Review by Albert Eithwhistle

FREE DIRT is a collection of very early recordings in Neil's development as a musician (and its' title conveys his sense of ongoing humor...The idea here is every "free dirt" sign along the road would remind potential album buyers of this musical product!) It covers the period between 13 years old up to college days.

Billed as "The World's First Autobigraphical Musical Audio Cassette Book, FREE DIRT has Neil narrating a series of stories about growing up "an unconventional mind in a conventional cowtown (Denver)" Each story traces his unusual, humorous and sometimes unbelievable evolution as a artist apart from mainstream values and limitations. AND, after each story is>>>>>>>THE MUSIC, actual recordings of the music he made on whatever tape recorder he had at hand.

Although most of the recordings were made on simple portable cassette recorders, and the fidelity is primitive, the invention, humor, and the overall musical/creative message is extraordinary. True spontaneous creativity is well captured here, perhaps unsurpassed by any recording by anyone, famous or not.

This is a fun recording by any standards, and it even has Neil's mother screaming at him- (doesn't every budding musical pioneer have his nemesis?) during high school years practicing in the basement, a very funny moment. By the time Neil was a senior in high school he had played on the radio, and on open stages around town, playing some of the most sophisticated and intelligent music you might ever hear.... on the guitar and ukulele no less.

Invisible Music

is the first multitrack recording of Neil's career and a quantum leap in technique, sophistication, and invention.. By 1980, Neil had formed several bands. The band on this recording, "Tammy and The Dinettes" (again a reaction to the over-seriousness of commercial music), spent several months doing a fusion/space jazz thing at Free Reelin' Recording Studio in Denver Colorado. The music of this early recording is timeless, and holds up because of it's original and strong melodic ideas. Slade borrows heavily from both the Frank Zappa school of non-convention, but also equally from Stravinsky and John McLaughlin jazz veins.

This album is a wonderful contrast to the identity-less character which presently permeates much of current commercial music. It is quite awesome to behold.

FREE DIRT and Invisble Music are both extremely satisfying on many levels, and are totally unique offerings which both professional musicians and regular listeners will enjoy. Really. I am not kidding.

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