Jun 30, 2007

Wavetrain, 11th wagon

Hello there, the 11th wavewagon coming up, this time is occupied by an international bunch. Fehlfarben produced an album with godfather to NDW status, if only they hadn't 'sold out' in the sense that it was released on an EMI subsidiary in those days a nono in the german alternative scene. The fact is, it 's a brilliant album which undeservedly suffered from this kind off snobbery. Mekanik Kommando (NL) never pretended to be commercial and yet they were accepted signing to the same major as Fehlfarben. Another dark horse from those days was Belfegore it's mainman publicly stated he wanted out of the NDW and enjoy international success and when he got it he dropped out from that too, nevertheless he left us with 2 great albums. The Members escaped labelling and thus didnt get filed, a pity. Such can not be said of The Chameleons, they were the press darlings from the start as to why? Who knows. The Script Of The Bridge album is great but hardly innovative, the big sound having been heard by scottish bands like Modern Eon or even Skids combined with another gaelic brother U2's the edge's guitar sound. Note, the english musicpress isn't british. Finally, The Monochrome Set, i admit i bought this back then for its poster, had it framed on the wall, crazy bunch .

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Fehlfarben - Monarchie und Alltag (80)
Mekanik Kommando - Snake Is Queen (82)
Belfegore - A Dog Is Born / Belfegore (83/84)
The Members - 1980 - The Choice Is Yours (80)
The Chameleons - Script Of The Bridge (83)
Monochrome Set - Love Zombies (80)
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Fehlfarben - Monarchie Und Alltag (80 * 261mb)

Fehlfarben was formed in 1979 out of members of Mittagspause and other musicians from the Düsseldorf punk scene. Initially moving away from the Clash and Wire influenced punk of Mittagspause . Founding members were Peter Hein (vocals), Thomas Schwebel (guitar), Michael Kemner (bass), Frank Fenstermacher (saxophone), Markus Oehlen and Uwe Bauer (drums). Signing a contract with the German subsidiary of EMI lost them their status as an underground band, but in 1980 they released their debut, Monarchie und Alltag (Monarchy and everyday life), an album recognized then and now as one of the most important German-language rock records. Remarkably , Monarchie und Alltag did not reach gold status in Germany until 2000.

The single "Ein Jahr (Es geht voran)" from Monarchie und Alltag, became an unintentional hit single, as initially its slick disco groove was produced more in jest than seriousness. Shortly after having released their debut album, Fehlfarben suffered the departure of lead singer Peter Hein owing to his frustration at the follow-up tour's being lengthened on short notice. He went back to his day job at Xerox, where he worked until 2003. The band released two more albums without Hein , 33 Tage in Ketten (33 days in chains) and Glut und Asche (Blaze and ashes), with only the latter making it onto the German charts, thanks to their second hit single 14 Tage. After struggles with their label, they disbanded at the end of 1984.

Seven years later, with all the original members, saw the release of two albums: Die Platte des himmlischen Friedens (The record of heavenly peace) and sometime afterwards Popmusik und Hundezucht (Pop music and dog breeding) which was defacto recorded in 84. Another decade of silence followed before the album Knietief im Dispo (Knee deep in the overdraft loan) was released as it happened it coincided with a general revival of interest in the early days of German Punk and New Wave. Last april they've released the well recieved "Handbuch für die Welt" ( Guide to the world) .

I couldn't find the album earlier when i touched upon the NDW , eurosonic tour stop 14, well i've found it and it fits the wavetrain format very well. As you can see i've added some tracks from the follow up album, 33 Tage in Ketten.



01 - Hier Und Jetzt (2:44)
02 - Grauschleier (2:24)
03 - Das Sind Geschichten (3:21)
04 - All That Heaven Allows (3:31)
05 - Gottseidank Nicht In England (2:38)
06 - Militürk (5:17)
07 - Apokalypse (3:10)
08 - Ein Jahr (Es Geht Voran) (2:50)
09 - Angst (2:17)
10 - Das War Vor Jahren (2:34)
11 - Paul Ist Tot (7:45)
Xs - 33 tage in Ketten
12 - Tanz Mit Dem Herzen (4:22)
13 - Die Wilde Dreizehn (4:43)
14 - Katze Zur Maus (2:48)
15 - Stunde Des Glucks (4:37)
16 - Wunderbar ( 4:07)
17 - End Marsch (1:07)

Fehlfarben @ Base/

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Mekanik Kommando - Snake Is Queen (82 * 68mb)

When two members of new wave band zelek form a new band called mekanik kommando ( name taken from a Magma album), Lasika Panyigay and Peter van Vliet completed by Simon van Vliet and Mirjam van Hout (synthesizer, percussie) "we attended a school in Nijmegen which had a special media section, they had eight revox tape-machines, that kept us busy all the time." mekanik kommando were soon discovered and picked up by the ultra-movement in which underground 'zine vinyl played a big role. "our philosophy was to make sounds and don't care about how it was made, if a riff was okay, why not play it for thirty minutes. if a song only lasted thirty second, it was fine with us as well." a free flexidisc, included in the first issue of vinyl, drew attention and the band signed a deal with torso records, summer 81, at home and with minimal means, ' It Would Be Quiet In The Woods If Only A Few Birds Sing ' is recorded After the release of the EP 'Dancing Elephants, two well-received records, the band scored a two-album deal with emi. "we had a good deal, especially when it comes to artistic freedom. i think a major never would release an album like Snake is Queen nowadays." Between the release of 'Bay the Moon ' (early 84 ) and the 82 Snake album they toured extensivly around Europe. The group falls apart in 85 and EMI says goodbye they reject the third album , and the band continued to release three albums and tapes on the self-owned rosebud label. Shadow Of A Rose (86) has become a sought after item. In 88 they drop the name Mekanik Kommando as their music has evolved, for The Use Of Ashes under which moniker music is released on the Tonefloat label.



01 - Pain In Eden ( 4:28)
02 - Attraction Of Light ( 4:45)
03 - Passing Clouds (4:46)
04 - Crow (3:53)
05 - Entangled By Colours (4:01)
06 - Door (4:22)
07 - Thin Ice (5:16)
08 - Snake Is Queen / Endless (4:50)
09 - Conquer The World (4:55) 41-16

Tonefloat @ Base

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Belfegore - Belfegore (84 * 84mb)

As i was researching for this post 2 things became apparent, Belfegore's first album is very rare and so is info on them, as after the second album they just dissappeared from the scene, after support touring the album in US and Europe, main man Michael Claus dissolved the band, apparently because he had had enough of the rock'n'roll lifestyle.This caused some dispute with as a consequence no cd releases. Well here are both digitally...
Michael Clauss, guitar / synths (KFC) together with Charly Terstappen drums (Rheingold) and Walter Jaeger synth and bass (die Krupps) released the well recieved 'A Dog Is Born' under the name Belfegore one year earlier, mainly sung in german. Obviously main man Clauss was looking for a more international appeal and dropped his partners for some international stock. An American bassist Raoul Walton and a Canadian drummer, Charie T.Charles made up this unique crypto-metal band, a strange incident of subversive musical activity. Belfegore was produced by Conny Plank, the krautrock icon who worked with other new wavers Kowalski ring a bell ? Belfegore's famous All That I Wanted video was directed by Zbigniew Rybczynski directly after his landmark Art of Noise clip. Musically dark and energetic, Belfegore bypasses metal's clichés for a somber intelligence that has common ground with everyone from Killing Joke to Joy Division.



01 - All That I Wanted (4:12)
02 - Questions (5:08)
03 - Love (4:15)
04 - Wake Up With Sirens (4:17)
05 - Seabird Seamoan (4:45)
06 - Don't You Run (2:51)
07 - Comic With Rats Now (3:34)
08 - Into The Dungeon (3:25)
09 - Belfegore (Voc Conny Plank) (4:04)



Belfegore - A Dog Is Born (83 * 50mb)

01 - Mensch oder Gott (3:49)
02 - Glashaus (3:50)
03 - Herz atmet Echos (4:14)
04 - Deutsche Mark´n Bein (2:24)
05 - Ridiculous (3:56)
06 - A dog is born (2:38)
07 - WOW! (2:24)
08 - Schattenwelt (2:10)
09 - Der Fall des IQ (3:06)
10 - Tod durch die Blume (3:52)

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The Members - 1980 - The Choice Is Yours (80 * 58mb)

The Members was formed in 1976 by Nicky Tesco they originated in Camberley, England.After several line up changes the inclusion of Adrian Lilliwhite 's brother Steve (who went on to become a succesfull producer).produced their first records.
The band's first album, At the Chelsea Nightclub, was critically acclaimed but did not set the world on fire. They went on to record a second album for Virgin, 1980 The Choice Is Yours. Once again this was well received but pretty much sank without a trace. The Members, however, were by this time enjoying a reasonable level of success in the U.S.; enough to make a living touring. After some time without a recording deal they recorded their last album, Going West (In the U.S. - Uprhythm Downbeat), that featured their high profile airplay hit "Working Girl". After their last tour of the U.S. in 1983 Tesco left the band. The Members soon broke up after Tesco's departure and have never officially reformed despite many requests and lucrative offers.



01 - The Ayatollah Harmony (2:44)
02 - Goodbye To The Job (2:25)
03 - Physical Love (3:20)
04 - Romance (3:12)
05 - Brian Was (3:28)
06 - Flying Again (3:27)
07 - Normal People (3:26)
08 - Police Car (3:51)
09 - Clean Men (3:57)
10 - Muzak Machine (2:44)
11 - Gang War (5:20)

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The Chameleons - Script Of The Bridge (83 * 369mb)

Now considered a cult-classic and must-own for hardcore music fans, Script of the Bridge remains one of the most dramatic debuts in British rock history. The Chameleons were a dream pop/post-punk band that formed in Middleton, in Rochdale, Greater Manchester, England in 1981. They consisted of singer and bassist Mark Burgess, guitarist Reg Smithies, guitarist Dave Fielding, and drummer John Lever. Musically, The Chameleons pioneered some of the richest guitar arrangements in rock history, inspiring sounds that have long since become a staple of British mainstream and indie pop. Perhaps most notable in their work was the band's innovative and distinctive use of dual guitar melodies. Their body of work is still critically acclaimed within the music press as they had an undeniable influence on bands as diverse as The Smiths, The Comsat Angels, Interpol, The Editors and Oasis

The band initially released three studio albums in the 1980's, to solid critical acclaim. After their third release, Strange Times, in 1987 they abruptly disbanded following the sudden death of band manager Tony Fletcher. The Chameleons were, for all practical purposes, extinct for well over a decade before releasing - to the delight and even disbelief of its ardently loyal fan base - a final studio album in 2001, entitled Why Call It Anything. The band quickly dissolved once again in 2002 due to personal differences, after a successful reunion tour which took them across Europe and the United States



01 - Don't Fall (4:04)
02 - Here Today (4:01)
03 - Monkeyland (5:10)
04 - Second Skin (6:48)
05 - Up The Down Escalator (3:54)
06 - Less Than Human (4:07)
07 - Pleasure And Pain (5:08)
08 - Thursday's Child (3:32)
09 - As High As You Can Go (3:33)
10 - A Person Isn't Safe Anywhere These Days (5:40)
11 - Paper Tigers (4:14)
12 - View From A Hill (6:33)

Chameleons @ Base
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Monochrome Set - Love Zombies (80 * 56mb)

The original line-up consisted of Indian -born lead singer and principal songwriter Bid (real name Ganesh Seshadri), Canadian guitarist Lester Square (real name Tom Hardy), drummer John Haney, and bassist Charlie Harper. The band went through several bassists in the next few years (including Andy Warren of The Ants, a childhood friend of Bid). Experimental filmmaker Tony Potts began collaborating with the band in 1979, designing lighting and stage sets with film projections for their live appearances. The band's early persona was defined by the shadowy, uncertain stage images created by the films to such an extent he is often described as being the band's "fifth member."

