We're Late For Class: #30 The Jim Morrison Seance Tapes

#30 The Jim Morrison Seance Tapes

We're not sure how the idea hatched but we know the concept doesn't need much of a set up... it's a live space improvisation during a Jim Morrison seance. Why not!? It's cheaper than a living singer (classified ads, lodging, alcohol) and besides... you know how lead singers are to deal with. Since Bono isn't dead yet, we thought, who better than poet/philosopher/comedian Jim Morrison? And so you don't think this is just something we slapped together with old recordings and ProTools, listen for yourself as the engineer asks Jim for the "post-death stuff... the stuff without copyrights." For those that don't buy the premise, we've included a bonus, 14-minute instrumental mix (minus Jim) from when it was called "Message From Fornax" for a few hours. In the end, Jimbo was fun, even if he did sound like he was drunk in Paris. It went smoother than our Screamin' Jay Hawkins seance, anyway.

Listen

The Jim Morrison Seance Tapes (13:57)
Message From Fornax (Pre-JMST Instrumental) (14:02)

Free 320
LOSSLESS

36 comments:

infinite fool3:33 PM
Should I add that I hate the Doors? Or would that be inappropriate?
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We're Late For Class4:02 PM
Who are the Doors?
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Anonymous4:56 PM
Good stuff, I liked it, so here's the link that I have in my blog:

http://amarok1.blogspot.com/2008/07/were-late-for-class-jim-morrison-seance.html

Regards,

Amarok
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Anonymous7:05 PM
the doors! i thought he was in Them
or was it the velvet underground?
once again you young whippersnappers spoil us something rotten.thanks
scav
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Rho12:00 AM
Hello, downloaded your music, listened and liked it, i'm sure Jim would agree. Like the cover too. I wont be putting up your player but have added you lot to my links list. ..as potlovers heres two links of interest...one with the background on why it was banned (greedy rich men)
http://hemporganic.com/whyhemp.html
and one by a judge and LA chamber of commerce Exac... things are finally getting thru those thick skulls.
http://www.latimes.com/news/opinion/commentary/la-oe-fleming5-2008jul05%2C0%2C3205714.story

Finally a possible inspiration for a next project..if you havent seen it yet..http://www.zeitgeistmovie.com/main.htm

best of luck,
Rho
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Anonymous1:35 AM
Hi people,
Just listened to this week's entries, don't know which was worse, listening to Jim talk over your plodding music or not having Jim to listen to while your plodding music went on? As Jim Belushi said "Just kidding Guy". Liked last weeks abridged outing better but then that's just me. Keep up the good work.

Jeff
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We're Late For Class9:21 AM
Thanks for the comments and for listening. Thanks Amarok & Rho for the links and madness. Thanks scav, you need help. Jeff, there's that 'plodding' word again. If it wasn't true we'd be offended
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Anonymous11:12 PM
Its better than the Doors.
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j.1:02 PM
you guys are nuts. good job
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Uncle E11:41 PM
LOVED IT! Gave ya a plug on my little site, for whatever that's worth...
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Devil Dick8:47 AM
that's a gas!
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Dean1:47 PM
got link for here from lost-in-tyme. spent all day downloading. i like it. a lot. good shit!
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somogyvari3:51 AM
Did you send it to manzarek?
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We're Late For Class10:18 AM
Manzarek thinks Morrison's still alive, doesn't he?
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IMI7:02 PM
Is this cover going to find it's way to a t?

http://idlemindsinc.blogspot.com/
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We're Late For Class9:17 PM
Hey IMI,
Good idea... and done deal.
And thanks a million for the great (additional) plug over at Idle Minds Inc. We really appreciate it when bloggers promote what we're up to, but especially when they listen to us, too! Very kind and many thanks.
WLFC
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Anonymous10:08 PM
Hi guys,

Me again, was going to buy the PF Tee but when I saw that the store mentioned duty, I went "Oh Well, screwed again". MILF Island from 30 Rock wants almost what I paid in duty up here in CANADA. Where's the next session? Can't wait forever.

Jeff
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We're Late For Class12:47 AM
Hi Jeff,

Bummer. Customs hits you up on $12? We thought small amounts were cool with Canada.
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We're Late For Class6:22 PM
Wow! We're in the wrong biz. Think they're hiring?
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Dr. Schluss10:19 PM
Howdy,

I just got some posts for this and another one of your EPs up at my blog. Come check it out and thanks for the music! I've got some of my on my site two if you'd like to hear my little sonic corner of psychedelia.

http://psychedelicobscurities.blogspot.com/
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We're Late For Class7:46 PM
Hi Doc,
Thanks a million, not just for the space but for the time you took to decipher our noise. We appreciate the write ups and the insight. We're also grabbing "Glaze of Cathexis" (as we speak) from your stash of personal recordings to start. Always interested in the ramblings of twisted minds. Many thanks again.
WLFC
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Frisian2:45 PM
A bit late but posted The Jim Morrison Seance Tapes today [had some troubles with my PC and because of that I overlooked your comment]
but hey, better late than never :-)

Frisian
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We're Late For Class5:17 PM
Fris,
You're the best! Thanks for ALL the support you've given us this last year. We REALLY appreciate it.
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Radio Free Wohlman11:19 PM
Date Correction!

