30)

alternate versions constructed in 2009/10 by EN, using Sony Soundforge 9 and Vegas 7

1.12 GB FLAC/May 2014 archive link

I don't advise putting these on the hi-fi if you're an attendant or care provider in an old-age home or a nursery school... there are some truly, primally terrifying moments contained here and you don't want to have to explain the scary sounds emanating from the speakers to a toddler or help put grandma's teeth back in after the distorted Les Paul Standard-generated tape loops subside. But anyone in between 2 and 102 should be OK to sample what's on offer here, given as it is in the spirit of celebration of and appreciation for one of the most innovative and skilled musicians, composers and teachers of our lifetimes, born May 16, 1946 in Wimborne, Dorset, UK and remaking the six-string sonic world in his image ever since. Better pull this one down or Jimi Hendrix -- who approached RF backstage that night in London 45 years ago with the words "Shake my left hand, it's nearer to my heart." -- might be offended. --J.

Eno was deified, saw One

There aren't very many people like today's birthday guy. I post plenty of seminal, hugely influential musics on here, but it's not every day I get to do a celebration post for someone who hasn't just shaped how human beings hear music, but how they hear sound itself. Amazingly, this is the first day of two in a row that I get to do that. Fucking Taurean freaks, I tell ya.

This is someone that completely changed my life forever. There's me before and me after, and I'm by no means the only one. I'm not sure I'll ever forget borrowing those records from my friend Irin in college in around 1985... Another Green World and Ambient 1: Music for Airports. I think I'm still afloat on the creative oceans those LPs suggested existed, merely 30 years on from that night in Stony Brook, NY. Those are the two most significant records I have ever -- or likely will ever -- borrow from someone, that's for sure.

Widely regarded as the singlemost important producer in modern music history after 1970, Brian Peter George St. John le Baptiste de la Salle Eno started in Roxy Music in 1971, got too big for a band, went solo and never looked back. There isn't anyone alive that has been involved in more watershed recordings of the last 40 years than Eno. No one.

Who else can say they have produced some of the greatest albums of multiple, heavyweight artists? Bowie, Devo, Talking Heads, U2, Coldplay... it's a mighty long list and it doesn't even scratch the surface of the man's own output, itself among the most revered music of our lifetimes. And he doesn't even really play an instrument, or consider himself to be a musician.

A product of the radical revolutionary art school atmosphere of 1960s Britain, where every single artistic convention was being challenged and reshaped at once, Eno's approach to sound and recording is often considered the very first to intentionally utilize the multi-track, modern recording studio itself as a musical instrument in its own right.  If I had to pick one person who I'd say is the most influential sonic architect of my lifetime, I'd pick Brian Eno and not even really have to agonize over the choice.

You remember the sound that started up Windows 95, back 20 or so years ago? He did that. New age music? He invented it, although he sure didn't mean to. Ambient is a not just a term that covers a myriad of musical styles influenced by him... it's a term coined by the man himself, now used to describe a whole set of genres of modern music. I'll say it again: there is music before him and music after him, period.

So what have we here, what has J cooked up for this most auspicious occasion of Eno's 66th birthday? This is quite a deal here, so let me explain: about 3 years or so ago I found this mp3 compilation online by a guy called DJ Food, who had assembled a bunch of tracks under the title "More Volts: The Funky Eno," attempting to overview the output of funk-oriented tracks Eno has made or been involved with over his career. The DJ Food mix covered roughly 1977-1992 and I thought it was a tremendous idea... I had considered doing the same sort of thing many times -- particularly the concept of assembling all the songs Eno made with 1970s fusion freaks Brand X -- so I recreated his original 18-track sequence exactly from lossless sources and added another 24 necessary ones, extending the period covered from 1975-2011. This has become one of my favorite go-to mixtapes for my headphone travels and I think you're really gonna like it a lot.

Editor's Note: This whole compendium has been expanded and remixed by DJ Food + Nowbodhi in collaboration. See below for a link to the new mixes; the unmixed tracks can be found in this post.

Brian Eno

The Funky Eno

CD1: More Volts

01 I Fall Up

02 R.A.F. (w/Snatch)

03 Regiment (w/David Byrne)

04 Heartbeat (The Grid) (Squelchy mix by Eno)

05 More Volts

06 Ali Click

07 Untitled

08 No One Receiving

09 America Is Waiting (w/David Byrne)

10 Defiant (w/David Byrne)

11 Strong Flashes of Light

12 What Actually Happened?

13 I Zimbra (Talking Heads) (Brian Eno remix)

14 The Jezebel Spirit (w/David Byrne)

15 Fractal Zoom

16 Crosseyed and Painless (Talking Heads)

17 Kurt's Rejoinder

18 Help Me Somebody (w/David Byrne)

19 The Great Curve (Talking Heads)

CD2: Spunk Worship

01 Chemin de Fer

02 Sky Saw 
03 T.N.K. (801)

 04 Abdulmajid (David Bowie)

05 Lot-Into the Spirit World (demo w.David Byrne)
 06 Qu'ran (w/David Byrne) 
 07 Cheeky Hop

08 Itch  (EN Stitch edit) (w.Rick Holland)

 09 Glitch (w.Rick Holland)

10 Tutti Forgetti

 11 Nikkei (w/Rick Holland)

12 Glitterbug 14

13 Fat Nude Dance
 14 Sounds Alien (w.Rick Holland)

15 Spunk Worship

16 Move

17 Monomedia (w.Rick Holland)

 18 Unusual Balance (w.Jah Wobble)

19 Seeded (w.Rick Holland)
 20 Beast
 21 Evil Thoughts

22 Sanctuaries
23 City of Life

CD3: Dust Shuffle

01 Mashujaa (EN edit) (w.Jon Hassell)

02 Dust Shuffle (w.Jon Hopkins & Leo Abrahams)

03 Never Tunnelling

04 Theme from Let's Go Native (w.Passengers)

05 Glitterbug 6

06 4 Août: With Howie B

07 Wire Shock

08 Like Pictures, Part #2 (w.Peter Schwalm)

09 Over Fire Island

10 Reasonable Question

11 United Colours (EN edit) (w.Passengers)

12 Marine Radio (w.Jah Wobble)

13 Heat Beat

14 Radiothesia III

15 Gbenta (w. Edikanfo)

16 War Fetish

17 DBF (w. Karl Hyde)

18 Adedara Rising (EN remix) (w.Jon Hassell)

19 Spinning Away (w. John Cale)

Total time: 3:56:38

just about every funk-related Eno track, assembled by EN
1.36 GB FLAC//May 2014 archive link
the DJ Food-mixed version of this compilation can be found here

I included a bunch of really odd and weirdly rare tracks on CD2, with stuff from CD-ROMs from the 1990s and even a demo from My Life In the Bush of Ghosts, itself possibly the alpha-omega, formative record ever to use sampling in a way that pointed the direction to how it's done today. Anyway don't hesitate to pull this one down and funk to it... it's the most danceable Eno tape of all time, for sure. And a fine style in which to celebrate Brian Eno, architect of modern sound, born this day in 1948. --J.