They released several singles for the Rough Trade label before recording two albums for Virgin Records, Strange Boutique and
Love Zombies in 1980. In 1982, the band switched to Cherry Red to release their third full-length album, Eligible Bachelors. After some line up changes they recorded the relatively mainstream album The Lost Weekend for major label Warner Bros. Records in 1985. It failed commercially, and the band officially broke up.

In early 1990, Bid, Lester Square and Andy Warren reformed the band, with the addition of keyboardist Orson Presence and drummer Mike Slocombe (who was quickly replaced by Trevor Ready). The new band toured extensively--especially in Japan, where Bid had become a major star.The band released several low-key albums for Cherry Red Records during the 1990s, and has been on haitus since 1998.



01 - Love Zombies (4:04)
02 - Adeste Fideles (3:46)
03 - 405 Lines (3:13)
04 - B-I-D Spells Bid (3:14)
05 - R.S.V.P. (3:23)
06 - Apocalypso (3:36)
07 - Karma Suture (4:42)
08 - The Man With The Black Moustache (3:15)
09 - The Weird, Wild And Wonderful World Of Tony Potts (3:25)
10 - "In Love, Cancer?" (3:19)

Monochrome Set @ Base

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Jun 27, 2007

Wavetrain, Sheffield Sons

Hello this post has gotten a bit of a read, but then there's plenty of music to accompany it with.

Sheffield, had become a dreary place in the seventies, the towns steel mills running down, unemployment high, youths looking for a way out, in short a fertile ground for music.. this is blog is about a bunch of them that 30 years ago were very close and mixed their ideas and equipment and found a way out thru their drive to make music in a different way, electronic music. I've used and condensed an extensive 10 page article at ex-rental.com to tell the story of the Future and the Human League, spinning off Clock DVA and Heaven 17. Cabaret Voltaire were in there too, but slightly ahead, they helped Hula find their way and finally In the Nursery they tagged along initially, but ended up favouring theatrical atmospherics over industrial clatter, culminating in Koda

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The Future and; The Human League - The Golden Hour Of The Future
Human League - Travelogue
Heaven 17 - Endless
Clock DVA - Thirst
Cabaret Voltaire - Drinking Gasoline, Crackdown EP
Hula - Cut From Inside
In The Nursery - Koda

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The Golden Hour Of The Future

The story of England's first true electronic pop group begins in the industrial South Yorkshire city of Sheffield, in the early 1970s. Ian Craig Marsh joined the local civic youth theatre group, Meatwhistle. Here, he met Mark Civico, with whom he would form a satirical 'theatre-rock' group named Musical Vomit. Ian got expelled from his school having been branded 'an undesirable subversive element'. At this point, Ian left Musical Vomit and Meatwhistle in search of work, though Mark kept the band going in various forms, recruiting other Meatwhistle friends such as Paul Bowers, Haydn Bowes-Weston, Adolph 'Adi' Newton, Glenn Gregory and newcomer Martyn Ware.

Meanwhile, Ian had found work and was able to afford the do-it-yourself synthesizer kit he'd seen in the local library's copy of Practical Electronics magazine. Having bought and constructed the primitive synthesizer, he struggled to get it to work particularly well, though "it made very good motorbike noises". Soon afterwards, he returned to Meatwhistle, taking his synthesizer with him, and was persuaded to play the instrument with the ever-changing line-up of Musical Vomit. They
seemed to have been the primary musical collective from this Sheffield scene, as in 1976, they were booked to appear at the famous Reading rock festival. Here they were spotted by future X-Ray Spex leader Poly Styrene, who would later claim Musical Vomit were the very first punk band.

By 1977, both Ian and Martyn were working as computer operators. They enabling them to buy the first commercial synthesizers - cheap ones - a Korg 770S, which cost £800 - a lot of money in 1977, but still far less expensive than most other synthesizers. Ian, Martyn and Adi now set about the business of creating pop music using only electronic instruments - a very common practice nowadays, but virtually unheard of in 1977. At that time, only a few artists, such as German electronic pioneers Kraftwerk, were daring to make pop music this way; most purely electronic music was being made by avant-garde artists with little interest in taking the form into the mainstream. Most of 1977's electronic pop would emerge from the disco scene; for instance, Donna Summer and Giorgio Moroder's ground-breaking classic I Feel Love.

Having no formal musical training, the group opted to use affordable and easily-mastered synthesizers rather than guitars. ." Besides, given their interests and location, the group's sound made perfect sense in many ways. In Sheffield, one was surrounded by strange sounds, with the steel works all the time, in a way by music concrete, the sound of machinery .

Around this time, The Future teamed up with Cabaret Voltaire, 2.3's drummer Haydn Boyes-Weston and Glenn Gregory to support Mancunian punk band The Drones at Psalter Lane art college. Calling themselves VD K & The Studs, they played mainly cover versions, such as Lou Reed's Vicious and Iggy & The Stooges' Cock In My Pocket, plus a number entitled The Drones Want To Come On Now. Haydn, being a butcher at the time, thoughtfully splattered the audience with pigs ears. The performance was recorded, though it has yet to be released in any form.

The Future began recording demos in a semi-professional studio in the house of a local recording engineer, as there were no other affordable studios in the area. Martyn and Ian played their synthesizers, while Adi made use of the tape collection he was steadily amassing. Ian: The group developed a computer system for the production of lyrics - CARLOS (Cyclic And Random Lyric Organisation System). Words and phrases would be fed into the system and assembled at random into sentences by the computer, in the manner of a fruit machine, the experiment was short-lived .

Adi rented some rooms in a disused factory , where all The Future set up a base for their equipment. Adi: "It became a social focus, a location of many wild parties and a drug experimentation zone." Before long, they had recorded eight compositions and decided to contact the major record companies in London. Keen to make an impression, they sent the companies notification of their forthcoming day trip to London, suggesting that interested parties should make appointments to meet with the group on that day. Many companies were presumably intrigued by the fact that this communication was issued as a computer print-out and arranged meetings with The Future, despite not yet having heard any of their music. Well it all turned out rather disastrous and it led to Martyn and Ian deciding that this wasn't really going to work with Adi as a 'singer' . They decided to eject him from The Future by temporarily moving all their equipment out of their Devonshire Lane base and leaving a note on the door for Adi, breaking contact with him until his initial anger subsided.
Adi went on to form Clock DVA, while Martyn and Ian carried on as a duo for a short while, recording instrumentals such as Dancevision. Ian: "And then we thought 'No, we really do need a vocalist'". Ian and Martyn initially considered asking their friend Glenn Gregory to join them as a vocalist, but at that time, Glenn was busy in London with his own band, 57 Men. So instead they invited Martyn's friend Philip Oakey, who was then working as a hospital porter, to join the group. Philip later admitted that "if it wasn't for Ian and Martyn, I'd still be wheeling bodies around a hospital ward... I was completely without ambition..." Martyn: "I used to go to school with Phil, from the age of 16 probably, and he looked like a pop star."
Ian: "We wondered what role he was going to have because he hadn't got any money to buy a synthesizer or anything. He had a saxophone which he couldn't play." But when Philip came up with lyrics for Being Boiled, his future as lead vocalist was secured. And he certainly looked the part...

Determined to produce pop music in a modern and original way, the group then spent two thousand pounds on new hi-tech gear. Although their financial situation forced them to buy most of it under 'hire-purchase' agreements, they were soon the proud owners of a two-track tape recorder and a 100 System Synthesizer (with sequencer module). Asked years later about the group's original choice of instrumentation, Philip remarked, "We really liked what pop music had turned into with David Bowie - suddenly there were new sounds. I lived my life for Bowie and Roxy Music for four or five years ."It's funny that people call us an Eighties group when in fact we were a Seventies group. Our influences were massively progressive. I loved King Crimson, I loved The Nice, but the band we really cared about was Van der Graaf Generator - that music was so committed."

With this new line-up, the group decided to change their name. They chose The Human League, a name taken from a science-fiction board game called Star Force.They then spent time writing and recording material for a demo tape in a disused factory on Devonshire Lane in the centre of Sheffield. The demo tape featured Being Boiled, Circus Of Death and Toyota City, all recorded in mono on their new two-track tape recorder and all later commercially released The group's demos came to the attention of Bob Last through Paul Bowers of Sheffield band 2:3. He ran a small independent record label, Fast Product (then home of the influential Gang Of Four and Mekons, as well as 2:3), in Edinburgh, Scotland and was impressed by the tape. He immediately offered them a recording contract.