Good Evening Lads,

Heads up - The JM Seance Tapes will be featured on Radio Free Wohlman on 8/14 with a few other Doors type stimuli and a Floydish blues/jazz set.

Get back to your studying!

Dave RF Wohlman
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We're Late For Class10:07 AM
Hi Dave,
Thanks for the inclusion. We appreciate all the support. We'll check in on your post on the 14th. Thanks once again.
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Anonymous11:47 AM
It's great! RU link in http://3xcx3.livejournal.com
Greetz!@#$#$^%$^&*)))
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We're Late For Class3:07 AM
Hey Guys,
Thanks for the kind words and links and post and comments and stuff. It's all very appreciated. Couldn't leave a comment on your blog (not LiveJournal), but thanks for all the goodness.
Cheers,
WLFC
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Anonymous9:52 PM
This will become a classic. Surreally psychedelic. You got a fan, dude. Time to dig your stuff and see what more you produce which it's fantastic and I just start to listen you since now. Keep Exciting Us! Time to Dig, see ya!

By Chad King
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We're Late For Class7:07 PM
Thanks Chad.
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AllyWonderland6:54 PM
Bono's alive?
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We're Late For Class10:32 PM
We we're speaking physically, of course. Not artistically.
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spacecat25004:13 PM
i think the rest of the members did better with american prayer...anyone can dick around and make spooky sounds to an iconic voice...try harder next time.
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We're Late For Class4:16 PM
The next time would be #31 Transmissions 2: The LSD Sessions. Listen to that one and let us know if it meets with your approval.
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We're Late For Class4:17 PM
All the way through, this time.
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spacecat25003:48 PM
Alright... I take it all back. I got in the right mind and listened some more and it's pretty cool.
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We're Late For Class1:39 PM
With our crap, it's ALL about the mindset. Thanks for listening.
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PRESS THANKS...

Thanks to the late, great Fred Dellar at MOJO Magazine for mentioning Art Jackson's Atrocity AND We're Late For Class in two separate "Ask Fred" columns, where he called the Atrocity's Gout a "fine, percussion-fuelled, invigorating free-for-all," and also saying, "we at Ask Fred are glad WLFC exist." Thanks Fred!

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Many thanks to Jeff Fitzgerald over at Psychedelic Waves for including Art Jackson's Atrocity in his list of Top 30 Albums of 2019, calling Tribute To Sun Ra... "Some great, exploratory, tripped out Sun Ra inspired free jazz," and "a terrific album." Needless to say, we're shocked. Since we never sent the guy a dime. Thanks Jeff.

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Thanks to Roz Milner for the two interview/articles posted at Bearded Gentlemen Music, "Solving the Mystery of Art Jackson Atrocity’s Gout," and the most recent, "With His Back To The Crowd: Art Jackson’s Atrocity’s Live In Europe - Lost Live Jazz Recording."

We collectively appreciate the creative interest and the well-groomed ink.

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Thanks to It's Psychedelic Baby Magazine for the article, "Maybe It’s Time To Take Art Jackson’s Atrocity Seriously." Maybe.

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AN ACTUAL RECORD REVIEW...

ART JACKSON'S ATROCITY

Gout

(Unreleased 1974 Promo On Columbia Records)

Reviewed by Joe Kenney @

Julian Cope Presents Head Heritage

If, like me, your favorite era of Miles Davis is his electric era, specifically the 1973-1975 years in which Pete Cosey was his guitarist, then you’ve probably wondered why that super-fantastic lineup of his never cut an album together, after Miles decided to retire in late 1975. I mean, they were the greatest group in history, with Pete Cosey’s phenomenal, psychedelic guitar (the man was beyond Hendrix, that’s all there is to it), Reggie Lucas’ wah-wah’d grounding rhythm guitar, Michael Henderson’s dub-like basslines…hell, I can’t go through all of them, but if you know them, you love them. But if you’ve ever wondered what an album by this super group sans Miles would sound like, well my friends, I give you Gout, by Art Jackson’s Atrocity.

Only thing is, you’ll have to hunt the blogs for it. Recorded in 1974, the album was cut as a promo by Columbia, who then went on to drop both the group and the album, which is unreleased to this day. “The horror…the horror…” No one’s sure why (info is slim to none on this group and album), but most rumors have to do with Art Jackson’s drug abuse. In any case, the album has perfect sound quality – the only source is the promo LP, of course, and it sounds phenomenal.

The Miles connection surfaces again: Art Jackson was a twenty year-old guitarist whom Miles Davis himself recommended to Columbia records. Apparently Davis even funded the recording of the album. The Atrocity was put together around Jackson, an 11-member collective of hard-rockin’, psychedelia-lovin’, jazz-playin’ motherfuckers (two saxophonists, four drummers, two keyboardists, a guy on reeds, a guy on bass, a guy on “effects”), none of whom I’ve ever heard of (much like Art Jackson himself).

