The last of TLASILA's live compilations documenting their first two American tours.
Side A
01 When My Rifle Went Sour with Preposterous Headdress
02 The Ass-God
03 Crypt Rocket, Tomb Rocket, Turd Rocket
04 The "Six" in the Six Wolves
05 Mizrahi Speculum
06 I Learn to Inject Morphia
07 Lady Dedlock
08 No More Was Needed to Inflame My Balls
09 The Ass-God
10 Modified Stock
11 58, Pumphand
12 Spelvin, the Righteous Bush
13 Crypt Rocket, Tomb Rocket, Turd Rocket
14 Hitchhike to Oregon
Side B
15 The Snake Whose Head Would Not Be Crushed
16 Kopenhagen Lounge
17 She Once Liked to Fuck a Drowsy Woman
18 The Geneaology of Orestes (According to Trace-Horse)
19 "Whore's Mug," Sometime Fustigator
20 Honeycomb Tripe
21 New Poem Dramatized for Lux Cudgel
22 CB Mamas
23 Full-Choke Wigmaker's Vise
---
01 recorded at the Zipperhead Room, Ft. Lauderdale, FL, 12 July 95
02-07 recorded at WCBN-FM, Ann Arbor, MI, 17 Feb 95
08 recorded at Spike's Dog House, Jacksonville, FL, 24 Feb 95
09-14 recorded at The Cowhaus, Tallahassee, FL, 14 Feb 95
15 recorded at Zoot's, Detroit, MI, 17 Feb 95
16-21 recorded at WKCR-FM, Columbia University, NY, NY, 18 Aug 95
22 recorded at Lizard & Snake, Chapel Hill, NC, 4 Sept 95
23 recorded at the Black Cat, Washington, DC, 28 Dec 95
Released as Love Is Sharing Pharmaceuticals (LISP 02/96-3) in an edition of fifteen C-90 cassettes. Transferred from the original tape master at 96000Hz / 32-bit by Tom at Western Blot, Adel, GA, 2011.
credits
released February 9, 1996
TLASILA:
Tom Smith - voice, text, edits, tape
Rat Bastard - bass
Ben Wolcott - oscillator
with
Nandor Nevai - trombone, 2-7, 15
Weasel Walter - saxophone, 2-7, 15
Masaya Nakahara - electronics, 23
Don Fleming - theramin, 23
No Neck Blues Band - drums and guitar, 23
and
Jim Magus - on-air host of the WCBN_FM broadcast, 8
Edited, mastered and produced by TS at The Studio, Miami, on 27 Aug 95 and 12 Oct 95.
supported by 5 fans who also own “Angel Cash (36 DD) and Carol Miller (44 DD), Who Are Lactating”
The title of this cassette is great, thought provoking and blackly comic bit of alliteration right there. The tracks themselves are no less intriguing either. My personal impression of these four string based improvised (I'm assuming) pieces is that of living sound that somehow escaped the confines of their respective instruments, instinctively and warily calling to someone recording their own noisy and fully independent emanations. Pretty awesome, if you ask me. Ben Harris
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