Future- Human League - Golden 1st Hour (flac 424 mb)

01 - Dance Like A Star ( 4:21)
02 - Looking For The Black Haired Girls (The Future) ( 3:40)
03 - 4JG ( 4:36)
04 - Blank Clocks (The Future) ( 3:20)
05 - Cairo (The Future) ( 3:08)
06 - Dominion Advertisement ( 0:25)
07 - Dada Dada Duchamp Vortex (The Future)
08 - Daz (The Future) ( 3:40)
09 - Future Religion (The Future) ( 3:44)
10 - Disco Disaster ( 5:06)
11 - Interface ( 2:59)
12 - The Circus Of Dr. Lao ( 3:58)
13 - Reach Out (I'll Be There) ( 3:55)
14 - New Pink Floyd ( 2:14)
15 - Once Upon A Time In The West ( 1:53)
16 - Overkill Disaster Crash (V.1) ( 2:02)
17 - Year Of The Jet Packs ( 5:26)
18 - Pulse Lovers (The Future) ( 4:02)
19 - King Of Kings ( 1:56)
20 - Last Man On Earth ( 9:41)

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Between the recording and the release of Being Boiled, the group began to reconsider their stance on live performance.They had previously decided against playing live, primarily because they felt uncomfortable on stage However, frustrated at their lack of progress at the time, the group were eventually persuaded by friends to play live, assisted by backing tapes. Their first show took place at Bar 2 in Sheffield's Psalter Lane art college (above) on June 12th 1978, in front of a bank of deliberately badly-tuned television sets. The event is now marked by a plaque at the venue. Ian, describing the group's early live shows: "The tape recorder would be placed centre stage, where a drummer would be, deliberately, and all the rhythms and bass would be on there. The show started with us deliberately walking on and turning the tape recorder on, and the stuff would start without us playing anything... which was pretty provocative at the time."

In the audience at the first show was art student Philip Adrian Wright, who lived in the building in which the group rehearsed and worked in an ice cream van around nearby Wakefield.Philip: "We accidentally picked up Adrian" (as he became known) "after about the third show, 'cause we were totally boring on stage. We asked him- why don't you come and project your slides behind us and liven us up?'" Adrian agreed to this and was appointed Director Of Visuals in the group, making his debut at a show at Sheffield's The Limit. His slideshows immediately made a huge difference to the group's live appearances. His slide collection included hundreds of photographs taken from television, such as Star Trek, Batman, Captain Scarlet and Doctor Who, and it would later expand to include many other images from popular culture, including films and other musicians, such as Gary Glitter, Iggy Pop and the Bay City Rollers.

The group's first London show took place at the Music Machine on August 17th 1978, two months after the release of Being Boiled. There they supported The Rezillos, who were managed by Bob Last and whose guitarist, Jo Callis, would join a future incarnation of The Human League in 1981.Following a support slot with Pere Ubu, the group were then asked by Siouxsie & The Banshees to support them on a December tour of Britain, along with new wave band Spizz Oil. The League, although slightly apprehensive, accepted the offer, fearing that the punk element of the Banshees' audience would shower them with spit and beer bottles. Prepared for the worst, they constructed special fibreglass 'riot-shields' to protect themselves on stage, and after the first few shows dropped many of the unpopular instrumental tracks in favour of crowd-pleasing material, such as a cover of Gary Glitter's Rock 'N' Roll. The tour was a great success for the League and brought them many new admirers from the Banshees' audience.

Following the release of The Dignity Of Labour, the group decided they needed stronger backing than the tiny Fast Product label could offer. So, keeping Bob Last on board as their manager, they decided to put together a new demo tape with which to impress the major record companies. A number of record companies were soon offering The Human League recording contracts, and after much talk of a deal with new Polydor imprint Fiction (who had just signed The Cure), the group chose to sign with Virgin Records, who had had a hand in the release of The Dignity Of Labour and whose publishing arm had recently signed the group. They selected this label primarily because Virgin's Simon Draper offered them the level of creative control they desired. After the signing, the group embarked on an eventful European tour with one of their heroes, 'godfather of punk' Iggy Pop, the League enjoyed the tour. On their return to England, Martyn declared, "It's great touring there. Pretty magnificent. It never stopped happening - complete excess from beginning to end."
Back in Sheffield, the group began recording for their new record label. Curiously, the group's first Virgin release was issued under the pseudonym of The Men. The single, I Don't Depend On You, was recorded to appease those at Virgin who feared that the public would not accept a synthesizer-only group. The track featured a live rhythm section and female backing vocalists, and was decidedly more commercial than the group's previous releases.

The release of the group's ground-breaking debut album, Reproduction, in October 1979 was met with a number of unenthusiastic reviews. Although promoted with the subsequent release of the Empire State Human single, taken from the album, sales of Reproduction were substantially lower than Virgin had anticipated. As a result, Virgin decided to cancel all but two dates of the group's proposed UK tour. At the remaining shows, Adrian's short film Zero As A Limit was shown on a 21' by 14' screen and Teardrop Explodes provided support. Virgin instead arranged for the group to support Talking Heads on their November tour of the UK. However, things changed again soon after Bob Last issued this press release to announce the group's plans for the tour: "The Human League, intrigued to experience their own performance themselves, have designed a remotely controlled touring entertainment. Therefore, 30 Human League minutes will be available on the upcoming Talking Heads tour. Someone somewhere was clearly not amused by this concept of live performance and the League were dismissed from the tour shortly before the first show.

Their next challenge was to persuade Virgin to finance the establishment of their own personal recording studio in Sheffield. Virgin were eventually convinced, realising that it would cost less to set up the group with their own studio than it would to hire other studios for future recordings..The League spent the early part of 1980 recording their second album the group's electronic sound was now beginning to grow again in popularity, as interest in the burgeoning New Romantic / Futurist scene developed. This movement had grown out of London's glamorous Blitz club, which spawned a number of the characters who would rise to fame in the early part of the new decade, such as Steve Strange of Visage and Boy George of Culture Club. But The League had little time for these so-called Futurists...

When the group's second album, Travelogue, was released in May that year, it was more warmly received than Reproduction, reaching Number 16 in the UK charts and eventually spending an impressive 42 weeks in the Top 75.The album was generally brighter in tone than its predecessor, and most agreed that Travelogue demonstrated that the group were finally fulfilling their potential. In support of the album, the group undertook what would be their final UK tour . This was followed by dates in mainland Europe, including an Amsterdam show on June 10th, which was broadcast on Dutch radio.



The Human League - Travelogue (80 flac 398mb)

01 - The Black Hit Of Space (4:11)
02 - Only After Dark (3:50)
03 - Life Kills (3:07)
04 - Dreams Of Leaving (5:49)
05 - Toyota City (3:24)
06 - Crow And A Baby (3:43)
07 - The Touchables (3:21)
08 - Gordon's Gin (2:58)
09 - Being Boiled (4:21)
10 - W.X.J.L. Tonight (4:40)
Xs
11 - Marianne (3:18)
12 - Dancevision ( The Future) (2:22)
13 - Rock 'N' Roll / Night Clubbing (6:23)
14 - Tom Baker (dr. Who) (4:01)
15 - Boys And Girls (3:15)
16 - I Don't Depend On You ( The Men) (4:35)
17 - Cruel ( The Men) (4:42)

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Martyn: "We were on thirty quid a week each. Ian: "Our intention was to become the first popular synthesizer band that was doing songs with vocals, as opposed to experimental stuff, and we'd been doing a couple of albums and thought that we'd released things that could do that, and nothing ever quite became a hit. "And then, out of nowhere, Gary Numan came along and stole our glory. He used to be a rock act, really, then he seemed to take on our clothing and suddenly became incredibly successful... and we were, I think, quite miffed about that, because until that point, it had been a laugh, and art and everything. From that point, that's what really broke the morale, looking back on it now... all right, so we were mentioned as being influential and everything, but in reality, we were poor. We weren't earning any money out of what we were doing."

"We must be the only group in the world whose fourth member was a slide projectionist... who then went on to get writing credits! Excuse me? That was the point where I left the group, thank you very much! We were completely 'on a mission'..."
The situation was further complicated by the friction between Martyn and Philip (always a problem, but one which had now become unbearable) and with Philip making attempts to kick Martyn out of The Human League, there was no chance of the group continuing in this format.

At first, Bob suggested that perhaps the way forward was for the group to split into two new bands, neither of them named The Human League, but both of them releasing material on a new imprint of Virgin which would be called Human League Records, thereby preserving the 'brand name' they had established. Bob: "It felt like a pressure cooker, and I felt the smart thing to do was to pre-empt this, and split into two bands. Martyn was losing interest in this very strict set of rules about absolutely no organic authentic instrumentation, whereas Phil was very keen on sustaining those rules, and that was a kind of battleground." While it was clear that Philip and Adrian no longer wished to work with Martyn, Ian remained keen to continue working with both Martyn and with Philip and Adrian.

In November 1980, Martyn and Ian announced the formation of their British Electric Foundation production company, which would be "a cross between what PiL (Public Image Limited) should have been before they became just another group, and the business suss of Chic." This left Philip and Adrian to deal with the group's forthcoming European tour, which was due to begin about two weeks later. Philip and Adrian agreed with Martyn and Ian that they would continue to use the Human League name, on the condition that Martyn and Ian would receive 1% of the League's future royalties, though the group's financial debt to Virgin would remain the responsibility of the new League line-up.

The two began seeking new members for the impending live shows. Philip famously recruited two teenage girls (Susanne Sulley and Joanne Catherall) his girlfriend spotted dancing at Sheffield's Crazy Daisy disco. Even Bob had some concerns about the new format of the group, but staunchly defended Philip's decision in the face of negative reaction from Virgin Records. Bob: "I understood that Phil had very interesting instincts which should be backed, but the fights I had with Virgin! They loved the idea of where Phil wanted to take The Human League, but they were completely baffled by the girls and why they were suddenly presented as a core part of it. But Phil's instincts were right there. The girls' role was to bring a kind of accessibility to this quite difficult and cold perception people had of the band."

The two groups now found themselves in the slightly strange position of having to share the studio they jointly owned, taking turns to use the equipment to record demos for their next albums. During this time, much bitching took place in the music press, mainly from the B.E.F. corner...The bickering eventually subsided and Bob Last continued to manage the new incarnation of The Human League, even though he was now a director and shareholder in the B.E.F. (many people, including the group themselves, suspected him of having engineered the split anyway!).

The new-look Human League went on to huge worldwide success with the single Don't You Want Me and the third Human League album, Dare!, which sold five million copies and is hailed by many as one of the definitive pop albums of the 1980s. The group (now essentially just Philip, Susanne and Joanne, plus collaborators) have also scored hits with most subsequent albums and singles. Adrian eventually left the League after the making of 1986's Crash album, during which he found that producers Jimmy Jam and Terry Lewis had no need for his keyboard contributions, having drafted in session musicians. Adrian returned to film-making and has worked as a director in the fields of both film and music video.

Both The Human League and Heaven 17 continue to record occasionally, and attract large audiences whenever they tour. The League's impact continues to be felt today. Ultimately, the original Human League line-up achieved their ambition after splitting - mainstream success came when the re-issued Being Boiled single entered the UK Top 10 in 1982... a song both The League and Heaven 17 now play at their live shows.