The five long tracks on Gout center around Jackson’s guitar, and the kid is Pete Cosey reborn; the stuff on here sounds almost identical to what Cosey was performing on the Agharta and Pangaea albums. That same sort of fucked-up, psychedelic distortion which goes from raging and chaotic one moment to spaced-out drones the next, the strange tunings, the works. Only thing is, unlike Cosey, Jackson’s not above playing a power chord or three, so the album packs a definite metal-rock punch. I mean, it’s fantastic, the whole thing.

The superbly-named “Shaft In Afghanistan” opens the album. Jackson’s guitar is on super-fucked mode, sounding like a cyclic tone. The rhythm section lays down a menacing, throbbing track, which Jackson and the sax & reeds proceed to riff over. Jackson soon leaves the actual “song” to the others, instead riffing and roaring with all manner of guitar sounds across the track. He’s everywhere, from wah-wah to thick distortion to cosmic fuzz. Things cool down three minutes in, but it’s only a fake-out; the track comes right back in. Jackson funks it up on wah-wah, with studio-tricked handclaps providing additional percussion. There's all sorts of electronic gimmickry on the album; this isn’t just some quickly recorded demo. This eventually calms down again into a sort of funky ambience – but it’s just another fake-out! The track rips right back up, the drums so superbly recorded (and no doubt closely-miked) that they seem to pound within the caverns of your skull.

“Arabian Fabian” (another great title!) comes in with total menace, until a faux-lite jazz tune pops up. Funky, proto-drum’n’bass drum kit and sax. But this soon becomes something altogether un-lite. Echoed murk creeps across the track, eerie wails, treated reeds, and dubbed-out sax bleats. Those close-up drums kick in and we’re in an altogether heavier, funkier groove. The first half of the track belongs to the Atrocity, with Jackson throwing in brief fills and licks on his mutated guitar. Things collapse into psychedelic ambience at the five-minute mark; free jazz with plinking guitar and tapped cymbal. But ominous guitar fuzz hovers in the distance, a starving wolf preparing to attack. John Carpenter keyboards arise and give the track even more of a horror-movie feel. But it’s a ruse; the piano takes over, playing a melancholy melody as the other instruments recede into the murk. This doesn’t last. Those ultra-loud drums kick the shit out of you again, jumping out of nowhere, and suddenly we’re into the strangest of strange: ambient free jazz with heavy metal drums. The track eventually wears itself out, descending back into the murk from whence it came.

“Available Bush” sounds like some early ‘90s industrial mash, with in-your-face drums and ripping and roaring Ministry-esque guitar. The track throbs on an off-kilter funk grove, Jackson heading the proceedings with the twists and turns of his guitar. The sax plays a faux-Middle Eastern counter-melody to his blasts and blares. The bassist throws in a few snake-like fills of his own, but his instrument sounds anemic compared to Jackson’s acidic distortion. This one humps along for seven minutes which quickly pass by, never establishing anything beyond that off-kilter groove, but never suffering for it.

“Tomato Reign” is the epic of the album, 16+ minutes of cosmic echo and free jazz. It crawls out of the murk in the opening moments, ethereal and disjointed fills from the assembled players. Things continue in this dubbed-out vein for a few minutes; nothing on the level of the Taj Mahal Travelers, but close…along the lines of the last half of Miles’ 1975 shows, when Cosey et al would let it all hang out in improvisatory bouts of experimental noise and abstraction. Pounding, tribal drums which pop out and then disappear. Bleated sax fills which float across the sound spectrum. Even animalistic grunts, growls, and screams from the group. This culminates in ultra-fucked guitar from Jackson, sounding again like some cyclic tone from hell, and then someone (a group member? a sample from some obscure film?) states in the calmest tones, “Fuck her. Let her rot.” A few more minutes of banging, echoed drums and bleating, mournful fills from the sax, and that’s it: the freest noise-skronk ever comes to a close.

“Let’s go!,” someone yells, and we’re straight into the pounding, pissed-off proto-metal of the title track, “Gout.” This is the rock version of the preceding track, another rhythmless excursion into all things free, only packing a wallop in the guitar distortion and overall menace. It pounds and snarls for six minutes, never finding a groove, preferring to live in its own sonic hellhole of chaotic din. Finally it builds to a climax of sorts, with a few final bashes on the drum kit, and the record’s over.

To be fair, you can see why Columbia refused to release this. Gout is the type of album you’d only find on some free jazz label or, if it was recorded today, some ultra-hip indie label. But Columbia in the mid-1970s? Releasing this groundless swell of jazz-metal ambience? Hard to believe. But those master tapes are out there, somewhere, as is the full story of what exactly happened to Art Jackson and his Atrocity. In the meantime, we can only listen to their one recorded album, and wonder.