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In November 1980, Martyn and Ian announced the formation of their British Electric Foundation production company. They signed a production deal with Virgin, under which they would steadily accumulate a roster of 'commercial' acts, one per year, delivering an album by each act every year, along with up to twelve 'arty' albums of their own each year. Initially, they formed a new group (or 'business subsidiary', as they called it) named Heaven 17 after a fictional band from Stanley Kubrick's cinematic adaption of Anthony Burgess's A Clockwork Orange.

Their old friend Glenn Gregory from the Meatwhistle days joined them to handle lead vocals and Martyn and Ian began seeking a full band to back Glenn in live performance (they had no plans to be full-time members of Heaven 17 at this point).As Martyn explained, "Heaven 17 is a 100% serious attempt to be incredibly popular, whereas B.E.F. is no less serious but tends to be involved with more experimental projects."

By March 1981, the first Heaven 17 single [We Don't Need This] Fascist Groove Thang was in the shops (though not on the radio very often - the BBC banned it for its anti-Reagan lyrics), along with an instrumental B.E.F cassette entitled Music For Stowaways...Chart success came slightly later for Heaven 17; after disappointing sales of their debut album, Penthouse And Pavement (side two of which Martyn has described as "like a continuation of Travelogue"), they scored three Top 20 singles in 1983 (including the Number Two hit, Temptation) from their best-selling album, The Luxury Gap.

The B.E.F. have also had success, both as a recording act (with many famous guest vocalists) and also as producers (after a low-key debut with dance troupe Hot Gossip's Geisha Boys & Temple Girls album, which included new versions of early League songs). Martyn has produced many artists, such as Erasure, Tina Turner, Marc Almond and Terence Trent D'Arby, as well as two singles for his favourite soccer team, Sheffield Wednesday. Ian has also worked on other projects, programming Right Said Fred's I'm Too Sexy and Scritti Politti's version of The Beatles' She's A Woman.

Heaven 17 disbanded in 1988, following the commercial failure of their last studio album "Teddy Bear, Duke & Psycho". They reformed briefly in 1996 and released the album "Bigger Than America", since then there have been several remix and live albums released



Heaven 17 - Endless (81 flac 396mb)

01 - We Live So Fast (6:07)
02 - Penthouse & Pavement (6:33)
03 - Let Me Go (6:47)
04 - Temptation (4:39)
05 - Who'll Stop The Rain (6:06)
06 - (We Don't Need This) Fascist Groove Thang (4:15)
07 - Let's All Make A Bomb (New Version) (5:09)
08 - Counterforce (2:59)
09 - Crushed By The Wheels Of Industry (5:56)
10 - And That's No Lie (5:59)
11 - Sunset Now (5:16)


Heaven @ 17

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Clock DVA - Thirst ( 81 flac 287mb)

In June of 1977, Adi Newton, Martyn Ware and Ian Craig Marsh, formed a group called The Dead Daughters, their next incarnation was the Studs. The group which consisted of Adi Newton, Martyn Ware, Ian Craig Marsh (The Future), Glen Gregory (Heaven 17), Richard H Kirk, Stephen Mallinder, Chris Watson (Cabaret Voltaire), and Hayden
Boyes eston (2.3). For a short period prior to forming Clock DVA, Adi Newton was one of the three members of the Future who later went on to form The Human League / Heaven 17. Adi Newton teamed up with his friend Stephen "Judd" James Turner and formed ClockDVA and recruited two additional members David James Hammond for guitar and Simon Mark Elliot Kemp for electronics. In 1980 Paul Browse joined Clock DVA and remained a constant member until relocating to Berlin in 1989 where he began his Effective Force project for MFS.

The group was originally known for making a form of experimental electronic music involving treated tape loops and synthesisers. Clock DVA became associated with industrial music with the 1980 release of cassette album White Souls in Black Suits on Throbbing Gristle's Industrial Records. The album Thirst, released on Fetish Records, followed in 1981, reaching the top of the NME Indie Charts, by which time the band had combined musique concrète techniques with standard rock instrumentation. In 1983, Newton formed a new version of the band. First releasing the single "High Holy Disco Mass" on the major label Polydor Records under the name DVA, the band then released the album Advantage (with several singles) under the name Clock DVA. After a European tour, however, the band split acrimoniously.

After the 1983 breakup of Clock DVA, Adi Newton formed The Anti-Group or T.A.G.C. They released several albums continuing in a similar vein to the early Clock DVA, yet more experimental. In 1987, the Clock DVA reformed with a lineup of Adi Newton, Dean Dennis and Paul Browse and moved in a different direction with the single "The Hacker" and the album Buried Dreams, a heavily electronic industrial music and EBM influenced album that became their defining sound for years to come. As of 2007, Clock DVA have not released an album since 1993's Sign..



01 - Uncertain (7:04)
02 - Sensorium (2:38)
03 - White Cell (4:38)
04 - Piano Pain (3:15)
05 - Blue Tone (5:57)
06 - North Loop (4:50)
07 - 4 Hours (4:00)
08 - Moments (6:25)
09 - Impressions Of African Winter (5:26)
10 - 4 Hours (Original Single Mix) (3:54)
11 - Sensorium (Original Single Mix) (2:39)

Clock DVA @ Base

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Cabaret Voltaire - Drinking Gasoline (85 fully flac 363mb)

"Initially a three piece, Richard H. Kirk, Stephen Mallinder and Chris Watson began by playing around with recorded sounds manipulated by basic reel-to-reel recorders in Sheffield in 1973. "Way ahead of their time, these ideas culminated in 1975, when the three staged their first performance of these sound experiments and assumed the name Cabaret Voltaire, taken from the name of the club started in Zurich by the principals of the Dada art movement during the First World War. As part of the confrontational energy of punk, the early titles of the records didn't mince words - 'Baader Meinhof' and 'Do the Mussolini (Headkick)' were indicators that were bound to lead to a certain notoriety. To the press they appeared to be immersed in a world of paranoia fed by conspiracy theories, political control and the use of drugs to both free and inhibit the individual.

"The band began working with Rough Trade in 1978, producing the now seminal triumvirate of albums, 'Mix Up' (1979), 'Voice of America' (1980) and their most prophetic album 'Red Mecca' (1981), an album released to an excellent response from the music press. All these recordings were assembled in the seclusion of the band's own studio in Sheffield called Western Works. "Chris Watson left the group in October 1981 on the eve of an international tour to pursue a career in television sound recording. This departure left Kirk and Mallinder free to commit to a long-term struggle with the 'pop music' industry under the protection of Stevo's Some Bizarre label, via a Virgin Records distribution deal. By December 1982 they were in the midst of recording the 'Crackdown' album in Trident Studios, London with the producer Flood.

Cabaret Voltaire were always strongly rooted in the Dada-ist tradition and nowhere was this more evident than in their rare but much anticipated live performances, with their innovative use of film and video documented in the three live albums, 'Live at the YMCA' (1979), 'Live at the Lyceum' (1981) and 'Hai' live in Japan (1982), and the 90 minute video 'Doublevision Presents...'
At the dawn of a new decade, Cabaret Voltaire, now Stephan Mallinder and Richard H. Kirk (Chris Watson left to take a more scientific curve with experimental/noise group 'The Hafler Trio'), started to ease from techno/bleep into trance/ambient. The results were quite startling and Cabaret Voltaire finally regained the attention they deserved. At the height of the trance/ambient wave, Cabaret Voltaire parted ways. While Mallinder went off to Australia to study, Kirk continues on with solo projects (Richard Kirk, Sandoz, etc



Crackdown Bonus EP 83
01 - Diskono (5:44)
02 - Doublevision (4:09)
03 - Moscow (5:24)
04 - Badge Of Evil (4:51)

05 - The Dream Ticket (7:48)

Drinking Gasoline (85)
06 - Kino (8:34)
07 - Sleepwalking (8:26)
08 - Big Funk (8:14)
09 - Ghostalk (7:57)

Kirk @ Base

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Hula - Cut From Inside ( 83* 72mb)

The Sheffield based band Hula was founded in 1981. Three members (Mark Albrow, Alan Fish and Ron Wright) lived with Stephen Mallinder (Cabaret Voltaire) and Paul Widger (They must be Russians, Clock DVA, the Box) in a villa called Hula Kula. After trying the bass players Alan Watt, the notorious Chris Brain (Tense, NOS) and Mark Brydon (Chakk, Moloko), and after the replacement of Alan Fish by Nort (both drummed for the Cabs), Hula recorded the impressive album Murmur. Ingredients like cut ups, steady rhythms, and paranoia vocals were blended together into a unique white funky sound. Hula recruited John Avery as a bass player. A bass player was necessary for the exciting live shows with lots of video material (Peter Care). Hula continued to bring out danceable 12 inches and more experimental albums. With this line-up Hula was more or less successful. International tours were made. Radio sessions for VPRO and John Peel were recorded and broadcasted. Being a support act for Depeche Mode implied performing live in Wembley Arena for huge crowds.

After Nort left the band in 1986 the music changed, but still remained interesting. Later on Mark Albrow quit as well. When their record company Red Rhino went bankrupt they moved on to Wax Trax. They released the last Hula record: a Jimmy Hendrix cover of Voodoo Chile. The 12 inch did not sort out the desired effect. Eventually Hula broke up.



01 - Flesh Metal (4:01)
02 - Mother Courage (5:17)
03 - Church Juice (2:18)
04 - Murder In The Clean States (4:16)
05 - Release The Grip (4:10)
06 - Dirt Talk (3:19)
07 - Stretch The Attitude (3:21)
08 - Subliminal (4:07)
Xs - Black Pop Workout (Ft. Stephen Mallinder) ( 82)
09 - Feeding The Animal (3:22)
10 - Ignoring The Famine (3:18)
11 - Sacred Serials (Circuits On Full Gush) (5:32)
12 - Junshi (4:11)

Hula @ Base

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In The Nursery - Koda (88 * 95mb)

Twin brothers Klive and Nigel Humberstone and guitar player Anthony Bennett formed this Sheffield, England-based band in 1981. The trio originally tagged along with the UK's industrial music scene, releasing the six-track When Cherished Dreams Come True in June 1983. The "Witness (To A Scream)" single and Sonority EP followed before the band moved to the Sweatbox label for the fearsome Temper EP. The full-length Twins was recorded without the departed Bennett, the subsequent Stormhorse, the soundtrack to an imaginary film that provided the cinematic blueprint for all their future recordings. The quartet's final recording for Sweatbox, 1988's Köda, completed the transition to a classical instrumental sound and utilised computer sequencing in the recording process for the first time.

Following the collapse of Sweatbox the band moved to Third Mind Records to complete the delicate L'Esprit. The album was recorded with engineer Steve Harris who had contributed to Köda and would feature on all the band's subsequent releases. Sense and Duality were followed by a logical progression to real soundtrack work on 1993's psychological drama An Ambush Of Ghosts. In the late 90s the band was commissioned, as part of the Optical Music Series, to provide new scores for the silent classics The Cabinet of Dr. Caligari, Asphalt, and Man with a Movie Camera. Anatomy Of A Poet, a concept album about the creative psyche, featured author Colin Wilson reciting romantic poetry A retrospective compilation of their work was the first release on their own ITN Corporation label. Further concept albums have included Deco and the ambitious Lingua, an exploration of language featuring vocal contributions from around the world.



01 - Rites ( 3:38)
02 - Maidens ( 0:58)
03 - Te Deum ( 3:08)
04 - Triumph ( 1:14)
05 - Burnished Days ( 2:22)
06 - Ascent ( 7:06)
07 - Scherzo ( 6:18)
08 - Guarded Rites ( 2:51)
09 - Suspire ( 1:55)
10 - Kotow ( 2:09)
11 - The Seventeenth Parallel ( 5:01)
Bonus From "The Compulsion" 12"
12 - Compulsion 4:03
13 - Libertaire 4:45

In The Nursery @ Base

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Jun 23, 2007

Wavetrain, 9th chain

Hello, the ninth wagon has a mixed lot , i start off with TV 21 (in ogg 9 ! ), another band victimized by the quick and easy buck mentality of record companies, a big shame as these guys had plenty to offer, convince yourself . The Motels were caught in the industry claws aswell and even if they squeezed some commercial success out of them, mainly thanks to Martha's good MTV looks, the soul, the underbelly went out after these first 2 albums. Matt Johnsson is better known as The The but released his first album under his own name, strongly influenced by his mates from Wire at the time. Flying Lizards had no interest in taking the popmusic industry seriously, but then "I want money" was music to their ears and so the Lizards scored a hit with it. Fourth is a slightly neurotic mix between electro-pop and trance music, topped up by me with the best of their first album. The Fixx yes well their big sky sound didnt fair to well with their fellow Londoners and so not much attention was given to them, they did however did produce some good music, though mainly appreciated in the US.


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TV 21 - A Thin Red Line (81)
The Motels - The Motels, Careful (79/80)
Matt Johnson - Burning Blue Soul (81)
Flying Lizards, The - Fourth Wall (81)
Fixx, The - Reach The Beach (83)

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TV 21 - A Thin Red Line ( 81 * 272mb)

Edinburgh, Scotland's TV21 were:Neil Baldwin ( bass guitar), Dave Hampton ( trumpets, keys ), Ally Palmer ( acoustic / guitars ) , Ali Paterson - (drums, percussion, guitar), Norman Rodger ( acoustic (12 string) guitar, vocals). TV 21 had been always in good company during their brief time together as a band. Teardrop Explodes' Troy Tate produced their first two independent singles. The 1981 album, "A Thin Red Line," was produced by Ian Broudie of the Original Mirrors and later Lightning Seeds. Mike Scott of the Waterboys and Pete Wylie from Wah! make appearances on their lp .They toured with the Undertones and were the opening act for the Rolling Stones for the Scottish dates of their 1982 European tour.

After "A Thin Red Line" came out we had major, major problems with management and with the record company. They signed us basically as a pop band, with stuff like "Playing With Fire" and "Ambition" but by the time they'd signed us we were starting to do the album material and they didn't like it. So from day one we had fights about what the direction of the band should be. After we released the album they said "Look, why don't you spend some time in the studio, come up with some new ideas, in the end a waste of time and money , tensions among the band members and the disagreements with Deram, the record company, brought an untimely end to the band.

And that was the end of that, until October 2005, when out of the blue, they agreed to perform as part of the John Peel Day gigs organised around the country to mark the anniversary of the DJ’s death. Peel had been a huge influence on the band and it seemed entirely appropriate to get together for the event. The gig, at Edinburgh’s Citrus Club, was an unqualified success, if a little rough at the edges, though that was hardly surprising after twenty three years, the introduction of a new drummer and only two rehearsals! Most surprising for the three original band members was simply how much they enjoyed playing again. So, now they’re back and enjoying it more and more



01 - Waiting For The Drop (3:15)
02 - Ideal Way Of Life (2:29)
03 - This Is Zero (3:57)
04 - Ticking Away (3:17)
05 - It Feels Like It's Starting To Rain (4:06)
06 - Snakes And Ladders (3:28)
07 - What's Going On ? (4:08)
08 - Something's Wrong (3:25)
09 - When I Scream (4:00)
10 - Tomorrow ... (3:35)
11 - Attention Span (4:01)

TV 21 @ Base
TV 21 @ MySpace

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The Motels - The Motels, Careful (79 * 459mb)

In March 1978, Davis and future lead guitarist Jeff Jourard (Tom Petty ) decided to reform The Motels , after auditions a new line-up consisted of Jourard's brother Marty(sax and keyboards), Michael Goodroe ( bass), and Brian Glascock (drums). Short on funds, the band shared rehearsal space with The Go-Go's at L.A.'s notorious punk basement, the Masque, and they played in Chinatown.The Motels began to draw a faithful crowd around the L.A. music scene and on Mother's Day 1979 the group signed with Capitol and released their debut album The Motels 4 months later. In 1980 Jourard was replaced as lead guitarist by Davis' boyfriend Tim McGovern and the band went back into the recording studio to record their second album, entitled Careful ( June 1980).

The band hired record producer Val Garay for album number three, Apocalypso. It was scheduled to be released in November 1981, but after Capitol Records heard the final product, they rejected it for being "too weird." Oh boy, those music execs, but then Rembrandts Nightwatch was rejected, let alone Van Gogh. The moneyhungry gobetweens really know how to find the lowest common denominator in their race to the bottom. Well they rerecorded, Martha broke with her guitarplayer/boyfriend and well in the end was the one for capitol product "all four one". Luckily Martha shines well in the new MTV format and the album did well, supported by a big tour. Val Garay was now firmly in control of album and video production and, upon the firing of Fritz Turner Management, became the band's new manager aswell.The Motels released the album Little Robbers in the fall of 83. The first single from the album, "Suddenly Last Summer," was a Top 10 hit in the United States.The first leg of the Little Robbers tour started in January 1984 but ended apruptly in February with the firing of Garay as manager for personal reasons ? The Motels released their sixth album, Shock, in September of 1985, producing it had taken over a year and it became clear that a 7th album was not in it early 87 the second Motels incarnation folded.
Martha Davis went solo but without much success, by 2001 she was touring as The Motels featuring Martha Davis this went off well enough that by 2005 they released independantly, a new album "So the Story Goes."



01 - Anticipating (3:50)
02 - Kix (2:14)
03 - Total Control (5:48)
04 - Love Don't Help (1:57)
05 - Closets & Bullets (4:19)
06 - Atomic Cafe (2:46)
07 - Celia (3:04)
08 - Porn Reggae (4:15)
09 - Dressing Up (5:02)
10 - Counting (4:23)



11 - Danger (3:22)
12 - Envy (3:25)
13 - Careful (3:28)
14 - Bonjour Baby (3:27)
15 - Party Professionals (4:14)
16 - Days Are O.K. (But The Nights Were Made For Love) (3:31)
17 - Cry Baby (3:26)
18 - Whose Problem? (3:51)
19 - People, Places And Things (2:43)
20 - Slow Town (4:16)

Motels @ Base

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Matt Johnson (The The) - Burning Blue Soul (81 * 233mb)

Matt Johnson / The The rose out of the post-punk industrial music scene of late 1970s Britain. Over the years he has proven himself a prolific songwriter on various subjects. After The The's initial 4AD single in 1980, singer/songwriter Matt Johnson took the London-based group to the Some Bizzare label. However, he remained friendly with Ivo, who was quick to accept when Johnson offered to make an album under his own name for 4AD. The result, Burning Blue Soul, was an unusual and compelling work which mixed extensive studio experimentation with Johnson's evocative voice. It also gave Ivo his first chance to enter a studio in the role of co-producer. Although it was originally released as a Matt Johnson record, when the album was reissued on CD in the early '90s, Johnson insisted that it be retroactively credited to The The.
He's left Britain in the early 1990s, and by 2006 was dividing his time between New York and Gothenburg, Sweden.



01 - Red Cinders In The Sand (5:41)
02 - Song Without An Ending (4:35)
03 - Time (Again) For The Golden Sunset (3:51)
04 - Icing Up (7:35)
05 - Like A Sun Risin Through My Garden (5:01)
06 - Out Of Control (2:01)
07 - Bugle Boy (2:27)
08 - Delirious (3:30)
09 - The River Flows East In Spring (3:30)
10 - Another Boy Drowning (5:43)

The The @ Base

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Flying Lizards - Fourth Wall (81 * 335mb)

The best things in life may be free but they won't get.., led by pianist/producer David Cunningham, the Flying Lizards started as and largely continued to be a novelty group that took classic rock songs and reduced them to parody with neo-Kraftwerk synthesizer minimalism and robotic deadpan vocal readings "Money". The Lizards aren't so much a "band" as just a means of packaging the studio experiments of the brains behind the Lizards, David Cunningham. He writes almost all the music, rearranges the remainder, and produces and plays it himself, using a few session musicians when he needs them. Fourth Wall attempts to evolve a happy medium, with helpers including New Yorkers Pat Palladin and Peter Gordon and new-jazz artist Steve Beresford. Cunningham moves uneasily between electro-pop and trance music. Following a long layoff, the Lizards returned in 1984 with Top Ten, another wacky album of demented rock'n'roll revisionism

Cunningham has been working as a composer and record producer, engaging with an eclectic range of people and music, from rock groups (This Heat, Owada) to improvisors (David Toop, Steve Beresford) to Michael Nyman's music for Peter Greenaway's films and work with Ute Lemper and others. 'Canta', commissioned by Ian Spink, was the first of a series of works for dance and performance through the 1980s. Since 1993 David Cunningham has been developing a series of installations based on real time exploration of acoustics including 'The Listening Room', Biennale of Sydney (1998). He showed 2 installation works in "Days Like These", The Tate Triennial of Contemporary British Art, Tate Britain and most recently has shown installations at ICC, Tokyo and Ikon, Birmingham. Currently he is AHRB Research Fellow in Fine Art at the University of Newcastle. Specialising in studio processes, loops and treatments, Cunningham's work has ranged from pop music to gallery installations, including work for television, film, contemporary dance, and a number of collaborations with visual artists.



01 - Lovers And Other Strangers (3:07)
02 - Glide/Spin (3:32)
03 - In My Lifetime (2:17)
04 - Cirrus (1:24)
05 - A-Train (5:05)
06 - New Voice (5:38)
07 - Hands 2 Take (4:03)
08 - An Age (2:30)
09 - Steam Away (4:44)
10 - Move On Up (5:23)
11 - Another Story (3:06)
12 - Lost And Found (2:47)
bonus
13 - Portugal 3:06
14 - Glide 2:38
15 - Move on up(single edition) 3:51


David Cunningham @ Base

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The FIXX - Reach The Beach (83 * 439mb)

Formed by college friends vocalist/keyboardist Cy Curnin and drummer Adam Woods in the early '80s, the pair advertised in the music press for additional members; the remaining members of the group -- guitarist Jamie West-Oram, keyboardist Rupert Greenall, and bassist Charlie Barret -- all responded to the ad. .The band had changed their name to the Fixx and recorded "Lost Planes," the single that led to a record contract with MCA.

Their debut album, the Rupert Hine-produced Shuttered Room was released in 1982. The record spawned two minor U.K. hits, "Stand or Fall" and "Red Skies," in the US. the album stayed on the charts for nearly a year. After Shuttered Room, Barret left and was replaced by Dan K. Brown. Reach the Beach's pulsating "One Thing Leads to Another" became a US hit, However, despite their American success, the Fixx failed to break back into the British charts with Reach the Beach; in fact, they never had another British hit in their career, their big sky sound too unfamilar.

The Fixx returned in 1984 with Phantoms. While it performed well -- it peaked at number 19 and went gold -- it didn't match the success of Reach the Beach. Although their audience was shrinking, the band kept their basic, synth-driven sound intact for 1986's Walkabout, which featured the hit "Secret Separation." After Walkabout, the Fixx stopped working with producer Rupert Hine, and lost their way though they still tour to this day.



01 - One Thing Leads To Another (3:13)
02 - The Sign Of Fire (3:45)
03 - Running (4:18)
04 - Saved By Zero (3:33)
05 - Opinions (4:37) 19-26
06 - Reach The Beach (4:22)
07 - Changing (3:20)
08 - Liner (3:32)
09 - Privilege (4:13)
10 - Outside (5:14) 40-07
bonus
11 - Saved By Zero [Extended Version] 4:24
12 - One Thing Leads To Another [Extended Version] 8:00
13 - Deeper And Deeper [Long Version] 6:31
14 - Going Overboard 3:18

The FIXX @ Base
The FIXX @ MySpace

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Jun 20, 2007

Wavetrain, 8th wagon

Hello, down to the 8th wagon already time for wailing of the other kind. Martha got stuck with one muffin who never liked that name but then alliterating jokes tend to stick. This is the iceage is their best album which should have established their career but didnt, instead it launched the producers career, Daniel Lanois, and they got the dropped by Virgin, thats what you get proving that manager wrong. Career was not what Jah Wobble had in mind but when his collegues in PIL seemed stuck in heavy drug and alcohol abuse, he decided to go his own way, in betrayal. Dalek I, sort of confused themselves and though their first album (still unavailable on cd) showed much promise they buzzed off in other directions to return 2 years later to add love you and that was it. Dave Ball has produced much music but just one solo album when he was in the Psychic TV clan and at the end of his collaboration with Soft Cell mate Marc Almond, In strict tempo didnt find a niche and maybe thats why it took 25 years to be released on cd. Urban Verbs should have been one of US's biggest wave bands, if only they hadnt come from Washington..


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Martha & the Muffins - This Is The Ice Age (81)
Jah Wobble - The Legend Lives On In Betrayal (80)
Dalek I - Compass (80)
Dave Ball - In Strict Tempo (82)
Urban Verbs - I & Early Damage (80/81)

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Martha and the Muffins - This Is The Ice Age (81 * 235mb)

The group's initial line-up came together in Toronto in 1977, when David Millar asked his fellow Ontario College of Art student Mark Gane to help him start a band. Millar recruited Martha Johnson to play keyboards; Johnson brought in a friend from high school, Carl Finkle, to play bass; and Gane's brother Tim signed on as the drummer. They chose the name "Martha and the Muffins" to distance themselves from the aggressive names adopted by many punk bands of the era. According to Mark Gane: "We decided to use it as a temporary name until we could all agree on something better." The name ended up sticking for the next 7 years.

In 1979, the band travelled to England to record their first album, Metro Music (1980). It contained their 'one hit wonder' "Echo Beach", that opened doors and created expectations. Later in 1980, the band released their second album, Trance and Dance, which was less successful and didn't give the band any hit singles.
In 1981, bassist Finkle left the band, and was replaced by Jocelyne Lanois, the sister of then-unknown record producer Daniel Lanois. After Jocelyne introduced the band to her brother, they figured Daniel was an ideal candidate to produce their next LP. However, in order to utilize his services as a co-producer, Martha and the Muffins had to agree to Virgin Records' demand that if they were going to insist on working with an unknown producer, they would also have work with a lower album recording budget.

Martha and the Muffins' 1981 album This is the Ice Age, produced by Daniel Lanois and the band, was recorded in Toronto and Hamilton, Ontario. More experimental than previous efforts, it also gained significant Canadian radio airplay . However, despite critical acclaim, the album didn't spin off any hit singles internationally, and Virgin dropped the band from their roster. Considering it launched Daniel Lanois' career as a sought after producer, it goes to show how little these music execs are in touch with music.

Dan Lanois produced the follow-up album, "Danseparc", recorded at Grant Avenue Studio during the spring and summer of 1982 with new drummer Nick Kent and the first of three albums to be recorded with Canadian indie label Current Records.With the release of "Danseparc" in 1983, the band embarked on another tour, playing dates in Canada, the U.S. and the U.K. After the tour Martha & Marc broke up the band and went on together as M & M, one year later they'd score their biggest hit "black stations/white stations" it gave them the financial freedom to record at leisure. This led to an unbalanced next album (the world is a ball), and their record companies seemed to have lost interest, i.e no promotion. They packed up and moved to Bath (UK), for inspiration and to record Modern Lullaby an album no one has heard because their new rec company collapsed shortly thereafter. They released a babydaughter into the world aswell that year (90) Priorites change and for much of the 90's, they did film and television soundtrack work, but their recording artist days were history.



01 - Swimming (3:52)
02 - Women Around The World At Work (3:47)
03 - Casualties Of Glass (5:09)
04 - Boy Without Filters (4:58)
05 - Jets Seem Slower In London Skies (2:34)
06 - This Is The Ice Age (7:11)
07 - One Day In Paris (3:57)
08 - You Sold The Cottage (3:55)
09 - Three Hundred Years (3:33)
10 - Chemistry (3:06)

M & M @ Base

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Jah Wobble - In Betrayal  The Legend Lives On ( 80 * 518mb)

Jah Wobble (born John Wardle) got his musical career started with John Lydon's post-Sex Pistols group Public Image Ltd (PiL). His trademark bass playing drew heavily on dub, which has remained an important feature of his music. Wobble left his signature mark on PiL's seminal second album Metal Box released in 1980. However, he grew increasingly frustrated by the lacklustre creative atmosphere in the band, besides differences in artistic vision, further conflicts were brought on in part by heavy drug and alcohol abuse in the band . Wobble then went on to recording and releasing his debut album The Legend Lives on - Jah Wobble in Betrayal, and found himself accused by other PiL members of having made unauthorized use of material from Metal Box for the making of Betrayal, there upon he then left PiL in late 1980.

Following his departure from PiL, he went on to a successful solo career, continuing to the present. He has has since collaborated with a wide variety of musicians, first evidence of this the 4 track ep How much are they ? (81) recorded with ex Can members, Hoger Czukay and Jaki Liebzeit. Followed in 83 with the Snake Charmer lp, however his critical stance towards the commercialization of the music industry, caused a clash and he dropped out of the music scene for the rest of the decade.

Encouraged by friends to resume music, the clean-and-sober Wardle has since collaborated with a wide variety of musicians. Wobble's explorations into World music predated much of the genre's popularity, his music has spanned a number of genres, including ambient music and dance music, and in 2003, reworkings of traditional English folk songs. Wobble has been quite prolific from the mid-1990s to the present. He now runs his own label, 30 Hertz Records, and tours regularly throughout England and Europe. He is married to the renowned harpist Zi Lan Liao.



01 - Betrayal (4:52)
02 - Beat The Drum For Me (4:01)
03 - Blueberry Hill (4:15)
04 - Not Another (3:13)
05 - Tales From Outter Space (3:04)
06 - Today Is The First Day Of The... ? (7:22)
07 - Dan McArthur (5:21)
08 - Pineapple (3:35)
bonus
09 Blueberry Hill (Computer Version) 4:19
10 I Need You By My Side 3:35
11 Message From Pluto 4:49
12 Sea-Side Special 7:39
13 Something Profound 6:07
14 Dreadlock Don't Deal In Wedlock 4:31
15 Battle Of Britain 7:59

 Companies, etc.

Jah Wobble @ Base

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Dalek I - Compass (80 flac rem 283mb)

The band was formed in Liverpool in 1977 by Alan Gill (Vocals, Guitar) and David Balfe (Bass, Keyboards). The name came about as a result of a compromise between the two members: Balfe wanted to call the band Dalek (after the Doctor Who Exterminate ! robots) and Gill wanted to call the band Darling, I Love You. In 1978, Balfe left , the line-up fluctuated over the next few years and band members included: Kenny Peers, Chris Hughes, Dave Hughes, Martin Cooper and, for a brief time, Andy McCluskey (the latter three would later be bandmates in OMD). The band was finally pared down to just Gill and Dave Hughes by the time they released their debut album Compass Kumpas in 1980 on the Phonogram label. Soon after the album's release, the band went topsy turvy and thus on hiatus. They reformed in 1983, meanwhile dropped by their recordlabel, they landed at Korova (echo and the bunnymen) they recorded "Dalek I Love You" this was a much more commercial sonic attempt , they dropped a lot of quirkyness, in the end it didnt work out,. Later Andy Gill served 18 months for distributing drugs. Note, Kumpass isnt available on cd



01 - The World (2:24)
02 - 8 Track (2:52)
03 - Destiny (Dalek I Love You) (3:38)
04 - A Suicide (2:55)
05 - The Kiss (2:00)
06 - Trapped (3:57)
07 - Two Chameleons (3:19)
08 - Freedom Fighters (2:18)
09 - You Really Got Me (1:52)
10 - Mad (1:51)
11 - Good Times (2:08)
12 - We're All Actors (2:52)
13 - Heat (3:12)
14 - Missing 15 Minutes (5:40)
15 Astronauts (Have Landed On The Moon) 3:27
16 Happy 2:33
17 This Is My Uniform 3:13
18 Heartbeat 4:01

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Dave Ball - In Strict Tempo (82 * 258mb)

As a student of Leeds Polytechnic Fine Arts University Ball experimented with electronic sounds and synthesizers, a burgeoning technology at the time which was just beginning to gain acceptance with artists such as Kraftwerk and The Human League. He met fellow student Marc Almond, who, taken with Ball's unique take on avant-garde electronic soundscapes, asked him to help in developing music to complement his performance art pieces. The two cut a 4-track EP, funded by Ball, entitled Mutant Moments, and were soon signed to the small Some Bizarre Records. Working alongside Almond, who by this time had taken on the role of lead singer and lyricist, at Ball's suggestion, the band achieved massive success with their cover of the Gloria Jones's Tainted Love, which reached #1 in seventeen different countries and #8 in the U.S, the biggest-selling UK single of 1981.

Soft Cell remained major pop stars in the UK, releasing a string of singles which all reached the UK Top 5. Two more albums, arranged and scored by Ball, were released to critical success. The duo went on their seperate ways to pursue solo projects in 1983, just before the release of their third album, This Last Night in Sodom.

After the demise of Soft Cell, Ball released a solo album, In Strict Tempo, which failed to generate commercial attention despite positive publicity. In Strict Tempo features guest artists that include Gavin Friday (Virgin Prunes) and Genesis P.Orridge (Throbbing Gristle, Psychic TV) , and is produced by Flood. Unsurprisingly it sounds rather unlike Soft Cell and it consequently failed to sell, it has been rereleased remastered this spring. Ball then went on to produce electronic dance music records alongside producer Ingo Vauk and collaborator Richard Norris. He eventually teamed with Norris to form the techno group The Grid, which enjoyed success with the minor hit "Swamp Thing".



01 - Mirrors (2:22)
02 - Sincerity (Voc. Genesis P-Orridge) (5:06)
03 - Passion Of A Primitive (4:09)
04 - Strict Tempo (Voc. Gavin Friday) (3:40)
05 - Man In The Man (Voc. Genesis P-Orridge) (3:42)
06 - Only Time (1:01)
07 - Life Of Love (3:00)
08 - Rednecks (4:31)
09 - American Stories (12:17)

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Urban Verbs - I and Early Damage (80/81 * 124mb)

During the end of an era of disco and the height of punk a Washington, D.C. the Urban Verbs emerged. Fascinating but tragically overlooked, Urban Verbs were an arty quintet whose lead singer was the brother of Talking Heads drummer Chris Frantz. And therein lay the Verbs' problem: while guitarist Robert Goldstein guided the band through striking modern instrumental pieces of depth and quality with Roddy Frantz's urban-alienation lyrics. The Verbs' records showed great potential. . They were a group ahead of their time. They helped lead the 80's into the New Wave scene as well as the dominance of college radio. The members included Robert Goldstein (guitar), Danny Frankel (drums, ) Linda France, and Robin Rose. The quintet recorded two albums, 1980's Urban Verbs and 1981's Early Damage. Then they disappeared. Nothing was heard from the group until 1996 when they performed live again once. Their first album has been released on cd yet their second remains unavailable as such. With hindsight, why these guys didnt make it remains a mystery, maybe it was the dissociation with their (evil) hometown Washington. Whatever here's your chance, 2 great albums.



01 - Subways (3:36)
02 - Angry Young Men (4:10)
03 - Next Question (5:29)
04 - Frenzy (3:09)
05 - Ring-Ring (My Telephone's Talking) (3:42)
06 - Only One of You (4:48)
07 - Luca Brasi (5:38)
08 - Tina Grey (4:55)
09 - Good Life (4:27)



10 - When The Dance Is Over (1:25)
11 - Jar My Blood (3:53)
12 - Acceleration (4:31)
13 - Early Damage (5:31)
14 - Promise (5:28)
15 - For Your Eyes Only (4:57)
16 - Business & The Rational Mind (4:50)
17 - In The Heat (4:36)
18 - Terminal Bar (6:46)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Jun 16, 2007

Wavetrain, Women's Wagon

Hello, my 7th wagon and what a load it carries, women ! Girls are notorious for having difficulty sharing the limelight, they maybe more sociable then men, but sticking together is not their thing, breaking and making up is. The raincoats a case in point riding a feminist wave they had plenty of reasons to complain ( could it be all those years later Kurt took this to heart too much ?), anyway after their third album they moved on only to be revived by Kurt a decade later for another flare. The Marine Girls took some inspiration of them . The ESG sisters however were inspired by the likes of JB and Motown and managed an unlikely career that ended just as unlikely with the bankrupty of the Sugarhill Gang, still they were not forgotten and soldiered on as cult icons. Something Jayne Casey wouldn't have minded but her industrious Pink work never got the acclaim it deserved. Anne Clark, like Sapho have carved their own paths, strong women with their hearts in the right place.

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Raincoats - Moving (83)
Marine Girls - Lazy Ways (83)
ESG - Come Away (83)
Pink Industry - Low Technology, Who Told You (82 * 94mb)
Anne Clark - Changing Rooms, Joined Up Writing (83/84)
Sapho - Le Paris Stupide (81)

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Raincoats - Moving (83 * 268mb)

The Raincoats were one of the most experimental bands that immediately followed the initial burst of punk rock in the late '70s. With their minimalistic approach to guitar-driven folk-rock, the band developed a distinctive, jagged sound. The Raincoats were also one of the first all-female post-punk band. The original line-up of the Raincoats was Gina Birch on bass, Ana Da Silva on guitar, Vicky Aspinall on second guitar/violin & Palmolive (Paloma Romero), who had just left the Slits, on drums. Palmolive left shortly after the release of their first album in 1979 and was replaced by Ingrid Weiss.

When they were recording, the band gained a small cult following in their native England and an even smaller audience in America; they broke up in 1984, having released three studio albums. Nearly ten years later, the band became a hip name in alternative rock, thanks to Kurt Cobain's mention of the group in the liner notes to a Nirvana album. Geffen picked up the rights to the Raincoats' catalog and reissued their albums (with liner notes by Kurt Cobain & Kim Gordon) in late 1993 and 1994. The band reunited and toured with Nirvana in the U.K. before heading out on their own tour of the U.S. in 1994. Two years later, the Raincoats released Looking in the Shadows. Shadows to which they have returned.



01 - Ooh Ooh La La La (3:10)
02 - Dreaming Of The Past (4:36)
03 - Mouth Of A Story (3:13)
04 - Honey Mad Woman (5:28)
05 - Rainstorm (4:28)
06 - Dance Of Hopping Mad (5:23)
07 - Balloon (4:34)
08 - I Saw A Hill (3:05)
09 - Overheard (4:29)
10 - The Body (3:33)
11 - Avidoso (3:19)
12 - Animal Rhapsody (4:29)

Raincoats @ Base
Raincoats @ MySpace

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Marine Girls - Lazy Ways+Beach Party (83 * 274mb)

Inspired by the Raincoats and the Young Marble Giants, Marine Girls was formed in 1980 by three sixth form school friends; Tracey Thorn, Gina Hartman and Jane Fox in Hatfield, Hertfordshire, England, in 1980. At first, Thorn played guitar with Gina on vocals and Fox on bass. Since they knew no drummers, the group decided to focus on a minimalist approach to music. After Gina kept missing rehearsals, she was replaced by Jane Fox's younger sister, Alice Fox, on vocals; Thorn would eventually sing as well.
The trio recorded a tape called A Day by the Sea and sold it to their acquaintances. The Marine Girls eventually released two albums in the U.K., 1982's Beach Party and 1983's Lazy Ways. Lazy Ways was produced by one of the band's influences, Stuart Moxham of the Young Marble Giants. While attending Hull University, Thorn began writing songs for herself; she was only able to gig with the Marine Girls during holidays. From 1982 Thorn concentrated on her studies and her growing personal and professional relationship with fellow Hull student Ben Watt. The Marine Girls broke up after Thorn and Alice Fox had an argument following a concert in Glasgow, Scotland, in 1983. Thorn then recorded her solo album A Distant Shore before joining Ben Watt in Everything but the Girl. The Marine Girls formally disbanded in 1983. The Fox sisters recorded as Grab Grab the Haddock and are currently working as artists.



01 - A Place In The Sun (2:29)
02 - Leave Me With The Boy (1:49)
03 - Falling Away (1:45)
04 - Love To Know (2:50)
05 - A Different Light (2:20)
06 - Sunshine Blue (2:04)
07 - Second Sight (2:54)
08 - Don't Come Back (2:01)
09 - That Fink.Jazz-Me-Blues Boy (1:33)
10 - Fever (2:13)
11 - Shell Island (2:26)
12 - Lazy Ways (2:41)
13 - Such A Thing.. (2:20)
14 - You Must Be Mad (1:59)
Beach Party
15 - In Love1:53
16 Fridays2:03
17 Tonight?1:19
18 Times We Used To Spend1:41
19 Flying Over Russia2:05
20 Tutti Lo Sanno2:21
21 All Dressed Up1:46
22 Honey2:02
23 Holiday Song2:12
24 He Got The Girl1:24
25 Day/Night Dreams1:10
26 Promises1:29
27 Silent Red1:33
28 Dishonesty2:16
29 20,000 Leagues2:23
30 Marine Girls1:39

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ESG - Come Away (83 * 276 mb)

The four Scroggins sisters -- Deborah (bass, vocals), Marie (congas, vocals), Renee (vocals, guitar), and Valerie (drums) -- formed a group with the support of their mother, who bought instruments to keep her daughters busy and away from trouble; at the time, each sibling was teenaged. Basing their sound on a mutual love for James Brown, Motowna nd Latin music. This is the second album by the Scroggins sisters, a/k/a ESG -Emerald, Sapphire and Gold - .‘Come Away with ESG’ was originally issued in 1983 on 99 Records, the New York independent record company home to a host of New York underground artists such as Liquid Liquid, Glenn Branca and The Bush Tetras.

ESG’s first recordings were the classic triumvirate of ‘Moody’, ‘UFO’ and ‘You’re No Good’, all recorded at E.A.R.S. studio in New York for Factory Records and produced by the legendary Martin Hannett. After being released as a single on the Manchester label, a subsequent album was issued on Ed Bahlman’s 99 Records made up of these three recordings on one side and live tracks from Hurrahs night-club in NYC on the other. (note, my copy got nicked years ago).
ESG’s notoriety and credibility was firmly established by the time of this second album. Produced by label owner/manager Bahlman and recorded at New York’s Radio City Music Hall studios, the album gives the audience exactly what it wants. A killer re-make of ‘Moody (spaced out)’, instant classics such as ‘The Beat’ and ‘Dance’, punk-funk instrumentals such as ‘Chistelle’ (named after drummer Valerie’s new-born daughter and nowadays herself the guitarist in ESG!) and others - without a duff track in there.

It certainly wasn't by design that the South Bronx-based group ESG affected post-punk, no wave, hip-hop, and house music. They opened for Public Image Ltd. and A Certain Ratio, they released records on the same label as Liquid Liquid, they had their music sampled countless times, and they became a playlist staple at '70s dance clubs like the Paradise Garage and the Music Box. The group's only aspiration was to play their music -- simplistic in structure and heavy on rhythm -- and sell lots of records.

After their debut LP, Come Away in 1983 the group went dormant for several years. One major factor was Bahlman's decision to shut down 99. A legal battle with Sugarhill over Grandmaster Flash's sampling of Liquid Liquid's "Optimo" caused him financial and mental stress, with Sugarhill's fall into receivership -- and inability to award 99 their due settlement -- acting as the final straw.. ESG resurfaced for a number of small-label releases during this period, and a 1993 release was pointedly titled "Sample Credits Don't Pay Our Bills." Throughout the '90s, ESG's stature as an influential group began to rise, with groups like the Beastie Boys and Luscious Jackson citing them as a profound discovery. The renewed interest helped lead to another resurfacing that culminated in a 2002 album, Step Off, for Soul Jazz. With a revamped lineup that included Renee Scroggins' daughters, Nicole and Chistelle, Step Off was met with the consensus that the group had picked up exactly where it left off.



01 - Come Away
02 - Dance
03 - Parking Lot Blues
04 - You Make No Sense
05 - Chistelle
06 - About You
07 - It's Alright
08 - Moody (spaced out)
09 - Tiny Sticks
10 - The Beat
11 - My Love For You
xs
12 - Dance to
13 - The Beat of Moody

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Pink Industry - Low Technology + Who Told You (82 * 93mb)

One of the most notable groups to grow out of the late seventies Liverpool scene was Big In Japan. Members of the group included Jayne Casey, Ian Broudie, Holly Johnson, Budgie and Bill Drummond, all of whom went on to bigger things. Big In Japan played some gigs, recorded a couple of singles and then called it a day.

Jayne Casey then formed Pink Military 'Stand Alone'. The group revolved around a nucleus of Jayne and a guy called Nicky, , and they were supplemented by a different group of musicians for each record. Their first release, on Last Trumpet records, was a live EP recorded at Eric's and included early versions of songs which would later appear on their only LP. They then signed to the Eric's label and released another EP, by this time dropping 'Stand Alone' from their name. On 5/6/80, they recorded a session for the John Peel radio show. Then came the excellent album 'Do Animals Believe In God?'. And then Pink Military were no more.

Jayne continued the good work with Pink Industry (next time) who released several albums It was Zulu Records that would serve to release Pink Industry. Jayne teamed up with Ambrose and Tadzio (guitar, keyboards) to weave out some truly memorable tracks on- "Low Technology", "Who Told You, You Were Naked" and "New Beginnings" their final album.
Alas, the world didn't want to know, even with a couple of great John Peel sessions and a couple of great compilation packages coming out a couple of years after the original album releases, it was not to be. Jayne Casey would later move on to become heavily involved in running Liverpool's club phenomenon- Cream-



01 - I Wish (2:57)
02 - New Aims (1:12)
03 - Don't Let Go (3:32)
04 - Creaking Doors (3:12)
05 - Enjoy The Pain (3:04)
06 - Savage (2:38)
07 - Send Them Away (2:34)
08 - Remove The Stain (1:17)
09 - Heavenly (2:52)
10 - Is This The End (2:55)
Xs - Who Told You, You Were Naked?
11 - Walk Away (1:59)
12 - Not Moving (3:02)
13 - Urban Jazz (2:24)
14 - Fear Of Failure (2:38)
15 - Anyone's Fashion (2:38)
16 - Situation (4:23)
17 - Two Culture's (1:53)
18 - Extreme (3:00)
19 - The Raft (1:43)
20 - This Is The Place (3:12)
21 - The Only One (3:22)
22 - Time For Change (3:46)

Pink @ Base
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Anne Clark - Changing Rooms (83/84 * 194mb)

Anne Clark was born the daughter of an Irishwoman and a Scotsman. At the age of 16, she left school. She took various jobs, one of which was as a nurse in a psychiatric hospital. Clark then got a job at the local record store (and label), Bonaparte Records. Punk rock was finding its way into London's music scene and totally matched Anne Clark's emotions.Clark soon became involved with the Warehouse Theatre, an independently-financed stage for bands, that was always low on cash. Although the theater's owners initially objected to the strange, pierced punk scene characters and their leather outfits. Anne managed to fill the theatre with artists like Paul Weller, Linton Kwesi-Johnson, French & Saunders, The Durutti Column, Ben Watt, and many others. She experimented with music and lyrics herself and first appeared on stage in Richard Strange's Cabaret Futura with Depeche Mode.

In 1982, Anne Clark published her first album, The Sitting Room, with songs written by herself. On the following albums, Changing Places (1983), Joined up Writing (1984)) and Hopeless Cases (1987), Anne benefited from an acquaintance from the Warehouse: keyboardist David Harrow, their curiosity with keyboards, synths and samplers led them to create songs and sounds that would provide blueprints for the electronic music of the 80s and 90s - Sleeper In Metropolis........Our Darkness...
1985 saw the release of Pressure Points and a collaboration with John Foxx, the founder of Ultravox. In 1986 she began working and writing with classically trained pianist Charlie Morgan and as well as joining her on her first US tour he also co-wrote material for the Hopeless Cases album. At the end of 1987 Anne moved to Norway which was to be her home for 3 years. The move to Scandinavia opened up further experiments with sound and music and she began working with Norwegian musicians Tov Ramstad and Ida Baalsrud. Along with Charlie Morgan the album Unstill Life was released in 1991.

Anne began working with Paul Downing, Martyn Bates and Andy Bell. With all the many co-writers, the various styles and experiments that have occured during her career, something immediately recognisable and consistent lies at the centre of Anne's work - a uniqueness present in every project which, whilst making Anne never completely acceptable to the mainstream music industry, offers a wholly original artist to the most important element of her work - her audience.In 1994 Anne decided to take the risk of touring with a purely acoustic band and the successful result of this can be heard on the live recording Psychometry made at the Passionskirche in Berlin in that year. In 1995 she released To Love And Be Loved, another magical blending of electronics and acoustics featuring collaborations with Martyn Bates, Paul Downing, Andy Bell and Chris Ellio.In 1998 Anne returned once again to the acoustic and folk/classical influences that have become increasingly important to her expression and, much to the disdain of the major record labels, but the acclaim of her audience and critics alike, she released Just After Sunset - a collaboration with Martyn Bates featuring translations of the poetry of Rainer Maria Rilke

Along the way Anne was introduced to Belgian act Implant who remixed Sleeper in Metropolis in 2003. It came to a new collaboration when Anne asked Implant to remix a couple of tracks which were performed in the Summer of 2004. New live performances with Implant and the acoustic project are ongoing..



01 - Contact (1:56)
02 - Sleeper In Metropolis (3:57)
03 - Poem For A Nuclear Romance (2:41)
04 - Wallies (4:02)
05 - Lovers Audition (2:10)
06 - Poets Turmoil No. 364 (2:47)
07 - Echoes Remain Forever (3:24)
08 - All Night Party (4:07)
09 - Pandora's Box (2:30)
10 - Feel (3:50)
11 - The Last Emotion (3:02)

Anne Clark @ Base

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Sapho - Le Paris Stupide (81 - 53mb)

Sapho was born in 1950 to Jewish parents in the predominantly Islamic country of Morocco (Marrakesh, to be exact). When she was 16, her family emigrated to France, although Sapho continued her studies at a boarding school in Switzerland. By 18, she was living on her own in Paris, taking acting lessons, and playing guitar and singing on the streets. A short time later, a musician friend convinced her to audition for the famed music school, Le Petit Conservatoire de Mireille. Sapho soon abandoned her acting studies in favor of music. A demo tape that was shopped around led to a signing by RCA, who released Le Balayeur du Rex in 1977 to little notice. After a brief stint as a French journalist in New York, it was back to Paris, then to London to record her second album, Janis, released in 1980. Now fully back into (rock)music, Sapho, france's answer to Nina Hagen, but hers was certainly not her lifestyle. After another 3 albums she took a break to concentrate on a book of drawings that was eventually published.

Sapho returned to music in 1985, with Passions, Passons, which saw her leaving the rock sound of her previous albums to embrace the Middle Eastern sounds she had grown up with; leading to a series of concerts at Le Bataclan, where she began performing her arrangements of songs made popular by the great Egyptian singer Oum Kalthoum. The next few years saw Sapho branching out further: she published two novels, was involved with making a film about the Intafada, and performed in a Threepenny Opera, all the while still performing and recording her own music. Starting in 1992, she focused on the music of Oum Kalthoum, releasing a full album of that material, and touring the world, even performing in Jerusalem in 1994. Her next album, Jardin Andalou (1996), blended rock with Arabic and Andalusian elements. This was followed by Digital Sheikha, a more dance-based album for the Swiss Baraka label. In 1999, La Route Nue des Hirondelles was released, along with her third novel, Beaucoup Autour de Rien. She transformed La Route Nue des Hirondelles into a stage show, which she toured for the next couple years while also continuing with the Oum Kalthoum material. Returning to recording, Orients was released in 2003.



01 - Amoure Absence (4:06)
02 - Chanteur (3:08)
03 - Une Vieille Dame Sous Influence (3:27)
04 - Camion (3:14)
05 - Désir Sans Objet (3:50)
06 - Dispute De Voisins (0:25)
07 - Respect (3:30)
08 - Jument Dans Du Verre (2:40)
09 - A.B.C. (0:19)
10 - Les Mains D'Un Idiot (1:22)
11 - Dancing (1:12)
12 - Dealer (1:30)
13 - Dégoûtés (0:20)
14 - Requins Et Mondains (3:38)
15 - Jules (0:34)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !