This is a blogg* to share my eXcess; that which reached, touched, entertained or angered me, in general all that draws my interest and thereby transmutes my Xsistance.
Eclectic music, metaphysics, (pre)history, conspiracies against humanity, the environment.
Hello, The Hitchhikers Guide To The Galaxy is nearing it's last page..alas oh well there's something in the pipeline a small encore and a bigger one..sort of later, for now here's the penultimate Fit 25, but first what happened last week,
Arthur is still trying to gain advice on the planet Hawalius, but when he finally leaves the planet, the spaceship he's on develops "a major glitch" just as they jump into hyperspace. Meanwhile, on Earth, Tricia McMillan agrees to go with the Grebulons and work out a system of astrology that would be valid on the planet Persephone (Rupert), in exchange for exclusive rights to the story.
Back in The Guide's offices, Zarniwoop Vann Harl, the new editor of the guide, asks Ford to be his restaurant critic. He explains that there is a new Guide, aimed at families rather than hitchhikers, and they plan to make one and sell it in billions of billions of alternate worlds. Ford steals the Dine-a-Charge and Ident-i-Eze cards from him, then hacks into the accountancy system. The universe there is equated with the artificial universe inside Zarniwoop's office, and Ford discovers Zaphod, in a shack by the beach, claiming he has been there on his own for a month. Zaphod claims that the Presidency and the Krikkitmen were just a distraction, and that they have "shrunk the Vortex and given it the voice of that Lintilla chick" in order to create the new Guide. The episode ends with Ford going to floor 23, and being forced to jump out of a window, in order to escape from Zarniwoop Vann Harl, who is revealed as a disguised Vogon.
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Hello, Sundaze ended up in 1981, unplanned . The albums today all have a dance element, in fact two were used by the Twyla Tharp dance troupe... Craig Leon has had a very long and wide ranging career as a producer, from punk to classical these days, that said this was his first of only 3 soloalbums... You can multiply that number by ten for my next artist, Stephan Micus. This world traveller has been expanding his vision of a transcultural music by learning to play numerous instruments and let them inspire him to explore the musical possibilities. His work too has been regularly chosen to dance too, this one Koan isin general maybe a bit too ambient but then ballet can display a storyline ...finally another Twyla Tharp commision, this time written and perfomed by David Byrne and friends..The Catherine Wheel...within a wheel..within a wheel..
Craig grew up in Florida, where he received private classical music training in keyboard performance, composition, and musicology. While working in local bands and on local rock and R&B records as a keyboard player and arranger he recorded in various studios including Criteria in Miami. He eventually built his own recording studio with the help of his friend, Alex Sadkin, another Floridian who also worked at Criteria at that time. After producer, Richard Gottehrer brought in Sire recording artists, he offered Craig an appointment in New York as his assistant. As a result, Leon moved to Manhattan in the early 1970s where he accepted an A&R position at Sire Records in New York under Gottehrer and his partner Seymour Stein. There he was responsible for the discovery and early development of the Ramones and Talking Heads amongst other artists. He produced the first Ramones album and also concentrated on licensing more adventurous European records which the majors were unwilling to release in the U.S. At Sire, Craig learned the skills necessary for the production, as well as manufacture of recorded music.
After producing the 'Live at CBGBs' compilation for Atlantic Records, Craig joined Richard Gottehrer and Marty Thau to set up a production company called Instant Records. Projects included the early Blondie records, Richard Hell & The Voidoids and Suicide. Other productions throughout the 70s included Chilliwack, Willie Alexander and the Boom Boom Band, Martha Velez & The Wailers (co-produced with Bob Marley and Lee Perry), Robert Gordon& Link Wray, Moon Martin (including 'Bad Case of Loving You' and 'Cadillac Walk'), Rodney Crowell, Guy Clark, The Roches(with Robert Fripp), Dwight Twilley, Sir Douglas Quintet, The Records and others. In the early 80s came The Fabulous Thunderbirds,The Bangles,The Beat Farmers,etc. In the mid 80s Craig relocated to the U.K. at the request of Statik Records (an independent subsidiary of Virgin) where he produced Jeffrey Lee Pierce, Flesh For Lulu and others including mixing for The Chameleons and The Sound. Since that time he has been active in both the major and alternative music scenes in the UK with over 40 chart records.
He has always been concerned with the development of new ideas and working in alternative forms within contemporary music. He has written and performed on three albums of his own, including "Nommos" (a dance piece based on North African ethnic themes and electronic music, that was used by members of The Twyla Tharp dance troupe which was also used as the opening exhibit for the Los Angeles Museum of Contemporary Art in 1981),and the full length score of the Kosh Dance Theatre piece, "Klub Anima", which deals with alternating classical and modern electronic forms. _Craig has recently produced a number of classical projects including "Wings of Song" for Sir James Galway and The London Symphony Orchestra,"Romance of the Violin" for Joshua Bell and The Academy of St. Martin In The Fields, an album of original compositions with Elysium (featuring members of Sequentia) and the Vienna RSO, three number one classical albums with new age/classical artist Izzy,an album of folk song transcriptions for Andreas Scholl,"Wayfaring Stranger", the debut recital album for soprano Natasha Marsh, a crossover project for Italian soprano Giorgia Fumanti, and a disc of the music of Italian Cinema with the composer Luis Bacalov including performances by Luciano Pavarotti, Sting, Deborah Harry and others. He has also produced 6 folk-electronic albums for Texas folk artist Cassell Webb.
01 - Ring With Three Concentric Discs (4:53) 02 - Donkeys Bearing Cups (5:57) 03 - Nommo (6:48)
04 - Four Eyes To See The Afterlife (11:17) 05 - She Wears A Hemispherical Skull Cap (6:48)
Born in 1953 in Germany, Stephan Micus made his first journey to the Orient at the age of sixteen. Fascinated by the variety of musical cultures around the world Micus has travelled in virtually every Asian and European country as well as in Africa and the Americas. Studying with local master musicians he learned to play numerous traditional instruments, many of them unknown in the Western world. However, Micus‘s intention is not to play these instruments in a traditional manner, but rather to develop the fresh musical possibilities which he feels are inherent in them. In many of his compositions, which he performs himself, he combines instruments that have never before been played together. The resulting dialogues further reflect his vision of a transcultural music. Many of Europe’s leading dance companies have chosen his work for their productions. He has performed hundreds of solo concerts over the last 30 years throughout Europe, Asia and the Americas
In search of musical culture and context Micus has travelled extensively, in particular in India, Japan, Indonesia, Korea, Afghanistan, Morocco, Algeria, Tunisia, Thailand, Egypt, Burma, Sri Lanka, Turkey, USA, Canada, Israel, China, Gambia, Senegal, Nepal, Ladakh, Sinkiang, Venezuela, Tanzania, Argentina, Peru, Ghana, Mali, Jordan, Georgia, Ethiopia, Pakistan, Yemen, Cuba, Lebanon, Laos, Vietnam, Cambodia, Uzbekistan, Kyrgyzstan, Cabo Verde, Mauretania, Armenia, Karabagh. Micus used his travels to study a variety of instruments including guitar, concert-flute, sitar in Benares (India), flamenco guitar in Granada (Spain), shakuhachi (Japanese bamboo flute) and sho (Japanese mouth organ) in Kyoto (Japan), suling (Balinese flute) in Ubud (Bali), Uillean pipes in Carna (Ireland), sinding (African harp) in Gambia, dondon (talking drum) in Accra (Ghana), doussn’ gouni (African harp) in Bamako (Mali), duduki (Georgian oboe) and Georgian polyphonic choral singing in Tbilisi (Georgia), hné (Burmese oboe) in Yangon and Mandalay (Myanmar), duduk (Armenian oboe) in Yerevan (Armenia), bagana (Ethiopian lyre) in Addis Abeba, nohkan (flute of the noh theatre) in kyoto (japan). Bulgarian polyphonic choral singing in Plovdiv (Bulgaria). In addition to his exclusively acoustic instruments Micus also uses his voice, at times – with multitrack recording techniques – creating whole choral pieces by himself.
01 - Part I (2:36) 02 - Part II (11:53) 03 - Part III (11:27)
04 - Part III Continued (5:42) 05 - Part IV (4:28) 06 - Part V (9:49)
Born May 14, 1952, in Dumbarton, Scotland, Byrne was raised in Baltimore, MD, he played guitar in a series of teenage bands before attending the prestigious Rhode Island School of Design, where, feeling alienated from the largely upper-class student population, he dropped out after one year. However, he remained in the Providence area, performing solo on a ukelele before forming the Artistics (also known as the Autistics) with fellow students Chris Frantz and Tina Weymouth. After changing the name of the band to Talking Heads and enlisting onetime Modern Lover Jerry Harrison, the group signed to Sire Records; a series of LPs, including the debut Talking Heads '77, 1978's More Songs About Buildings and Food, and 1980's Remain in Light followed, establishing the quartet as one of contemporary music's most visionary talents.
During a band sabbatical in 1981, Byrne teamed with Brian Eno, the producer of much of the Heads' work, for the collaborative effort My Life in the Bush of Ghosts, a complex, evocative album which fused electronic music with Third World percussion and hypnotic vocal effects. That same year, Byrne also began exploring theater, composing The Complete Score From the Broadway Production of "The Catherine Wheel," a dance piece choreographed by Twyla Tharp. Byrne's score is always interesting and frequently brilliant; it draws on the instrumental talents of such session greats as drummer Yogi Horton, percussionist John Chernoff, guitarist Adrian Belew ,and Eno. Horton's drumming establishes a muscular funk foundation for much of the material, which also showcases Byrne's underrated guitar playing. Highlights of the program include "The Red House," with its eerie use of deconstructed vocal samples, and the lovely faux-juju "Ade."
01 - Light Bath (1:09) 02 - His Wife Refused (4:31) 03 - Ade (Byrne, Brian Eno)(3:22) 04 - Walking (Byrne, John Chernoff) ( 0:52) 05 - Two Soldiers (Byrne, Brian Eno) (3:31) 06 - Under the Mountain (0:53) 07 - Dinosaur (2:36) 08 - The Red House ( 3:17) 09 - Wheezing (3:12) 10 - Eggs in a Briar Patch (3:31) 11 - Poison (2:31) 12 - Cloud Chamber (2:50) 13 - Black Flag (2:29) 14 - My Big Hands (Fall Through the Cracks) ( 2:46) 15 - Combat (Byrne, John Chernoff) (2:45) 16 - Leg Bells (Byrne, John Chernoff) (2:40) 17 - The Blue Flame (3:25) 18 - Big Business (Byrne, John Chernoff) (5:06) 19 - Dense Beasts (3:11) 20 - Five Golden Sections (2:53) 21 - What a Day That Was (5:30) 22 - Big Blue Plymouth (Eyes Wide Open) ( 4:43) 23 - Light Bath (1:10)
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Hello, after last weeks easy beats , we go up a gear or two tonight, some french beats making their way, Daft Punk got their name from a melody maker reviewer who described them as daft punks, whilst opening for Stereolab then as an indie trio. They sure made a meal of that qualification, considering their name recognition after a decade. You'd expect they released a body of work but defacto they've produced just three studio albums. You could say they kept a low profile, considering their masked performances you'd be right there too. ANywway their first body of Homework is , to me still the best ...Pills came out of the French rave scene and with Electrocaine they chose for a harder electro sound, it broke up the duo..anyway the band seems to have gone on indefinite hold as their last album still awaits release...Another big duo on the french scene are Cassius they compiled and mixed what turned be the bonus cd to the last Muzik Magazine edition..pity that was...
Thomas Bangalter and Guy-Manuel de Homem-Christo met in 1987 at a secondary school in Paris, the two became good friends and later recorded demo tracks with others from the school. This eventually led in 1992 to an indie rock formation with Laurent Brancowitz on drums, Bangalter on bass and de Homem-Christo on guitar. The trio had branded themselves Darlin', after The Beach Boys song of the same name, which they covered along with an original composition.Stereolab released both tracks on a multi-artist Duophonic Records EP and invited the band to open for stage shows in the United Kingdom. A negative review in Melody Maker subsequently dubbed the music "a bunch of daft punk." Instead of dismissing the review, Bangalter and de Homem-Christo found it to be amusing. Darlin' soon disbanded, Bangalter and de Homem-Christo formed Daft Punk and started experimenting with drum machines and synthesizers.
In 1993 Daft Punk attended a rave at EuroDisney, where they met Stuart Macmillan of Slam, co-founder of the label Soma Quality Recordings.The demo tape given to Macmillan at the rave formed the basis for Daft Punk's debut single, "The New Wave", a limited release in 1994, it also contained the final mix of "The New Wave" called "Alive". Daft Punk returned to the studio in May 1995 to record "Da Funk". It became their first commercially successful single the same year. The band signed with Virgin Records in September 1996, and made a deal through which they licensed their tracks to the major label through their production company, Daft Trax.
"Da Funk" and "Alive" were later included on Daft Punk's 1997 debut album Homework. The album was regarded as an innovative synthesis of techno, house, acid house and electro styles, and is widely acknowledged as one of the most influential dance music albums of the nineties. They combined the aforementioned music styles and elements of rave that were crowd pleasers. The most successful single from Homework was "Around the World", which is known for the repeating chant of the song's title. Daft Punk's skills at producing filter effects "to make sounds shiver up your spine, 'ardkore's sped-up and helium-squeaky vocals" lends itself to the developing style of speed garage. A mixture of rave, house, jungle (circa 1994) and ragga chants were combined with a new style of syncopated beats and textured snare drum sounds. This combination proved successful for Daft Punk in the club scene and helped bring mainstream attention to their music.
By 1999 the duo were well into the recording sessions for their second album, which had begun a year earlier.2001's Discovery took on a slicker and distinctly synthpop-oriented style, the group states that the album was conceived as an attempt to reconnect with a playful, open-minded attitude associated with the discovery phase of childhood. This accounts for the heavy use of themes and samples from the late '70s to early '80s era on the album. Its single "One More Time" was a major club hit, the singles "Digital Love" and "Harder, Better, Faster, Stronger" were also very successful in the UK and on the United States dance chart. A 45-minute excerpt from a Daftendirektour performance recorded at Birmingham, UK in 1997 was also released in 2001, entitled Alive 1997. 2003 first saw the release of the feature-length animated film Interstella 5555: The 5tory of the 5ecret 5tar 5ystem. Daft Punk produced the film under the supervision of Leiji Matsumoto, whom they have said is their childhood hero. The album Daft Club was also released to promote the film. It features a collection of remixes previously made available through an online membership service of the same name.
The duo released the album Human After All in March 2005, reviews were mixed, mostly citing its overly repetitive nature and seemingly rushed recording. The singles taken from this album were "Robot Rock", "Technologic", "Human After All" and "The Prime Time of Your Life". The earliest official statement from Daft Punk concerning the album was "we believe that Human After All speaks for itself." A Daft Punk anthology CD/DVD entitled Musique Vol. 1 1993-2005 was released on April 4, 2006. It contains new music videos for "The Prime Time of Your Life" and "Robot Rock (Maximum Overdrive)". Daft Punk also released a remix album of Human After All called Human After All: Remixes. A limited edition included two kubricks of Daft Punk as robots. On May 21, 2006, Daft Punk premiered their first directed film, Daft Punk's Electroma at the Cannes Film Festival sidebar Director's Fortnight. The film does not include their own music, midnight screenings of the film were shown in Paris theaters starting from the end of March 2007, Initial public comments have since been positive. Daft Punk released their second live album titled Alive 2007 on November 19, 2007. It contains the duo's performance in Paris from their Alive 2007 tour. The album includes a 50-page book showcasing photographs shot while on tour. The live version of "Harder, Better, Faster, Stronger" from Alive 2007 was released as a single.
01 - Daftendirekt (2:44) 02 - Wdpk 83.7 FM (0:28) 03 - Revolution 909 (5:26) 04 - Da Funk (5:28) 05 - Phœnix (4:55) 06 - Fresh (4:03) 07 - Around The World (7:07) 08 - Rollin' & Scratchin' (7:26) 09 - Teachers (2:52) 10 - High Fidelity (6:00) 11 - Rock'n Roll (7:32) 12 - Oh Yeah (2:00) 13 - Burnin' (6:53) 14 - Indo Silver Club (4:32) 15 - Alive (5:15)
Pills, (previously '"Ice Bath") was formed by Anthony Sandor and Ludovic Bordas in 1991. They pioneered the french underground sound on Rave Age Records. Pills debuted at the first official rave party in france in 1992, along side of William Orbit, 808 State, and Underground Resistance. In 1995 they released Foundation Ludovic Bordas left the band after disagreements about the direction when recording Electrocaine, Antony Sandor kept the band alive and directed the sound of Pills into a blend of acid house, electronic pop, and hip-hop elements while also revealing a slightly dark banlieu edge . Electrocaine was followed up in 2000 by Music Soldia , in 2002 the release of the last album Cosmic Carnival got stuck in the pipeline..
01 - Garden Party (5:34) 02 - Fun-K-Tronic (4:05) 03 - Drugstore (5:13) 04 - Junky Star (5:11) 05 - Hurricane (7:29) 06 - Darkside (8:14) 07 - Black Pearl (6:19) 08 - Amazing Dread Club (4:28) 09 - Rock Me (3:34) 10 - Free Step (4:28) hidden 11 - Rock Me (remix) (4:34)
Cassius, a new addition to the top ranks of French electronica circa 1999, actually comprised two of the scene's most experienced producers: Philippe Zdar and Hubert Blanc-Francart (AKA Boom Bass). They first met back in the late '80s, working in the same studio (Zdar was an engineer, and Boom Bass was just learning the trade). Boom Bass worked with MC Solaar, and combined with Zdar to release two EPs on Mo' Wax as La Funk Mob during 1994. Zdar also teamed with Etienne De Crécy (from the Super Discount project) to release an LP as Motorbass. Finally, Philippe Zdar and Boom Bass came together in late 1998 as Cassius. Combining the jazzy hip-hop of Boom Bass with Zdar's phase'n'filter acid-disco, Cassius debuted with the single "Cassius 1999," a club anthem and British Top 20 hit late in 1998. The full-length album "1999" appeared early the following year. "Au Rêve", was released in 2002 with vocals from Jocelyn Brown , Steve Edwards, and Ghostface Killah on "Thrilla". In 2003 they mixed and compiled the bonus cd to what was to be the final word from Muzik Magazine. In 2006, Cassius released "15 Again", a conceptual album with tracks inspired by what they use to listen when they were teenagers.
01 - Drugs - Brain On Drugs (Chateau Flight Remix) (4:14) 02 - Manhead - Doop (Reverso 68 Remix) (4:44) 03 - Bergheim 34 - Take My Soul (3:00) 04 - Black Strobe - Me And Madonna (4:30) 05 - Bosco - Novo Screen (Kiko & Gino S Remix) (2:53) 06 - Agoria - Hold Up (3:48) 07 - Goldfrapp - Train (Ewan Pearson Dub Mix) (Edit) (0:59) 08 - DSL - Padampam (Dub Mix) (3:41) 09 - Metro Area - Orange Alert (DFA Remix) (1:48) 10 - Scratch Massive - Seeing Is Believing (Frank Arbaretaz Remix) (3:00) 11 - Scott Grooves - Mothership Reconnection (Daft Punk Remix) (3:54) 12 - Charles Manier - Change You (2:13) 13 - Feadz - Split Again (3:26) 14 - Bergheim 34 - Random Access (B43 Original) (4:20) 15 - Cassius - The Sound Of Violence (Reggae Rock Mix) (4:56) 16 - Audio Bullys - Turned Away (Tony Senghore Electric Vocal Mix) (3:23) 17 - Cassius - Thrilla (The Streets Remix) (3:07)
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Hello, Into the Groove is honoring another grandmaster of soul, a man that overcame more then being black, he was blind too, later another important sense was taken from him, smell. Adversity didnt keep him from creating music, that over the years amasssed 26 grammy's worth of recognition. Not that that's important, what is he touched the hearts and hips of millions.
Steve Wonder (Steveland Hardaway Morris) was born in 1950 in Saginaw, Michigan. Wonder was born premature and was put into an incubator. When too much oxygen in the incubator caused cataracts to grow behind each eye, it left the infant blind. The family moved to Detroit when Wonder was 4, and he began singing and playing instruments in church at an early age. He took to the piano, congas, and harmonica in particular. He was educated at the Michigan School for the Blind in Lansing, Michigan where he was trained in classical piano. When he was eight his parents divorced four years later, at the age of twelve, Wonder was introduced to Ronnie White of the popular Motown act The Miracles, he brought Morris and his mother to Motown Records. Impressed by the young musician, Motown CEO Berry Gordy signed Morris to Motown's Tamla label with the name Little Stevie Wonder.
Little Wonder had his first major hit, "Fingertips (Pt. 2)", a 1963 single taken from a live recording of a Motor Town Revue performance. The song, featuring Wonder on vocals, bongos, and harmonica, and a young Marvin Gaye on drums, was a #1 hit on the US pop charts and launched him into the public consciousness. Dropping the "Little" from his moniker, Wonder went on to have a number of other hits during the mid-1960s, including "Uptight (Everything's Alright)", "With a Child's Heart", and "Blowin' in the Wind", a Bob Dylan cover which was one of the first songs to reflect Wonder's social consciousness. By 1970, Wonder had scored more major hits, including "I Was Made to Love Her", "For Once in My Life", "My Cherie Amour", and "Signed, Sealed, Delivered I'm Yours". Besides being one of the first songs on which Wonder serves as both songwriter and producer, "Signed, Sealed, Delivered" is one of the main showcases for his backup group Wonderlove, a trio which included at various times Minnie Riperton, Deniece Williams, Lynda Laurence, and Syreeta Wright, whom Wonder married on September 14, 1970, they divorced eighteen months later, but they continued to collaborate on musical projects.
Arguments over creative control had Wonder leave Motown, he independently recorded two albums, which he used as a bargaining tool while negotiating with Motown. Eventually, the label agreed to his demands for full creative control and the rights to his own songs, and Wonder returned to Motown in March 1972 with Music of My Mind, an album which is considered a classic of the era. Unlike most previous artist LPs on Motown, which usually consisted of a collection of singles, b-sides, and covers, Music of My Mind was an actual LP, a full-length artistic statement, and began a string of five albums released over a period of less than five years, that make up what is generally considered Stevie Wonder's classic period. October 1972's love album Talking Book featured the #1 pop and R&B hit "Superstition", which is one of the most distinctive examples of the sound of the clavinet. The song, originally intended for rock guitarist Jeff Beck. His third consecutive masterwork of the decade and his career, Innervisions, featuring the driving "Higher Ground" followed by the memorable epic "Living for the City" hits.
On August 6, 1973, just days after the release of Innervisions, Wonder was in a serious automobile accident while on tour, when a log from a truck went through a passenger window and struck him in the head. This left him in a coma for four days and resulted in a permanent loss of his sense of smell ! The album Fulfillingness' First Finale appeared in July 1974 and set two hits high on the pop charts: the #1 "You Haven't Done Nothin'" (a political protest song) and the Top Ten "Boogie On Reggae Woman". Wonder released what he intended as his magnum opus, the double album Songs in the Key of Life, in September 1976. Sprawling in style, unlimited in ambition, and sometimes lyrically difficult to fathom, the album was hard for some listeners to assimilate, yet is regarded by many as Wonder's crowning achievement and one of the most recognizable and accomplished albums in pop music history. The album became the first of an American artist to debut straight at #1 in the Billboard charts, where it remained for 14 non-consecutive weeks. Two tracks fairly jumped out of the radio with energy, becoming the #1 pop/r'n'b hits "I Wish" and "Sir Duke". Songs in the Key of Life won his third consecutive Album of the Year and two other Grammys.
Possibly exhausted by this concentrated and sustained level of creativity, Wonder stopped recording for three years.His tentative return was with a mostly instrumental soundtrack album for the film Journey through the Secret Life of Plants (1979). The 80's saw Wonder scoring his biggest hits and reaching an unprecedented level of fame evidenced by increased album sales. Hotter than July (1980) became Wonder's first platinum selling album, and its single "Happy Birthday" was a successful vehicle for his campaign to establish Dr. Martin Luther King's birthday as a national holiday. The album also included his Bob Marley tribute "Master Blaster (Jammin')", and the ballad, "Lately". In 1982, Wonder released a retrospective of his '70s work with Stevie Wonder's Original Musiquarium and included three more hit singles in his catalogue, including the ten-minute funk classic "Do I Do" (which included legendary jazz trumpeter Dizzy Gillespie), "That Girl" (one of the year's biggest singles to chart on the R&B side) and "Ribbon in the Sky". 1984 saw the release of Wonder's soundtrack album for The Woman in Red, the smash hit "I Just Called to Say I Love You". The following year's In Square Circle featured the #1 pop hit "Part-Time Lover". He featured in Chaka Khan's "I Feel For You", playing his signature harmonica, aswell as on the Eurythmics' single, "There Must Be an Angel (Playing with My Heart)". By now, Stevie Wonder was an American icon.
After 1987's Characters LP, Wonder continued to release new material, but at a slower pace. He recorded a soundtrack album for Spike Lee's film Jungle Fever in 1991 with a video for "Gotta Have You", and released both Conversation Peace and the live album Natural Wonder during the same decade. Wonder's first new album in ten years, A Time to Love, was released on October 2005. The first single, "So What the Fuss", was released in April and features Prince on guitar and background vocals from En Vogue. A second single, "From the Bottom of My Heart" was a hit on adult-contemporary R&B radio. 2007 saw "A Wonder Summer's Night" , a 13 concert tour - his first U.S. tour in over ten years. Stevie is currently working on a new album titled The Gospel Inspired By Lula which will deal with the various spiritual and cultural crises facing the world
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Stevie Wonder - Anthology ( 74, 117min * 195mb)
A triple album collecting Stevie Wonders sixties work (1962-1969)
01 - Thank You (For Loving Me All The Way) (2:51) 02 - Contract On Love (2:04) 03 - Fingertips (Part II) (2:59) 04 - Workout Stevie, Workout (2:40) 05 - Castles In The Sand (2:08) 06 - Hey Harmonica Man (2:36) 07 - High Heel Sneakers (3:05)
08 - Uptight (Eveything's Alright) (2:52) 09 - Nothing's Too Good For My Baby (2:35) 10 - Blowin' In The Wind (3:28) 11 - Ain't That Asking For Trouble (2:41) 12 - I'd Cry (2:31) 13 - A Place In The Sun (2:48) 14 - Sylvia (2:29)
15 - Down To Earth (2:46) 16 - Thank You Love (2:53) 17 - Hey Love (2:44) 18 - Travelin' Man (2:49) 19 - Until You Come Back To Me (That's What I'm Gonna Do) (2:57) 20 - I Was Made To Love Her (2:34) 21 - I'm Wondering (2:50)
22 - Shoo Be Doo Be Doo Da Day (2:41) 23 - You Met Your Match (2:36) 24 - I'd Be A Fool Right Now (2:54) 25 - Alfie (3:10) 26 - More Than A Dream (3:46) 27 - For Once In My Life (2:45)
28 - Angie Girl (2:57) 29 - My Cherie Amour (2:51) 30 - Don't Know Why I Love You (2:43) 31 - If I Ruled The World (3:33) 32 - Yester-Me, Yester-You, Yesterday (3:01) 33 - Never Had A Dream Come True (3:10) 34 - Signed, Sealed, Delivered (2:34)
35 - Heaven Help Us All (3:12) 36 - I Gotta Have A Song (2:32) 37 - Never Dreamed You'd Leave In Summer (2:56) 38 - If You Really Love Me (2:58) 39 - Something Out Of The Blue (2:58) 40 - Do Yourself A Favour (6:01)
Songs in the Key of Life became the best-selling and most critically acclaimed album of Stevie Wonder's career. It won a Grammy Award for Best Male Pop Vocal and Album of the Year. The album also topped Billboard's Pop Albums and Black Albums charts for a record breaking 14 weeks out its 44 week in the Top 40 alone, and was one of the first albums by a solo artist to debut at #1 in its first week of sales. Unfortuantely my bonus single has gone awol, so you'll have to do without..for those that haven't bought the cd and or remaster and find vinyl ripping impossible-without a player here's your chance to reconnect...
01 - Love's In Need Of Love Today (7:02) 02 - Have A Talk With God (2:40) 03 - Village Ghetto Land (3:22) 04 - Contusion (3:43) 05 - Sir Duke (3:49)
06 - I Wish (4:10) 07 - Knocks Me Off My Feet (3:34) 08 - Pastime Paradise (3:24) 09 - Summer Soft (4:10) 10 - Ordinary Pain (6:12)
11 - Isn't She Lovely (6:30) 12 - Joy Inside My Tears (6:25) 13 - Black Man (8:18)
14 - Ngiculela - Es Una Historia - I Am Singing (3:46) 15 - If It's Magic (3:10) 16 - As (7:04) 17 - Another Star (7:57)
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Hello Alphabet Soup has reeached X, and i have to say my X-files total number is low, therefor just the two today, first Xymox, they came by here once before as Clan of Xymox in the Eurotour/Netherlands with their first official album, however they started out as Xymox and dropped the Clan part in 87 reverting back to Xymox for a decade but since 97 the Clan part is back on . Confused..well Xymox second album under their old moniker came after a unexpected success with Twist of Shadows , that caused expectations to rise considerably for the sale of the follow up and when it didnt manifest, the label execs blamed the shortcomings of their bloated predictions on the band (as usual). It left the already recorded followup in limbo..exit halfthe band and the label. That was 92 ..they are still here...My second band Xploding Plastics ..sounds friendlier then semtex.. are produce a very continental lounge beat, the vienna scientists Kruder and Dorfmeister of Norway.
Clan of Xymox, also known as Xymox at various parts of their career, are a darkwave/gothic rock band founded in Nijmegen, the Netherlands, in 1983. The Subsequent Pleasures EP was self-published under the name Xymox, at that time consisting of Moorings on guitar and vocals, his girlfriend Anke Wolbert on bass and vocals, and Pieter Nooten on keyboards. A chance meeting with Brendan Perry and Lisa Gerrard of Dead Can Dance led to an invitation to support that band on a UK tour, and then a recording contract with their record label, 4AD Records.
Their debut album, self-titled under their newly adopted name Clan of Xymox, was released by 4AD in 1985, and drew comparisons to Joy Division and The Cure. 1986 saw their second album, Medusa (considered by many fans to be their finest work), continuing in this dark vein. They released two albums and a number of singles on 4AD before shortening their name to Xymox in 1988 and signing to a subsidiary of Polygram. Their releases as Xymox were in a more synthpop/dance music vein. Twist of Shadows was the band's most commercially successful album, selling 300,000 copies. With 1991's follow-up Phoenix (with Nooten back on board) Xymox was making an effort to escape its obscurity and be more commercial. There were those who labeled Phoenix as the work of a band that had sold out, but while eerie, high-tech tunes such as "Smile Like Heaven," "Written in the Stars" and "Mark the Days" are slicker and more pop-minded than Xymox's mid-1980s work, they're far from bad. The gloominess and overtly European qualities that had characterized early Xymox remained, though Xymox was definitely thinking in terms of the pop-rock audienceless alas it wasnt as successful as it predecessor, and when their recordlabels executive nitwit declined to release the next album, Metamorphosis, Nooten and Wolbert left the band for good.
With only Ronny Moorings remaining they moved to an independant releasing Metamorphosis and Headclouds The Xymox era ended in 1997 when, in the midst of a revival in the Gothic scene, Ronny Moorings made the decision to restart Clan of Xymox . In 1999, they signed with the Metropolis label and released Creatures, which was followed a year later by the two-CD Live. The 2001 album Notes from the Underground was reinterpreted on the double remix CD Remixes from the Underground, which landed in 2002. Farewell from 2003 was a themed album with bittersweet goodbyes to lovers and friends the main topics. The 2004 collection The Best of Clan of Xymox found latter-day highlights next to re-recordings of the band's early material. Two years later, the album Breaking Point was announced by the single "Weak in My Knees."
01 - Phoenix Of My Heart / Wild Thing Outro (4:11) 02 - At The End Of The Day (3:42) 03 - The Shore Down Under (5:15) 04 - Mark The Days (6:10) 05 - Believe Me Sometimes (4:54) 06 - Wonderland (4:57) 07 - Written In The Stars (5:03) 08 - Dancing Barefoot (3:40) 09 - Crossing The Water (3:46) 10 - Smile Like Heaven (4:47)
Xploding Plastix is the musical child of Jens Petter Nilsen and Hallvard Hagen. Both based in Oslo, they started making music together somewhere late 98-early 99. After about a year of playing, sampling, programming and focused tune writing; they decided it was time to let the public hear what they'd been up to. This resulted in a 6 track demo late 99. About 22 hours after first shipment, record companies were on the phone, and months later, 5 out of 6 tracks were released on various lables.
Xploding Plastix has a very organic sound, weaving hypnotic grooves with nostalgic jazz and using scratchy sampling and a variety of sound effects along live played instruments, and cover a wide range of styles. Dark-toned, full of raw energy and sleazy acid jazz, Xploding Plastix’ Amateur Girlfriends Go Proskirt Agents carries a somewhat funky attitude, entertains with its exciting rhythms, cool looping beats and humorous hints, creating a special and lively pulsating atmosphere. And let's not forget Vienna, they seem to have caught that virus aswell....well there's a lite version
01 - Sports, Not Heavy Crime (5:07) 02 - Funnybones & Lazylegs (4:48) 03 - 6-Hours Starlight (3:22) 04 - Behind The Eightball (4:49) 05 - Single Stroke Ruffs (2:28) 06 - Treat Me Mean, I Need The Reputation (4:58) 07 - Relieved Beyond Repair (1:45) 08 - Tintinnamputation (4:26) 09 - More Powah To Yah (5:26) 10 - Having Smarter Babies (4:57) 11 - Far-Flung Tonic (4:51) 12 - Happy Jizz Girls (2:54) 13 - Doubletalk Gets Through To You (5:23) 14 - Comatose Luck (3:39)
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Hello, it's Eight-X vinyls time again, and today we have two acts with multiple identities. Fingerpritz, apparently the name Fingerprince was too " no sex please we're british", and so they left it too track two here (wink). Well, they released three albums with limited commercial success, before reinventing themselves-at least the two prime artists- as the Silencers that in the cause of the decade to come had considerable success. But here's how it started....Up next, Modern English, i had saved this one for spring as i think its a wonderfull spring album, it surprised their first fans as it was so upbeat and far from the doom their debut album displayed. Sadly they havent been able to overcome "After The Snow" and kept melting afterwards, a pity. Lastly today..After the break up of The Beat (UK) two new bands formed from the ashes, both were to become as successful in their own right. Fine Young Cannibals..(more on them next week) and General Public, which started off as a bit of a supergroup with members aboard from Dexy's Midnight Runners and Mick Jones (Clash). As these supergroups tend to do-they fall apart- and so it was after General Public's second album, but here at their debut thinks were all hunky dory....
Before forming The Silencers, vocalist Jimme O'Neill and guitarist Cha Burns were active in London's new wave music scene. O'Neill wrote songs for Paul Young and Lene Lovich, while Burns played guitar in Adam & The Ants. In 1979 they met and formed a post-punk/new wave project called Fingerprintz, and released three albums under that moniker: The Very Dab, Distinguishing Marks, and Beat Noir. They earned some critical recognition and notable appearances on John Peel's radio show and the BBC's In Concert radio series. On all their albums, you can find a sound that reminds the post-punk era, and when you listen to the songs, you will undoubtedly feel an evolution, noticing however obvious links between the tracks of the album. In the second album, Bob Shilling became Bogdan Wiczling (but it seems this is the same person anyway!!), and the music also became much more accessible, with tracks such as Houdini Love, Jabs and the famous Bulletproof Heart .Tracks were not anylonger composed by Jimme alone, since he was now helped by Cha. On the third album (recorded in Paris and London) the same musicians were present, plus Sadie "The Cat" (Jimme's wife). Beat Noir is actually the beginning of the "Silencers" sound.
Fingerprintz split in 1985, subsequently O' Neill formed a duo with electropop singer Jacqui Brookes and they released two singles in 1983: "Haunted Cocktails" and "Lost Without Your Love." When Brookes released a solo album "Sob Stories", O' Neill wrote or co-wrote a majority of the tracks and played guitar and other instruments on the album. However, soon after O' Neill and Burns were playing music together again, this time joined by drummer Martin Hanlin and bass player Joseph Donnelly, a cousin of Simple Minds singer Jim Kerr. After considering a number of oddball band names they settled on "The Silencers." More on them later, meanwhile i finish here with the sad fact that Charles Burns has died, on March 26th 2007 age 50 , following a battle with lung cancer.
07 - Hey Mr. Smith (2:45) 08 - Tough Luck (2:48) 09 - Invisible Seams (4:32) 10 - On The Hop (1:43) 11 - Beam Me Up Scotty (5:15)
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Modern English - After The Snow (82 ^ 89mb) Formed in Colchester, Essex, England, in 1979 by Robbie Grey (vocals), Gary McDowell (guitar, vocals), and Michael Conroy (bass, vocals) originally known as the Lepers. The group expanded to "Modern English" when Richard Brown (drums) and Stephen Walker (keyboards) A debut single, "Drowning Man" was released in 1980 on the Limp Records label. The band's full-length Mesh & Lace, released by 4AD Records a year later, was inspired by the stylish gloom of Bauhaus and Joy Division, Modern English released the singles "Swans on Glass" and "Gathering Dust" before recording their 1981 debut LP Mesh & Lace. Boiling with raw anger, dissonant rhythms, and weird noises, Mesh & Lace confused and mesmerized.
The follow-up album After The Snow (1982), recorded by the same line-up, was a minor revelation, as they introduced warmth and strong guitar harmonies (most notably on the hit "I Melt With You"), rejecting the tinny bleakness of the debut. It was well received in the USA, selling 500,000 units, and the band relocated to New York to consolidate a popularity encouraged by college radio. Their album Ricochet Days had a crisper production with hits such as "Ricochet Days" and "Hands Across the Sea". However sales turned out dissapointing, as the label had expected another Melt with you hit. Exhausted from touring, Modern English began falling apart, by the time of Stop Start, released in the US by Sire Records in 1986, Walker and Brown had left (been fired) and Aaron Davidson (keyboards, guitar) had joined.
The band had tried too hard for commercial success, pushed by their label and subsequent producers. Grey returned to England to form a new outfit, but reconvened Modern English in 1990 with Davidson and Conroy. They released Pillow Lips on the TVT label, selling 300,000 units. Robie Grey and band member Ted Mason co-wrote and produced a second release for TVT recording with live strings and multiple harmonies. It received very little enthusiasm from TVT. Locked into contractual obligations with TVT, Grey subsequently put the band on hold to study and travel, and Mason handled the legal issues of getting out of the TVT deal.
In 1995, Modern English with Matthew Shipley (keyboards), Ted Mason (guitar, vocals, production) and John Solomon (drums), recorded Everything's Mad for the Imago label. Robbie Grey continues to tour extensively on the US club circuit, and in 2001 signed a new recording contract with A.P.G. Music. 2007 saw the repackaged/remastered re-release of "Everything's Mad" for the Mi5 Recordings label distributed by Caroline/EMI. .
01 - Someone's Calling (4:01) 02 - Life In The Gladhouse (4:22) 03 - Face Of Wood (5:49) 04 - Dawn Chorus (4:40)
05 - I Melt With You (4:05) 06 - After The Snow (3:45) 07 - Carry Me Down (5:21) 08 - Tables Turning (4:31)
The band General Public formed after the 1983 break-up of The Beat (known as The English Beat in North America). Ex-Beat vocalists Dave Wakeling and Ranking Roger joined up with keyboardist Mickey Billingham (Dexys Midnight Runners), bassist Horace Panter (The Specials) and drummer Stoker (Dexys Midnight Runners/The Bureau) to form the new band. Guitarist Mick Jones of The Clash was also originally announced as a band member. General Public signed to I.R.S. Records and released All the Rage (1984). However, by the time the album was released, Jones was no longer a member of General Public, although he did play guitar on the majority of the album's tracks. Kevin White (who also played on the album) was now the group's official guitarist and sixth member. In Britain, General Public had a minor hit with the eponymous track called "General Public" The band fared better in North America, where their second single "Tenderness" was a top 40 hit in the US and Canada. "Tenderness" was featured in the film Clueless (1995) and is used over the final credits.
For the follow-up album, White and Stoker were replaced by brothers Gianni and Mario Minardi on guitar and drums, respectively. Despite featuring a track from the soundtrack to Weird Science, Hand to Mouth (1986) was significantly less successful than the debut album, and the band soon split up. Roger and Wakeling worked on various solo projects for the next few years, before reuniting in 1994 to perform a cover of The Staple Singers hit "I'll Take You There" for the Threesome soundtrack. The song, credited to General Public, was a surprise top 40 hit in the US and Canada, and a minor hit in the UK.
The duo (now the only members of General Public) stayed together to release the album Rub It Better in 1995, recorded with the aid of producer Jerry Harrison. But sales were dismal, and Roger was tired of the grind of touring, so they soon broke up again. Beginning in 2000, Dave Wakeling began calling his backing band alternately either General Public or The English Beat. He then toured (mostly in North America) as either "The English Beat featuring Dave Wakeling" or "Dave Wakeling & General Public". Aside from Wakeling, this new backing band featured no original members of The (English) Beat or General Public, although reportedly Ranking Roger and other Beat members turned up as guest performers at a handful of shows. Wakeling and Roger reunited again in 2005 when The Beat officially reformed.
01 - Hot You're Cool (3:45) 02 - Tenderness (3:35) 03 - Anxious (4:18) 04 - Never You Done That (4:08) 05 - Burning Bright (4:22)
06 - As A Matter Of Fact (5:14) 07 - Are You Leading Me On? (3:08) 08 - Day-To-Day (3:27) 09 - Where's The Line? (4:03) 10 - General Public (4:22)
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Hello Around the World leaves the medievil spheres . Hugh De Courson Projet Electro-Medieval isn't that electro at all, apart from the digital production, in fact a parade of instrumentalists and singers pass by so dont expect much much electro. It's French, and the songs are based on 12th century , sacral works..those were the ones that got scripted....furthermore part 2 of the Cryptichon sampler.
Hughes de Courson is one of the most adventurous musician/producers from France. Dropping out of the family business (as in the militairy), when he was 18 wrote his first songs.As a self taught musician, he specialised in French folk music, then in what is now called "world music." He met Gabriel Yacoub in the army, they were both trying to escape by pretending to be mentally ill. We really did became mad and also very good friends. Once set free (to despair of my heroic families!), Hughes produced his first album "Pierre de Grenoble," and then formed Malicorne with Yacoub.
In 1973, with Gabriel Yacoub, Hughes de Courson founded the group Malicorne that very successfully paved the way for a new musical trend of folk music from all over Europe. A few years later he set up his own label “Ballon Noir” and signed a large number of artists such as Dan Ar Braz, Kolinda, Akendengué and La Bamboche. During a 10 year period between 1972-1985, French Folk, in France, was not a marginal field but a main musical stream, selling between 30.000 and 300.000 copies. After Malicorne broke up, ten years after its debut, and the folk movement began to wind down, de Courson composed scores for modern dance and film soundtracks, and embarked upon a fascinating series of inter-cultural collisions. The most successful of these was "Lambarena," where he and the Gabonese singer-composer Pierre Akendengue mixed traditional African sources with the music of JS Bach. In 1992, he won the Leonardo da Vinci prize, which permitted him to spend three years studying music in Egypt, Israel, Syria, Yemen, Turkey, Bulgaria, Greece, Albania, and Macedonia. Among his typically polyglot and diverse recent projects are a theme for the Mediterranian Olympic Games, a cycle of dialogues between childrens' voices and assorted ethnicities called "Songs Of Innocence" (co-produced and composed with Tomas Gubitsch), and a chart-topping album by the Finnish female supergroup, Värttinä.
Hughes' albums are all large-scale works. He is an arranger rather than a soloist. On many he combines electronic effects with medieval or baroque instruments. Mozart in Egypt takes works by Mozart and emphasises the oriental elements in them. The 25th symphony is played with a much-enlarged orchestra. Autumn 2001 saw the release, again on Virgin Classics, in the same cross-over trend as Lambarena and Mozart in Egypt, of O’Stravaganza, a “Fantasy on Vivaldi and the Celtic music of Ireland”. And in 2003, after having released Lux Obscura, an ‘electro-mediaeval’ album, inspired by sacred music of the 12th century, Hughes de Courson composed the music to Philippe Découflé’s show’ Tricodex’, performed at the Opéra de Lyon, the Théâtre du Châtelet, in Paris, and later toured in the USA. In 2005, Hughes de Courson released on Virgin Classics a sequel to the best-seller Mozart in Egypt, and has recently been commissioned to write rearrangements on the national anthem of Qatar.
01 - Stella Splendes (4:45) 02 - Passu Torratu (4:46) 03 - Muort' Oramai (6:29) 04 - Alle (4:28) 05 - Fera Pessima (2:49) 06 - Loyauté (3:39) 07 - Saltarelli (5:19) 08 - Lux Obscura (6:45) 09 - Canon Énigmatique de la cour du roi Henri VIII (0:33) 10 - Sederunt Principes (3:42) 11 - Biauté (3:27) 12 - Puzzle Canon (1:42) 13 - Qui n'aroit autre déport (10:23)
201 - 3rd And The Mortal, The - Vandring (1:35) 202 - In Extremo - Ecce Rex Darius (4:00) 203 - Ordo Equitum Solis - Message To Pan (3:10) 204 - Susan McKeown - A Mhàire Bhruinneall (2:02) 205 - Merlons, The - Aergus (3:05) 206 - Lisa Gerrard & Pieter Bourke - The Unfolding (4:35) 207 - Corvus Corax - Najo Ratte (4:04) 208 - Hedningarna - Höglorfen (4:54) 209 - Asgard - Antiquum (3:41) 210 - Luis Perez - Alba (6:14) 211 - Garmarna - Varulven (Voc.Emma Härdelin) (6:28) 212 - Das Zeichen - Siddhi-A-Ham (5:02) 213 - Engelsstaub - Ignis Fatuus (4:15)
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Hello, i'm dreaming of a white easter, meanwhile The Hitchhikers Guide To The Galaxy continues in it's Quintessential Phase, there's just no stopping them or is there ?
Last week...
The episode opens with a Grebulon spaceship suffering an accident, and losing nearly all records of what it is and what it should be doing, along with the crew's memories of why. Based on what little remains of their orders, they land on the tenth planet from the Sun, and start to 'monitor' Earth.After a year's travelling Arthur has returned to the co-ordinates ZZ9 plural Z alpha - where he is expecting to find Earth, and perhaps Fenchurch. In its place, he finds a barely colonised planet called NowWhat, although with the right continents for Earth. The creature at the information desk explains that beings from a "plural" region are not advised to travel in hyperspace due to the risk of slipping in dimensions. He is directed to Hawalius, a planet of oracles.
During a flashback, the introduction between Trillian and Zaphod Beeblebrox is revealed. But on a parallel Earth, an American and blonde Tricia McMillan (who was left behind by her universe's Zaphod) is interviewing Gail Andrews, an astrologer, about the effect that the recently-discovered planet Persephone (nicknamed Rupert) will have on astrology. The Grebulons, monitoring this, have an idea. Later, Andrews and McMillan talk. Andrews has sensed that McMillan is unhappy about the stars - McMillan reveals that she met an alien (Zaphod Beeblebrox) at a party once (a variation of the previous flashback ensues), but didn't get to go with him because she fetched her bag. She also reveals that she just missed out on a TV job in New York City because she did not go back to fetch her bag. Meanwhile, Zaphod (who does not appear in the book) is attempting to meet Zarniwoop once more, convinced that the Total Perspective Vortex (from Fit the Eighth) was not just his imagination. He has arrived at Saquo-Pilia Hensha, the new location of the offices for The Hitchhiker's Guide to the Galaxy. He sneaks into the building pretending to deliver pizza, and goes to the editor's office. He meets Zarniwoop Vann Harl, who promises to explain matters.
The story turns back to Arthur, who has arrived at Hawalius. He is told by an oracle that prophecy is a dead business now, due to news reports from the future using time travel. He is given a piece of free advice - "it'll all end in tears, probably already has", and sent on his way to the next cave. Back at the Hitchhiker's building, Ford is also sneaking in. He climbs into the building through the ventilation system, disables a security robot (which he dubs "Colin") by hardwiring it to be happy all the time, and then gets it to cover his entrance to the editor's office, finding out along the way that the Guide has been taken over and is no longer owned by Megadodo Publications. He too manages to get into the editor's office and finds that Vann Harl has been expecting Ford. The episode ends here on a cliff-hanger.
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Hello, the fifth inside out coming up , as we celebrate the equinox/spring , hi jacked by the Church and turned into Easter and Christs death/rebirth celebration, still the pagan egg thing his stayed, but there's dark clouds ahead. As things get more and more inexplicable in the material world we need to clear up the mess thats been created, specially by religions and yes secret societies too and im not forgetting men's greed and ignorance though these are weaknesses that derail both sides.
Before getting to two new mind enhancing binaural brain beaters , there's the The Secret Teachings of All Ages to be had, a genuine master piece and recognised as such right from the start..and still, though obviously some holes have been shot in it, but in general its almost unbelieveable how this Manly Hall could have come to all that in 6 years of writing and research.. However, First up a man brought to my attention not that long ago, and because he stays clear of the usual channels of publishing (control) and self publishes his work , his main marketing strategy so to speak is doing lectures, radiotalks and having a number of rather slick websites, all geared to specific parts of his portfolio. Make sure to have a look, here's Tsarion's websites navigation page
Described as a teacher's teacher, Michael Tsarion is a Divination Scholar and Sidereal Mythologist. An expert on Stellar Astrology, he is the creator of the Archetypal Stellar Taroscopic Astrological system of Hermetic Divination, and founder of the online Taroscopic Mystery School. Michael is a descendant of a long line of philosophers, free-thinkers, ascetics and visionaries. His Himalayan born mother was a well-loved, internationally recognized clairvoyant, whose affiliates included a host of celebrities and academics. She attended J. Krishnamurti’s premier college in India and was later honored as the very first clairvoyant to be a regular on Irish Television.
Michael is also the grandson of Tara Singh, the renowned philosopher, author and teacher of the theosophic tome A Course in Miracles. He was the intimate friend of J. Krishnamurti (the World Teacher), Swiss architect Le Corbusier, Keith Critchlow, Alan Chadwick, Eleanor Roosevelt and President Nehru. He was entrusted, by the latter, with India’s 5-year plan of restoration after British withdrawal. Tara Singh also played a key role in the Rev. Paul Solomon’s Fellowship of Inner Light, one of the first true American mystery schools. He now heads the Foundation for Life Action in Los Angeles.
Michael was born and raised in Ireland and grew up learning metaphysics from Krishnamurti, Rev. Paul Solomon and Peter Balin. Growing up surrounded by leading free-thinkers and mystery school creators he was under pressure to find his own authentic voice rather than becoming dependant on the systems and influences of others. He has honored his pedigree by dedicating his life to the deepest research concerning the seminal metaphysical sciences. And unlike so many, he believes in honoring the work and the names of his mentors. He takes it as a given, the words of :
A people which takes no pride in the noble achievements of remote ancestors will never achieve anything worthy to be remembered with pride by remote descendants.(Lord Macauly)
Intuitive since birth, he was introduced to the Tarot at age 11 through Rev. Paul Solomon’s premier mystery school - the Fellowship of Inner Light Movement and learning of its profound effect on the human intuition and its value as an empowerment tool, committed his life to bringing Tarot into the lives of others.
Tsarion has written a self-published book titled Atlantis, Alien Visitation and Genetic Manipulation (2004), produced and presented a 6-part, 22-DVD, ~60-hour series titled Origins and Oracles which explores ancient mysteries and forbidden knowledge, he's also the co-creator of the TimeGnosis Personal Timescopes system and he is part of the Horizon Project.
He often applies his occult knowledge to the real world, which includes his acceptance of the conspiracy theory that the United States presidency has always been and still remains a tool of the European Royal houses, the Freemasons, the Vatican, and a mysterious Egyptian "Black Pope". In his presentations, he shows many images and quotations from various sources such as the Bible, Carl Jung, Jordan Maxwell, Tony Bushby, David Icke, Aleister Crowley, Erich Fromm, Leonard Schlain, Aldous Huxley, Manly Palmer Hall, and William Comyns Beaumont, and Sigmund Freud. He uses these and many other sources to expand on what other people have discovered.
More esoteric subjects include a belief that the history of the world has stemmed from alien visitation in pre-diluvian times (before the Great Flood) who were being pursued across the galaxy, made their way to Earth. And started to enhance our predecessors to serve their needs, which backfired and nearly destroyed earth. These days these bad guys rule in the background in a truly machiavallian way, setting parties up against eachother, in biblical times they were more out in the open and presented themselves as god or angels.
I don't have to tell you that to this date this religious mess has worked wonders to keep this place a slaughterhouse, currently were being set up again for another bout of destruction between the christians, jews and muslims all succered by the same 'alien demons'. The creation of a a new world order serves their purpose because when the controls are set they will completely take over the top echalons and turn the remainder of humans into mindless slaves...Well thats the plan anyway.. and as all this is mindboggling to most, their chances of succeeding are better then desirable.
Here's part one of a long talk (200min) he held on the future of mankind, for those intending finding fault and keeping their truth fine, for others there's much to be learned here, specially the last 40 min are inspiring. Its been chopped up in 19 parts at you tube , however at Videogoogle you can see The Future of Mankind lecture integrally , so consider this a teaser
On this page you find a big number of other videolinks , and radio talks
Some Quotes from Tsarion's book Atlantis, Alien Visitation and Genetic Manipulation
Just because one does not have an actual “mark” on their forehead or a physical gun to their head does not mean we are free. Today, we are free only to do what we are told. We need to be reminded that there are two main methods of affecting hanges and imposing control on any animal. The first method is by direct training. This is accomplished by schools, universities, recalcitrant parents, and peer groups.
A general state education is a mere contrivance for molding people to be exactly like one another; and as the mold in which it casts them is that which pleases the predominant power in the government…it establishes a despotism over the mind…(John Stuart Mill)
The second method is by the instigation of changes to the environment of the animal.Though these are almost always beyond the awareness of the creature, they are extremely impactive. By exercising both methods, the Hidden Masters accomplish all the behavioral changes they require. The results are apparent for anyone who cares to see them.
To repress rebellion is to maintain the status quo, a condition which binds the mortal creature in a state of intellectual or physical slavery. But it is impossible to chain man merely by slaving his body; the mind also must be held, and to accomplish this, fear is the accepted weapon. The common man must fear life, fear death, fear God, fear the Devil, and fear most the overlords, the keepers of his destiny. (Manly Palmer Hall)
We are powerfully imprisoned in these Dark Ages simply in terms in which we have been conditioned to think. (Buckminster Fuller)
We wrestle not against flesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places. (Ephesians 6:12)
If you think of yourselves as helpless and ineffectual, it is certain that you will create a despotic government to be your master. The wise despot…maintains among his subjects a popular sense that they are helpless and ineffectual.(Frank Herbert)
Born on March 18, 1901 in Peterborough, Ontario, Manly Palmer Hall was raised by his maternal grandmother who brought him to the United States when he was very young. From an early age, Mr. Hall studied the full range of the world’s ancient wisdom traditions. Unlike so many of his contemporaries, he concluded that wisdom was not to be found on only one path or in only one religion. Instead, he saw wisdom as the highest realm where philosophy, religion, and science come together without boundaries. Barely twenty years old, the gifted young man began his public career in the fall of 1920 when he was invited to speak to a small group on the subject of reincarnation. The following year he was asked to hold a lecture program in Los Angeles and continued teaching and writing for another six decades. He showed thousands how universal wisdom could be found in the myths, mysteries, and symbols of the ancient Western Mystery teachings and how to embody this wisdom in their own lives.
“To learn is to live, to study is to grow, and growth is the measurement of life. The mind must be taught to think, the heart to feel, and the hands to labor. When these have been educated to their highest point, then is the time to offer them to the service of their fellowman, not before.”
Mr. Hall always felt that before the student could embark on an esoteric career, they must first build a sound and sane personality from which to launch such an endeavor.Two books he wrote in the early 1920s, The Lost Keys of Freemasonry and The Ways of the Lonely Ones, are also available and have enjoyed numerous re-printings
During this period Mr. Hall began planning his large volume on symbolical philosophy, The Secret Teachings of All Ages. He traveled extensively in 1923 and 1924, visiting many great cultural centers in Europe, Asia, and Egypt. A favorite place of Mr. Hall’s for searching out rare and ancient wisdom texts was the British Museum in London. These travels strengthened his convictions about the importance of comparative religion and deepened his understanding of significant contributions made in the interest of human spiritual evolution. Immediately upon his return, he set seriously to work on his encyclopedic outline of the Western esoteric tradition, The Secret Teachings of All Ages, which describes in some detail the most ancient theory of education, which was in the keeping of the Mystery schools. It took Mr. Hall six years to complete the work on the book and raise the enormous sum of $100,000 in 1928 necessary to print the first edition. It was richly illustrated and a first three editions were sold out before they got to the printers. They'd be worth a bundle or two, even today a reasonbly good facsimile will set you back 200 dollars.
In 1934 Mr. Hall founded the Philosophical Research Society, dedicating it to the ensoulment of all arts, sciences, and crafts, and devoted to the one basic purpose of advancing the brotherhood of all that lives, to meet all lovers of wisdom on a common ground. The society still hosts a wide range of lectures, seminars, workshops and performances on philosophical subjects and runs a bookstore and library. Located in the Los Feliz area of Los Angeles since its inception, it has for decades been a place of learning for all spiritual traditions and was designated a Cultural Site by Los Angeles City Council in 1994.
Writing about the life of Manly P. Hall is no simple matter, as he was unremittingly prolific in all his endeavors. Mr. Hall authored over two hundred books on occult subjects ranging from works on astrology, the Bible, Tarot, dreams, mysticism, Eastern and Western philosophy, religion, psychology, symbology, and reincarnation, plus hundreds of essays and a monthly magazine published called the PRS Journal. Over the course of six decades he delivered eight thousand lectures. He spoke for up to two hours extemporaneously, weaving a mesmerizing tapestry of wisdom. He was recognized both in the United States and in Europe by rare book-dealers as a knowledgeable collector of philosophical treatises and hermetic/alchemical manuscripts, some dating back to the fifteenth century. His collection of books brought about the creation of the PRS Library, which is still visited by scholars today and is perhaps unique in the US. Mr. Hall loaned books on Alchemy from his collection to Professor Carl Jung when he was writing his now famous book entitled Psychology and Alchemy.
"Hence the disciple of the Ancient Wisdom is taught to realize that man is not essentially a personality, but a spirit."—Manly P. Hall
Retrieve your destiny provides 60 minutes of soothing music combined with a unique combination of window brainwave frequencies. These are extremely precise frequencies that seem to resonate and act on the body at the cellular level.
The special combination of theta brain wave frequencies on this prgram induce expanded states of consciousness associated with deep meditation. Cumulative benefits include: Greater slarity of thought, increased creativity, more epaceful states of mind, enhanced ability to concentrate and improve well being.
Enjoy a deeply relaxing meditative state as you are transported by other-worldly music and Hemi-Sync® to an encounter with a non-physical friend. Tabla drums and synthesizer are featured in this Eastern-influenced composition by Micah Sadigh, PhD. The enchanting experience of The Visitation can be an ideal stimulus for spiritual growth.
Micah Sadigh (Hemi-Sync) - 01 - The Visitation (28: 31)
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Hello, Into the Groove remembers one of the great black artists of the last century, Curtis Mayfield , personally i like his debut solo album best, If There's A Hell Below We're All Going To Go..wow beat that..and Move On Up a truly inspiring song supported by exuberant percussion....well obviously i have the Superfly vinyl aswell and it was in rippable condition (not too many tics and tocs) so here you have two of the best albums of the early seventies soul/funk in a hi quality (350k) oggfile for you, obviously his work has been remastered by now, and hopefully as it should.
Mayfield was born June 3, 1942, in Chicago, and as a boy went on to sing gospel and teach himself guitar. He dropped out of high school early to become lead singer and songwriter for The Impressions, then went on to a successful solo career. He was among the first of a new wave of mainstream African-American R&B performing artists and composers who injected social commentary into their work.This "message music" became extremely popular during the period of political ferment and social upheaval of the 1960s and 1970s.
Mayfield's career began in 1956 when he joined The Roosters with Arthur and Richard Brooks and Jerry Butler. Two years later The Roosters, now including also Sam Gooden, became The Impressions. The band had one big hit with "For Your Precious Love". After Butler left the group and was replaced with Fred Cash, Mayfield became lead singer, frequently composing for the band, as well, starting with "Gypsy Woman". Their hit "Amen," an updated version of an old gospel tune, was included in the soundtrack of the 1963 MGM film Lilies of the Field. The Impressions reached the height of their popularity in the mid to late 1960s, with a string of Mayfield compositions that included "Keep On Pushin'," "People Get Ready," "Choice of Colors," "Fool For You," "This is My Country" and "Check Out Your Mind." Mayfield had written much of the soundtrack of the civil rights movement alongside Bob Dylan and others in the early 1960s, but by the end of the decade he was a pioneering voice in the black pride movement, in the company of James Brown and Sly Stone ("say it loud , i'm black and i'm proud"). Mayfield's "We're a Winner" became an anthem of the black power and black pride movements when it was released in late 1967, much as his earlier "Keep on Pushing" (whose title is quoted in the lyrics of "We're a Winner") had been an anthem for Martin Luther King, Jr. and the Civil Rights Movement.
Independent from his work with The Impressions, Mayfield became a songwriting powerhouse in Chicago, writing and producing scores of hits for other artists. Given Mayfield's prodigious talents, it was perhaps inevitable that he would eventually leave the Impressions to begin a solo career, as he did in 1970, founding the independent record label Curtom Records. Curtom would go on to release most of Mayfield's landmark 1970s records, as well as records by the Impressions, Leroy Hutson, The Staple Singers, and Mavis Staples, and Baby Huey and the Babysitters, a group which at the time included Chaka Khan. Many of these records were also produced by Mayfield. His first solo singles boasted a harder, more funk-driven sound; singles like "(Don't Worry) If There's a Hell Below, We're All Gonna Go" found him confronting ghetto life with a realism that had rarely been heard on record.
The commercial and critical peak of Mayfields solo career came with his 1972 album Superfly, the soundtrack to the blaxploitation film of the same name, and one of the most influential albums in history. Mayfield's lyrics consisted of hard-hitting commentary on the state of affairs in black, urban ghettos at the time, as well as direct criticisms of several characters in the film. Superfly's success resulted in Mayfield being tapped for additional soundtracks, some of which he wrote and produced while having others perform the vocals. At this point Mayfield, along with Stevie Wonder and Marvin Gaye, was the foremost exponent of a new level of compelling auteurism in soul. Maintaing the standards of Superfly proved impossible in the years to come.. Perhaps he'd simply reached his peak after a long climb, but the rest of his '70s work didn't match the musical brilliance and lyrical subtleties of Superfly, although he had a few large R&B hits in a much more conventional vein, such as "Kung Fu," "So in Love," and "Only You Babe."
Mayfield had a couple of hits in the early ' 80s, but the decade generally found his commercial fortunes in a steady downward spiral, despite some intermittent albums. On August 13, 1990, Mayfield was paralyzed from the neck down after stage lighting equipment fell on him at an outdoor concert at Wingate Field in Flatbush, Brooklyn, New York. This tragedy set him back, but Mayfield forged ahead. He was unable to play guitar, but he wrote, sang and directed the recording of his last album, New World Order. Mayfield's vocals were painstakingly recorded, usually line-by-line whilst lying on his back.
His death, on Dec. 26 99, at 57, was attributed to complications related to diabetes, which had taken his leg the year before, having been a quadriplegic since the accident 1990. Mayfield is remembered for his introduction of social consciousness into R&B and for pioneering the funk style in the 1970s. Many of his recordings with the Impressions became anthems of the Civil Rights Movement in the 1960s, and his most famous album, Superfly, is regarded as an all-time great that influenced many and truly invented a new style of modern black music. Jamaican music too, starting with rocksteady, was profoundly influenced by Curtis Mayfield's body of work. The Techniques, The Uniques, Bob Marley and the Wailers, and many other early vocal groups in Jamaica were deeply influenced by the songwriting, vocal harmonies, and black consciousness that appear as hallmarks on Impressions recordings from the early to mid 1960s. Many of the Wailers early ska recordings are Impressions covers. One of Marley's most well known songs, 'One Love' (Studio 1 - 1965), is in fact a take on 'People Get Ready'.
Mayfields first solo album was practically the "Sgt. Pepper's" album of '70s soul, helping with its content and its success to open the whole genre to much bigger, richer musical canvases than artists had previously worked with. All of Mayfield's years of experience of life, music, and people were pulled together into a rich, powerful, topical musical statement that reflected not only the most up-to-date soul sounds of its period, finely produced by Mayfield himself, and the immediacy of the times and their political and social concerns, but also embraced the most elegant R&B sounds out of the past.
As a producer, Mayfield embraced the most progressive soul sounds of the era, stretching them out compellingly on numbers like "Move on Up," but also drew on orchestral sounds (especially harps), to achieve some striking musical timbres (check out "Wild and Free"), and wove all of these influences, plus the topical nature of the songs, into a neat, amazingly lean whole. There was only one hit single off of this record, but the album as a whole was a single entity and really had to be heard that way. In the fall of 2000, Rhino Records reissued Curtis with upgraded sound and nine bonus tracks that extended its running time to over 70 minutes.
01 - (Don't Worry) If There's A Hell Below We're All Going To Go (7:43) 02 - The Other Side Of Town (3:59) 03 - The Makings Of You (3:41) 04 - We The People Who Are Darker Than Blue (5:55)
05 - Move On Up (8:45) 06 - Miss Black America (2:55) 07 - Wild And Free (3:11) 08 - Give It Up (3:40)
Superfly is widely considered a classic of 1970s soul/funk, a nearly immediate hit. Its sales were bolstered by two million-selling singles, "Freddie's Dead" and the title track. It's one of the few soundtracks to out-gross the film it accompanied. Superfly, was one of the pioneering soul concept albums, with its then-unique socially aware lyrics about poverty and drug abuse making the album stand out. The film and the soundtrack may be perceived as dissonant, since the Superfly film holds rather ambiguous - some will say sympathetic - views on drug dealers, whereas Curtis Mayfield's position is far more critical. Due to its success, Mayfield was tapped for several film soundtracks over the course of the decade.
Track number two, "Pusherman", has been selected among The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.In 2003, the album was ranked number 69 on Rolling Stone magazine's list of the 500 greatest albums of all time.
05 - Give Me Your Love (Love Song) (4:15) 06 - Eddie You Should Know Better (2:15) 07 - No Thing On Me (Cocaine Song) (4:52) 08 - Think (Instrumental) (3:42) 09 - Superfly (3:48)
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Hello, Alphabet Soup reach double u today, in the old days V and U got mixed up thats why its not double V ..World Wide Web Works Wonders. Enough of that, W it is, first up one of those larger then live bands from the past, and would you believe it the present aswell, even if time and drugs taken half the band. I'm talking The Who, the album here is not as rare as i hoped, but then it was a great package back in the day..76..little did they know the story would continue for decades.. Wolfgang Press played the enigmatic and moody role, 4AD bands are accustomed to , however they kept developping their cool side into funk with a twist and when they launched Queer they got close capturing a bigger audience, after the next step Funky Demons, they folded. Last one today, a regular prodigy, his fourth solo album will be out this year and he's not even 25. Interestingly, like one Richard D. James (Aphex Twin), he too started at a very early age , 11 to explore the world of sounds and continue to expand his musical skills with recording experiments..song writing so when in 2003 his first album got out , it reflected his work between 14 and 19 years old.... Patrick Wolf is the name...
The Who are an English rock band that first formed in 1964 and grew to be considered one of the greatest and most influential bands in the world. They are also famed for their prowess as a live band. The primary lineup consisted of Pete Townshend, Roger Daltrey, John Entwistle and Keith Moon.
Townshend and Entwistle met while attending high school in the Shepherd's Bush area of London. In their early teens, they played in a Dixieland band together, by the early '60s, the pair had formed a rock & roll band, but Entwistle departed in 1962 to play in the Detours, a hard-edged rock & roll band featuring a sheet-metal worker named Roger Daltrey on lead guitar. By the end of the year, Townshend had joined as a rhythm guitarist, and in 1963 Daltrey gave up his guitar chores and became the group's lead vocalist. The group's sound evolved rapidly during this period, and was especially influenced not only by American acts such as James Brown, Booker T. & the MG's, and Eddie Cochran - A name change also followed, something better and more striking than the Detours was called for, and between Daltrey and Townshend thrashing it out, they settled on the Who, which confused people in conversation at first but worked great (and memorably) on posters. Within a few more months, amid all of these changes, original drummer Doug Sandom left, just as they were getting ready to cut a record. In his place, the group added Keith Moon, who had previously drummed with a surf rock band called the Beachcombers.
After a brief stint with the wrong kinda management which had them change their name to the high numbers , and pin them as mods, the Who was back and about to smash their first guitar which was a combination of accident and subsequent temperament, but intrigued the crowds which came to watch this band that dared to smash up this 'divine' apparatus. The Who rose to fame in the United Kingdom with that pioneering instrument destruction stage show, as well as a series of top ten hit singles (including the celebrated "My Generation") and top five albums, beginning in 1965 with "I Can't Explain". They first hit the top ten in the USA in 1967 with "I Can See for Miles". The 1969 release of Tommy was the first in a series of top five albums for the group in the USA, followed by Live at Leeds (1970), Who's Next (1971), Quadrophenia (1973), and Who Are You (1978) among others.
Keith Moon died in 1978 of pharmaceuticals, after which the band released two more studio albums, the top five Face Dances (1981) and the top ten It's Hard (1982), with drummer Kenney Jones, before officially disbanding in 1983. They reformed on several occasions to perform at special events such as Live Aid and for reunion tours such as their 25th anniversary tour (1989) and the Quadrophenia revival tours of 1996 and 1997. In 2000, the three surviving original members began to discuss the possibility of recording an album of new material. These plans were delayed following the death of John Entwistle in 2002. Pete Townshend and Roger Daltrey continue to perform as The Who. In 2006 they released the studio album Endless Wire, which reached the top ten in the USA and UK. There's much more to tell about the 45 years of The Who so why not check Wiki about The Who
Great Who compilation, nicely packaged, folded sleeve.inside book, the band was involved in the compilation, the Tommy part side 3 is one big highlight, consequently they (the who) thought it reason to omit quadrophenia, but plenty of highlights left on side 4, CSI these days makes plenty of use of Who's Next hits, Baba O Riley and Won't get fooled again. Part one of the compilation is sourced from the Who's Sixties albums, i had to do some remastering there but when the album starts, the Magic Bus sounds remarkbly fresh.
01 - Magic Bus (4:29) 02 - Substitute (3:46) 03 - Boris The Spider (2:28) 04 - Run, Run, Run (2:29) 05 - I'm A Boy (3:41) 06 - Heat Wave (1:56) 07 - My Generation (2:32)
08 - Pictures Of Lily (2:42) 09 - Happy Jack (2:10) 10 - The Seeker (3:10) 11 - I Can See For Miles (4:03) 12 - Bargain (5:28) 13 - Squeeze Box (2:40)
14 - Amazing Journey (4:23) 15 - The Acid Queen (3:32) 16 - Do You Think It's Alright? (0:24) 17 - Fiddle About (1:28) 18 - Pinball Wizard (2:57) 19 - I'm Free (2:38) 20 - Tommy's Holiday Camp (0:56) 21 - We're Not Gonna Take It (3:33) 22 - See Me, Feel Me (3:25)
23 - Summertime Blues (3:21) 24 - Baba O'Riley (4:57) 25 - Behind Blue Eyes (3:38) 26 - Slip Kid (4:27) 27 - Won't Get Fooled Again (8:25)
Formed in London in 1983, the Wolfgang Press, were one of the most mercurial talents of the post-punk era , their moody and challenging music moved between gothic noise and eccentric funk. Wolfgang Press were vocalist Michael Allen, guitarist Andrew Gray, and keyboardist Mark Cox. Allen and Cox first teamed in the group Rema Rema, which also featured Adam & the Ants alum Marco Perroni; after reuniting in the short-lived quartet Mass, the duo recruited Gray, and as the Wolfgang Press issued their cacophonous, gloomy debut LP, The Burden of Mules, in 1983.
An EP trilogy co-produced by Cocteau Twin Robin Guthrie followed in quick succession: while 1984's Scarecrow was a lighter, more streamlined affair, 1985's Water spotlighted ominously sparse torch songs, and the same year's Sweatbox explored deconstructionist pop. The Wolfgang Press' second full-length effort, 1986's Standing Up Straight, incorporated industrial and orchestral influences into the mix, while the Big Sex EP's "God's Number" offered a soulful backing chorus, a harbinger of things to come. Indeed, after 1988's hypnotic Bird Wood Cage and its leadoff single, "King of Soul," introduced strong elements of dub, reggae, and R&B.
Wolfgang Press entered the dance arena with 1991's Queer, recorded with the aid of ex-Throwing Muses bassist Leslie Langston. The result is alien funk, a collection of idiosyncratic rhythms, dark textures, and ominous grooves. , an idiosyncratic outing . The first single, a surreal cover of the Randy Newman-penned "Mama Told Me Not to Come," was a minor hit. 1995's Funky Little Demons completed the Wolfgang Press' transition into white funk; prior to its release, however, Cox exited the group's ranks. Michael Allen is now with the band Geniuser, who released an album Mud Black on the Danish Phisteria label in 2005, Andrew Gray records under the name Limehouse Outlaw and released an album Homegrown on his own label in 2003, and Mark Cox is currently working on music, but as yet, has no name for it.
01 - Birmingham (3:56) 02 - Mama Told Me Not To Come (3:12) 03 - Heavens Gate (2:28) 04 - Riders On The Heart (3:18) 05 - Question Of Time (3:44) 06 - Louis XIV (4:11) 07 - Fakes & Liars (3:01) 08 - Honey Tree (2:52) 09 - Birdie Song (1:20) 10 - Dreams & Light (2:50) 11 - Sucker (3:37) 12 - Mother Valentine (4:27)
Patrick Wolf (Patrick Dennis Apps, 1983) was born into a creative household, Wolf started his musical education with violin lessons and church choirs. He made his first Theremin at age eleven, and first began recording songs with his violin, voice, and car boot sale organs on a four-track tape recorder at age twelve. At fourteen, he joined and performed with pop art collective Minty. Two years later, he left home. During this period, Wolf earned money from busking in a string quartet and formed a group called Maison Crimineaux, a noisy trio built on destructive ethics around white noise and pop music. He also continued to write and record his own material. A Maison Crimineaux gig in Paris was attended by electronic maestro Kristian Robinson (aka Capitol K), who would then go on to release Wolf's debut album Lycanthropy.
Wolf's ongoing writing and recordings brought him to the attention of Fat Cat Records, who provided him with an Atari computer and a mixing console. During the recording of Lycanthropy, Wolf studied composition at Trinity College of Music for one year. Lycanthropy was released in the summer of 2003. It had been recorded over the eight years between 1994 and 2002. Lycanthropy (the belief that one is a wolf) begins with a wolf's howl. None of this, however, should detract from his formative compositions. Augmented by laptop, Wolf's curious stories come to fruition with his accent-thick vocals and dark, biographical lyrics. Wolf plays many instruments including harp, clavinet, harpsichord, guitar, piano, autoharp, kantele, organ, mountain dulcimer, clavichord, harmonium, accordion, theremin, ukulele, viola and violin.
The German-based record label Tomlab later released the album for America and Europe. His second album of 2005, Wind in the Wires, was released on the same label and likewise met with critical acclaim. Following the success of Wind in the Wires, Wolf signed a record deal with Loog in late 2005 and began recording his third album, The Magic Position, which featured collaborations with Marianne Faithfull and Edward Larrikin of Larrikin Love. Wolf has promoted the album with a concert tour in North America, Europe, Japan and Australia. He has stated that he already has enough material for a follow-up album, and has been previewing some of it in his live shows supposedly it will be a political record sparked by his reaction to the United States during his recent tour, due for release in 2008
In a July 5, 2007 interview with the Sydney Star Observer, he confirmed his bisexuality: "My sexuality is kind of liberal. I fall in love with men and women. I guess you would call me bisexual. I like to have sex and fall in love—I don't like giving terminology for my sexuality."
01 - Prelude (1:32) 02 - Wolf Song (3:28) 03 - Bloodbeat (3:50) 04 - To The Lighthouse (4:05) 05 - Pigeon Song (3:34) 06 - Don't Say No (4:02) 07 - The Childcatcher (4:28) 08 - Demolition (6:06) 09 - London (3:54) 10 - Paris (4:46) 11 - Peter Pan (1:53) 12 - Lycanthropy (4:10) 13 - A Boy Like Me (3:29) 14 - Epilogue (2:08)
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Hello, Eight-X spawns another, those days trio, the bands today all have given the ghost, i should say lost spirit, long ago. First up , Television, was always going to be an insiders sweetheart as they stood at the start of CBGB's and the punk/wave scene in New York, add to that most music writers love to play virtual air guitar, throw in a thoughtful lyric or two and you get a classic, obviously the band didn't pander to all that and just did their thing as they saw fit. Alas as is often the case with guitar players, ego's clash and after the second album it was all over...Flock Of Seagulls usually points to food available, they tend to spread a lot of crap too whilst they screeech about..seen 'm swallow little live ducklings aswell. So why call yourself Flock Of Seagulls beats me. Musicly they've been called a one hit wonder , but thats selling them short, their first eponymous album was agreeable enough, their hairdo got them noticed and as an answer to the punkstyles it was fun....Finally Freeez, a great name that foresaw the age of google though they folded long before, initially heralded as a jazz funk group, they scored big when they went to New York and met up with Arthur Baker who set them up as a breakdance outfit. That caused a later split and ultimatedly the end for Freeez....
Television, formed in New York City in 1973, is an American rock music band. Although Television never achieved more than the tiniest cult audience in their American homeland, they achieved significant commercial success in Europe and today are widely regarded as one of the key founders of postpunk rock. . Television's roots can be traced to the teenage friendship between Richard Hell and Tom Verlaine. The duo met at St. Andrew's School in Middletown, Delaware, from which they ran away. Their first group together was the Neon Boys, consisting of Verlaine on guitar and vocals, Hell on bass and vocals, Bill Ayers (briefly) on guitar, and Billy Ficca on drums. The group lasted from late 1972 to early 1973. In late 1973 the trio reformed, calling themselves Television and soon recruiting Richard Lloyd as a second guitarist. They persuaded CBGB's owner Hilly Kristal to give the band a regular gig at his club which had just opened on the Bowery in New York. Television was the first rock group to perform at the club, where they quickly established a significant cult following.
Initially, songwriting was split almost evenly between Hell and Verlaine, friction began to develop as Verlaine, Lloyd and Ficca became increasingly confident and adept with both instruments and composition, while Hell remained defiantly untrained in his approach. This led Hell to leave the group and take his songs with him, and later forming Richard Hell and the Voidoids. Fred Smith, briefly of Blondie, replaced Hell as Television's bassist. Television's first album Marquee Moon was received positively by music critics and audiences, didn't do much in the US, but sold well in Europe. Meanwhile it's become a classic. This whole record's a mash note to guitars, the contrast between these two essential leads is stunning, Richard Lloyd chisels notes out hard while Verlaine works with a subtle twang and a trace of space-gazing delirium, a surrealistic version of garage-rock, with earthy riffs that spiral up into ecstatic guitar-solo jaunts.
Television's second album, Adventure, was issued in 1978 to less fanfare. The distinctive dual guitars of Lloyd and Verlaine are still evident on Adventure, notably on the tracks "Glory", "Days" and "Foxhole". The band members had very independent and strongly held artistic visions, and this, along with Richard Lloyd's alleged drug abuse, led to the band's break-up in 1978. Both Lloyd and Verlaine pursued solo careers. Nearly 14 years after their breakup, Television re-formed in late 1991, recording an eponymous third album. They performed at Glastonbury in 1992, releasing Television a couple months later. The album received good reviews, yet Television disbanded again in early 1993, and have performed live sporadically thereafter.
01 - See No Evil (3:53) 02 - Venus (3:48) 03 - Friction (4:40) 05 - Marquee Moon (9:52)
05 - Elevation (5:04) 06 - Guiding Light (5:31) 07 - Prove It (4:57) 08 - Torn Curtain (6:45)
A Flock of Seagulls was started by Mike Score and his brother Ali in 1979 in Liverpool. Mike, who was previously a hairdresser, played keyboards, guitar, and vocals, Ali played drums and their friend fellow hairdresser Frank Maudsley played bass. The band took their name from a line in the song "Toiler on the Sea" by The Stranglers, which appears on their album Black and White.They added guitarist Paul Reynolds and began writing songs, playing clubs and trying to land a record contract. The group released its debut EP on Bill Nelson's Cocteau Records early in 1981, and while the record failed to chart, its lead track, "Telecommunication," became an underground hit in Euro-disco and new wave clubs.
A year later they had signed to Jive Records which released their eponymous debut album, the first single I Ran got picked up by MTV, who were smitten by the hairdo(n't) aswell as the female angst ( the women act like camouflaged daleks in the video) and so the single ended up in the US top 10, whilst UK lads just shrugged their shoulders, no hit.. Flock Of Seagulls had to wait another year for success back home with Wishing (i had a photograph of you) from their second album "Listen" which turned out moderately successful (in sales that is). Trouble started after the third album 1984's "The Story of a Young Heart" failed to produce any hit singles.
Last one in, first one out, Reynolds abruptly left A Flock of Seagulls, leaving the band a trio, but the band continued to tour. The Score brothers wanted to base the band in Philadelphia, Pennsylvania. Mike and Ali Score and Frank Maudsley all applied for, and were conditionally awarded, green cards, and the three settled in Philadelphia. Maudsley returned to England, while Mike and Ali Score stayed in Philadelphia. The brothers then had a falling out that resulted in Mike Score remaining as the sole remaining original member of the band and Ali going to Boston, where he played in a hard rock band and then worked for a computer company in Cambridge.
Following the dissolution of the band in the wake of Dream Come True, Mike Score resurfaced in a series of new bands with changing line-ups. The band released two singles ("Magic" and "Burnin' Up") and one album (The Light At The End Of The World) which achieved some success. In the late 1990s, the group made a cameo appearance in the 1999 movie The Suburbans, starring Jennifer Love Hewitt and Will Ferrell.
01 - Modern Love Is Automatic (3:47) 02 - Messages (2:49) 03 - I Ran (5:01) 04 - Space Age Love Song (3:43) 05 - You Can Run (4:22)
06 - Telecommunication (2:29) 07 - Standing In The Doorway (4:37) 08 - Don't Ask Me (2:44) 09 - D.N.A. (2:27) 10 - Tokyo (2:51) 11 - Man Made (5:31)
Freeez was led by John Rocca, included Peter Maas (bass), Andy Stennet (keyboards) and Paul Morgan (drums). Rocca, a former van salesman for the dance music specialist shop Disc Empire, formed the group in 1978. They released their first single ‘Keep In Touch’ on their own Pink Rythm label (one of the first British acts to form their own label) and it narrowly missed the UK Top 40. Freeez was initially known for its emergence as one of the UK's first and leading Jazz Funk bands of the very early eighties. They gained considerable respect from the industry, DJs and the Jazz Funk and Dance public. After moving to the Beggars Banquet label in 1981 they hit the UK Top 10 with ‘Southern Freeze’, which included vocals by Ingrid Mansfield-Allman (b. London). The album of the same name reached the Top 20.
The group expanded to a seven piece but then later reduced to the basic duo of Rocca and Maas, they had their biggest success in 1983 with ‘I.O.U.’, written and produced in the USA by noted New Yorker Arthur Baker with mixing help from John ‘Jellybean’ Benitez. They released the Gonna Get You album in 83 , which delivered another hit co-written/produced by Arthur Baker "Pop Goes My Love".
In 1985 Rocca and Stennet recorded as Pink Rhythm whilst Freeez reformed with Maas, Morgan and Louis Smith taking the duties of keyboard player co-writer and programmer, with Billy Chrichton now the songwriter and guitarist. Freeez then went on to record an album called Idle Vice at the famous studio number 2 at Abbey road studios. As a solo artist Rocca had a US dance number I with ‘I Want To Be Real’ in 1987, the same year a remix of Freeez’s ‘I.O.U.’ on Citybeat made the UK Top 30. Rocca later recorded on Who’d She Coo and Cobra (where he re-recorded ‘Southern Freeze’) and re-appeared in 1991 as Midi Rain on Vinyl Solution.
01 - We've Got The Juice (6:18) 02 - Can't Keep My Love (5:05) 03 - Love's Gonna Get You (6:24) 04 - Pop Goes My Love (8:12)
05 - I.O.U. (8:45) 06 - Freezin' (6:03) 07 - Can You (4:59) 08 - Watch Me (6:04)
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Hello, Around the World music is still in pagan /medievil mode, another great 2 parts sampler, Cryptichon for depth and background of how current day 'pagan' bands bring back the spirit of party music from ages gone by. After last weeks Spanish contribution (L'ham de Foc) we're back up north to the Netherlands, at least Omnia are based there. Bandleader Sic has a lot in common with one Richard D. James(Aphex Twin) as both grew up in an area surrounded by wyld moors, the standing stones and the craggy cliffs of Cornwall. Inspirational nature, but Sic went completely the other way as his band's music is 100% acoustic - no synthesizers, no electric instruments, no programming.
In 1994, while working as a slave and gladiator in a historical theme park, Sic met the ethnomusicologist Walter Maioli. They became good friends and for about a year they worked together, making reconstructions of prehistoric, shamanic, and ancient Roman and Greek music, doing countless performances and one CD recording. All this time he was also working with Luka in the Temple of Chaos. In 1996 they went on to found Omnia, a Gallo-Roman historical theater group, in which Sic was able to carry on making historical music, however putting the focus more on the indigenous Iron-Age sound of the Northern Celtic and Germanic tribes. Rediscovering, reconstructing and inventing the instruments necessary to play this kind of music over the years, this has evolved into the Pagan Folk' music'. This hands on (DIY) approach was extended to OMNIA, a completely self-managed independent and free-spirited band which has survived and prospered in the harsh music business. They write their own material, and record, produce and print their own cd's on their label "Pagan Scum" (distributing through RoughTrade). All their costumes and stage decoration, as well as many of their instruments, have been made or decorated by the bandmembers themselves.
Omnia (didgeridoo expert Luka Aubri-Krieger (East-Indies), the virtuoso harp, hurdy-gurdy and bodhran playing of Jennifer Evans-van der Harten (Holland), the unmistakable "DADGAD" guitar-groove of Joe Hennon (Ireland) and the flutes, bouzouki, drums, and ironic dialogue of front man Steve "Sic" Evans-van der Harten (England)). are a self-described "neoceltic paganfolk" band based in The Netherlands. They play mostly self-composed music, with a sprinkling of traditional music from places like Ireland, Brittany and Afghanistan. Their music is 100% acoustic – no synthesizers, no electric instruments, no programming . They sing in English, Gaelic, Breton, Finnish, German, Latin and Hindi and play Celtic harp, mouth harp, hurdy-gurdy, bodhrán, guitar, bouzouki, didgeridoo, flutes of all kinds, bagpipes, various drums and percussion instruments. Dressed in graceful black neo-Celtic clothing adorned with the bronze age holy symbols of our Celtic/Pagan heritage and surrounded by an amazing amount of hand made beautifully decorated traditional instruments. Thusfar they've released 8 albums; Sine Missione (2000), Sine Missione 2 (2002), 3 (2003) (mini cd), Crone of War (2004), Live Religion (2005), PaganFolk (2006), Cybershaman (2007), Alive! (2007), History (2007) (American sampler)
01 - Tine Bealtaine (3:41) 02 - The Well (4:50) 03 - Pagan Polska (5:52) 04 - En Avant Blonde (1:39) 05 - Entrezomp-ni Kelted (3:58) 06 - Teutates (3:48) 07 - Twa Corbiez (4:27) 08 - An Dro (3:53) 09 - Lughnasadh (6:20) 10 - Dil Gaya (5:53) 11 - Sidhenearlahi Set (Live) (5:14)
101 - Subway To Sally - Alle, Psallite Cum Luya (1:07) 102 - Stella Maris - In Circle (2:10) 103 - Ayreon - Valley Of The Queens (2:27) 104 - Sarband - Gloria In Sielo (3:40) 105 - Triakel - Oräntad Bröllopsgäst (Voc.Emma Härdelin) (3:56) 106 - Ataraxia - Marcia Ceremoniale (4:12) 107 - Chassalla - Spirit (4:16) 108 - Court - The Songs Of Omniscient Dwarf (6:11) 109 - Freiburger Spielleyt - Quantas Sabedes Amar Amigo (4:44) 110 - In The Nursery - Thorns (4:53) 111 - Spilwut - Knöterich (5:40) 112 - Mila Mar - H' M Ba (6:06) 113 - Moors, The - Belen-Gaard (8:51)
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Hello, The Hitchhikers Guide To The Galaxy enters its final, the Quintessential Phase today, four more fits left to go unfortunately . Humor is healthy and that sure cuts into the pharmaceutical profability charts, ridiculising authorities, alien or otherwise, cuts into their control quest...
So what happened last week,
Fenchurch and Arthur return to England, to discover that a large spaceship has landed in Knightsbridge, London, bringing Ford Prefect with it. Fenchurch, Arthur and Ford leave on the ship. Arthur begins to suspect that this is not the Earth he and Ford knew — there is a "Tricia McMillan" on the news, with an American accent and blonde hair (voiced by Sandra Dickinson, who played Trillian in the TV series), but otherwise identical to the Trillian who left his earth with Zaphod Beeblebrox. Fenchurch and Arthur go to see God's Final Message to His Creation, and bump into Marvin, who is also en route to see it. Marvin is now 37 times older than the universe itself, and needs assistance to read the message, which turns out to be "We Apologise For The Inconvienence". Declaring that he thinks he feels good about the message, Marvin dies.
This is followed by an event only mentioned in Mostly Harmless. Fenchurch asks Arthur to show her the universe. However, on a commercial liner flight, Fenchurch disappears, and the ship's crew deny she ever existed...
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The Quintessential Phase has one sub-plot of Zaphod attempting to reach Zarniwoop (which did occur in Fit the Twelfth, but that version was dismissed during the Tertiary Phase as Zaphod having a "psychotic episode" - another version of events occurs here, in an attempt to interconnect all five series). Zarniwoop has been merged with the character Vann Harl from Mostly Harmless. This radio series also sees the return of the characters of Max Quordlepleen, Thor, and Zarquon (who all appeared in Fit the Fifth at Milliways), and also Mr. Prosser, from Fit the First. None of these characters appear in the book version of Mostly Harmless.
The start of some of the plot threads from Mostly Harmless were introduced in the Quandary Phase (though they did not appear in So Long, and Thanks for All the Fish) - notably the Vogons discovering that Earth had re-appeared and resolving to destroy all versions of it, Arthur having sold his DNA, a mention that Trillian now has a child and is now a reporter. Also the final episode saw the introduction of an alternate version of Trillian, still known as Tricia McMillan, who is identical to the original Trillian except for being blonde and American.
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Hello, at Sundaze today i ask "noise ? what noise ?" Today's posts are certainly not of the comfortably numb type , no fluffly clouds in sight..Last week Aphex Twin's ambient works II were in a way the other side of todays album, he released under the Polygon Window moniker, one he never used again. It makes sense that at the time he wasn't sure where his music would lead him, and the labelling of the press can become very sticky. I think it's an exploration album for and by Richard D. James. Some would label it techno it certainly has some there but there's always the ambient backdrop.... Fennesz is another artist that likes to twist sound around and then pattern it back together , the album here is a collection of work starting with 95's Instrument EP to which are added several tracks done for compilation albums and reworkings. Fennesz strong style creates enough cohesion to make this album enjoyable in the back, but upfront and loud, things get really moving between those ears...Finally Daniel Myer he has released 3 albums under the alias Architect, but is probably better known for his work with Haujobb, the electro industrial-noise band who has been around since the early 90's. Unlike Haujobb, however, this solo album bounces in between IDM and techno it is much more personal and thoughtful. I Went Out Shopping To Get Some Noise is as ironic as it is ambivalent... It's dense but certainly not claustrophobic, city rhythms and those, at least in the west, tend to have plenty of quiter moments everyday...great album.
Richard D. James is listed as the creator of the music; however, his name is printed over the brown cliff on the back of the album. The full text reads "Writing, programming, arranging, engineering, producing + location recording by Richard d. James at Llannerlog Studios, Cornwall." An image of him running down a flight of stairs can also be found inside the liner notes.
The brooding album is a collection of largely instrumental electronic music (a few vocal samples are included in places). It might have been recorded by James onto cassettes in his bedroom studio, using a limited range of cheaply available drum machines, synthesizers, sequencers and samplers, some likely modified by himself. Most of the tracks feature insistent drum machine patterns (the ambient Quino-phec being an exception) and James' characteristic angular, modal, melodies. James makes liberal use of lengthy digital reverberation, giving a spacious and mesmerising feel to the tracks.
The album was re-released in 2000 by Warp to celebrate the opening of Warp's American division (albums by Warp had previously been distributed in America through Sire Records and Nothing Records). The re-release features two previously unreleased tracks that were recorded during the same time this album was created.
1 - Polygon Window (5:28) 2 - Audax Powder (4:40) 3 - Quoth (5:36) 4 - If It Really Is Me (7:03) 5 - Supremacy II (4:07) 6 - UT1 - Dot (5:20) 7 - Untitled (6:24) 8 - Quixote (6:03) 9 - Quino - Phec (4:41)
Vienna-based guitarist Christian Fennesz is one of the city's many artists associated with the noted Mego label, which releases mostly freeform ambient and experimental electronica. He was born and raised in Austria and studied music formally in art school. Similar in some respects to the work of Seefeel or Experimental Audio Research, Fennesz's six-string soundscapes are both darker than the former and more complex and intricate than the latter, combining dense, multilayered sheets of treated guitar and synth with thin, odd-metered electronic percussion and engaging sampler work. A former member of Austrian underground experimental rock group Maische, as well as performed ensemble pieces for conceptual and multimedia art installation. His first solo work for Mego, the Instrument EP, was released in 1996, and featured four tracks of stunning, uncompromised ambient and electro-acoustic, combining elements of experimental electro/techno with heavily treated guitar and electronics.Rereleased as part of the Field Recordings album. Hotel Paral.lel followed in 1997, and three years later Fennesz returned with Plus Forty Seven Degrees 56' 37" Minus Sixteen Degrees 51' 08" and Music for an Isolation Tank. Endless Summer, released in 2000, brought him back to the Mego fold. (see Eurotour -Austria 2).
Since the 1990s, Fennesz played live with Ryuichi Sakamoto, with British electroacoustic improvisation icon Keith Rowe, and with quirky American pop group Sparklehorse. He has also worked alongside Peter Rehberg and Jim O'Rourke in the improvisional trio Fenn O'Berg, and with British singer David Sylvian - Sylvian sang on Fennesz's album Venice while Fennesz composed the music for "A Fire in the Forest" from Sylvian's album Blemish and made contributions to Sylvian's "When Loud Weather Buffeted Naoshima". Fennesz also appeared on the Ulver remix/compilation album 1993-2003: First Decade in the Machines, contributing "Only The Poor Have Time To Travel". Fennesz and Sakamoto released a collaborative album entitled "Cendre" in March 2007 on Sakamoto's new Commmons label.
Architect - I Went Out Shopping To Get Some Noise ( 04, 71 min. ^ 161mb) Architect is one of the many projects of Daniel Myer, there are not many who have so many different projects with such variety and yet a surprisingly high quality. Architect is one of the projects which explores electronic landscapes. "The Galactic Supermarket", Architect's first album was released in 1998 through hymen records, it set the sphere for architect's second album entitled "i went out shopping to get some noise". even though there were six years inbetween these two albums (2004, also hymen). Architect succeeded in combining electronic sounds with ambient and experimental sounds. Fans of Haujobb's ambient-side should have no problem finding their way here, as well as fanatics of the so-called clicks'n'-cut genre.
The stunning feature of this record is that even if there's a lot of power and distortions concentrated in the rhythmical section, you won't classify it as industrial or noise, the music flows flawlessly with a lot of depth and detail assembled with surgical production. keeping it simple, it's very accessible, the hooking melodies and the epic setting are so charming and fascinating that you're obliged to listen and re-listen several times to discover new layers of sound you didn't notice before. "The Analysis of Noise Trading" is Architect's third album , bringing the trilogy to completion, it is like the two other albums, not exactly an easy record, a record that is made to play once and than cool down.
01 - Anger Management (4:26) 02 - Belgian Connection (6:32) 03 - Icl Feelings (6:36) 04 - Colorado 6am (5:02) 05 - Unlike (6:33) 06 - Dievorce (6:37) 07 - Colorfusion (4:45) 08 - Grand Diesel (6:40) 09 - Fifth Puppy (5:16) 10 - Unlike Reaktor Version (5:39) 11 - Charles B (6:03) 12 - Beyer Dynamic (4:09) 13 - Moonshine Live Version (3:26)
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Hello, Into The BPM is into the Wall of Sound today, not the Phil Spector way but the label by that name started 15 years ago by Mark Jones and currently , after the merger with PIAS a major independent so what's the story....
Mark Jones started the label when he was working for a record distribution company called Soul Trader, and started to learn the other side of the business. There he began to work with producers, musicians and labels who didn’t have the facility to distribute their own music. Artists like Kruder & Dorfmeister, Basement Jaxx, Howie B, Pussyfoot and lots of others. And one day he came up with the bright idea of putting them all on an album and that's how Wall Of Sound came into being. When Mark Jones released the ‘Give ‘Em Enough Dope Vol.1’ compilation fifteen years ago. From there it was a short step to signing his own artists – such as Stuart Price of Les Rythmes Digitales and Jon Carter – then garnering a reputation as the dance label with rock’n’roll spirit. Tuned into the big beats of those days, within a year or two Wall Of Sound were a sensation replete with club nights, international dates and proper chart hits by The Propellerheads and The Wiseguys. Jones has always said that every time he releases music, he wants to sell a million copies, but is unwilling to compromise to do so. No-one can doubt his ability to spot talent, for example Stuart Price one of the world’s best producers who went on to work with Madonna and The Killers amongst others. Wall Of Sound has also always been about the attitude, about the occasion.
After the dance-centric early years the label found itself in a bit of corner as people “thought they knew what Wall Of Sound were about”, so he wanted to open things up. He started the sub-labels Bad Magic, which promoted hip-hop talent such as Blak Twang and The Creators, and We Love You, his full-blown venture into guitars that, amongst other things, launched the careers of steadfast songsmiths The Bees and I Am Kloot. Diversity is something Wall Of Sound is unafraid of, as long as Jones thinks the music has something vital going for it. “I’m a pop-head,” he admits, “and that translates into any musical genre.” Thus the post-rock of Glaswegian instrumental innovators Mogwai can sit happily next to the million-selling electronica of Royksopp. One thing never changes and that’s Jones’ penchant for the startling and outrageous. He’s turned the signing of every deal into a catalogue of the twisted and bizarre. He’s signed deals everywhere from the centre circle at his beloved QPR to a helicopter above the Houses of Parliament.
The PIAS deal was even signed parachuting from an aircraft. Ah, yes, the PIAS deal… sitting in an Italian restaurant prior to the gig, chatting mainly about clowns and his mobile phone folder full of pictures of desserts, Jones also takes a moment to reflect that “Kenny Gates of PIAS was the first person ever to ring me when I started the label and PIAS were my first licensee in Europe. One day he said, ‘Why don’t we take the sum of our parts and put them together?'. And in 2006 they did, a brilliant idea that made both parties stronger – Jones the maverick A&R pirate with PIAS ensuring his business interests sailed steady. PIAS also have global reach in all major territories - seventeen international offices, from Greece to Japan – giving Wall Of Sound’s already recognizable global brand further worldwide clout. “I’d never had that support structure before,” says a clearly pleased Jones, “Having an international network with a vested interest in what I do makes a huge difference, not to mention in-house accounts and legal departments.
A raw, grubby big beat act who filter influences from acid house and old-school rap through breakbeat techno, Dirty Beatniks was formed by friends Neil Higgins and Rory Carille, who met in Dublin during the late-'80s glory days of acid house. After moving to London in 1990, they added bassist/producer Justin Underhill and made their debut remixing for Cujo, Ruby, Akasha, and Marxman. After signing to Wall of Sound, London's favorite beat-specific label, the trio recorded the EP Bridging the Gap, then their debut full-length One One Seven in the Shade for a 1996 release. One One Seven in the Shade is a grubby, clattery, and wholly bestial record. But luckily, it hasn't yet come to terms with its influences. Like better big beat, "Don't Stop" eschews wonky samples in favor of scorching old-skool instrumental hip-hop, giving the likes of the Chemical Brothers much fuel for their live sets, while "Straight & Narrow" is all uncorked breakbeats trying to reconstruct those clammy, clenched all-nighters. After a long break and several personnel changes, Dirty Beatniks returned as (mostly) a duo of Higgins and new member Mau, formerly the vocalist for Earthling ( see Rhotation 5). They released Feedback in 2000. The single "Whores, Freaks, Saints and Angels" followed in early 2001. Afterwards Mau went his way and Neil continued under his own name , these days he's active in Padded Cell. Some singles added to the 'lode'
01 - A Word From Our Sponsors (0:22) 02 - Don’t Stop (6:41) 03 - Beatnik Bounce (6:09) 04 - Straight & Narrow (5:47) 05 - More Danger (6:36) 06 - Music To Make You Stagger (0:53) 07 - Perfect Rhyme (6:12) 08 - So Vou De Mulher (6:32) 09 - Hypnotysin’ (6:04) 10 - Cosmic Rodeo (5:14) 11 - Roger 'N' Andre (6:02) 12 - Enough Already (1:08) ---Xs--- 13 - Big Dirty Beats (7:15) 14 - Latinhead (5:17) 15 - Gettin' Stupid (8:29)
Propellerheads is a British big beat music band made up of electronic producers Will White and Alex Gifford. The term "Propellerhead" is slang for a nerd, and when Gifford and White heard a friend from California drop this into conversation, they thought it the perfect name for their band. Gifford began his career as a studio musician, playing keyboards for Van Morrison and saxophone for the Stranglers, among others, before joining dance collective the Grid. After a stint on the staff of Peter Gabriel's Real World Studios, where he helped write and produce the well-received Arcane compilation, Gifford decided to start recording his own music, and sought out local drummer White. In 1996, the duo released its first EP, Dive, on Wall of Sound; almost immediately, the title track was licensed by Adidas for use in a television commercial. They gained fame the next year by providing a remix for Bond composer David Arnold's Bond tribute album Shaken & Stirred: They also collaborated with Arnold on the track Backseat Driver, for the Tomorrow Never Dies soundtrack. The single "History Repeating" followed, a collaboration with jazz diva Shirley Bassey, fusing big beat with jazz. Remixes for acts like Luscious Jackson, Soul Coughing, and 808 State followed.
The only Propellerheads album to date is Decksandrumsandrockandroll, released in 1998 , it's about as close to rock & roll as big-beat techno is going to get. Taking their cue from the Chemical Brothers, the Bath-based duo offer a set of pummeling, ultra-loud beats that may dabble in funk, house, hip-hop, soul, and rap, but which all come out sounding as aggressive as rock. Their song "Take California" was the first song ever used in an Apple iPod television ad., "Spybreak!", became widely known after its use in the famous lobby scene in The Matrix. They are also noted with providing "Crash" as the theme tune to BBC Radio 1's Official Chart Show between 1998 and 2002, when Mark Goodier was the host. This song was also used in the 1999 hit comedy film Austin Powers: The Spy Who Shagged Me.
After touring for their hit album, Will White fell ill. They released Extended Play EP in 1998, things subsequently went quiet in the Propellerheads camp. Alex moved to New York and produced the Jungle Brothers 1999 Album V.I.P. in which he raps with The Black Eyed Peas among others. Will White provided the drums for the eponymous track. He has also produced a track for Rufus Wainwright ("Shadows") on his 2001 album Poses. White has since released a mix compilation for the Beatz and Bobz series, and he has also appeared as a member of the De-Fex music project. Gifford and White have reportedly been close to finishing "that difficult second album" for a while now, but have scrapped material they did not believe was fresh or new enough to warrant release. Their next album will apparently feature duets from Canadians Rufus Wainwright and k.d. lang among others, but WoS has no projected release date. Meanwhile Will White is now part of the live incarnation of Long Range, the latest project of Phil Hartnoll of Orbital fame.
01 - Take California (7:23) 02 - Echo And Bounce (5:29) 03 - Velvet Pants (5:49) 04 - Better? (2:05) 05 - Oh Yeah? (5:28) 06 - History Repeating (4:05) 07 - Winning Style (6:00) 08 - Bang On! (5:57) 09 - A Number Of Microphones (0:48) 10 - On Her Majesty’s Secret Service (9:23) 11 - Bigger? (2:22) 12 - Cominagetcha (7:07) 13 - Spybreak! (7:00) --Xs--Dive EP--- 14 - Dive! (7:05) 15 - Ron's Theory (6:39) 16 - Lethal Cut (7:27) 17 - Go Faster (6:10)
This cd came with Muzik Mag. May 2000 The Wiseguys was a British electronica hip hop band was formed in 1994 with two members, Touche (Theo Keating) and Regal ( Paul Eve). Wall of Sound signed the duo and released their first album Executive Suite in 1996 to critical acclaim, featuring downtempo jazz beats and happy optimistic hip-hop numbers. Regal left the band in 1997 to pursue other interests, and Touche worked on the second Wiseguys album, The Antidote. This was released in 1998, and contained their two most famous songs "Ooh La La" ( used in Budweiser commercials)and "Start the Commotion". In 2001, "Start the Commotion" was shown on a Mitsubishi Motors television commercial in the United States, and that song reached the Top 10 of the Billboard Hot 100. The Wiseguys name disbanded in 2002
01 - Zoot Woman - Chasing Cities (E-Klektik's Death Disco Mix) (4:14) 02 - Akasha - Crazy Baby (Groove Armada's Presque Celebre Mix) (4:59) 03 - Ceasefire - Trickshot (2:17) 04 - Wiseguys, The - Better World Part 2 (4:14) 05 - Propellerheads - Comintagetcha (3:31) 06 - Les Rythmes Digitales - Jacques Your Body (Make Me Sweat) (4:15) 07 - Strike Boys, The - Jet Set (The Micronauts Remix) (4:54) 08 - Wreckage Inc. - Chase (The Strike Boys Mix) (3:05) 09 - Dirty Beatniks - The New Adventures Of Sandy & Bud (4:46) 10 - Mekon - Welcome To Tackletown (Propellerheads Mix) (3:57) 11 - Pascal R - Killing (3:24) 12 - Psycho Cowboys - Come On Baby (4:09) 13 - Themroc - The Boy Can't Take It (5:28)
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Hello, Into the Groove pays a second visit to the Prince Family( first Rhotation 15) The first visit is to Prince's childhood friend with whom he started out in the musicworld. After Prince started his solocareer André Cymone played bass in his band on the first 3 albums, i guess the previous closeness led to the later tensions, anyway for some years they didnt see eye to eye, yet by the time of Cymone's third album things seems to have settled and Prince wrote Cymone's biggest hit, The Dance Electric i added this 12 " to Cymone's second album here....Prince met my second post here when she was still young and fresh (18) , 2 years later she went with him on the road and sang backing vocals. Her debut album was long in coming, don't know if Prince couldnt find that G-Spot but when the album was finally released Jill was 25. Good reviews didnt help , the album didnt sell as expected and Jill became margenalised....Prince however was ever busy and whilst he was working on J J's album he was working on another project, instrumental jazz-funk, jamming away with Eric Leeds and his family bandmembers which previously had resulted in "The Family"album, this time however Prince after taking in the results , recorded an instrumental jazz-funk album all by himself with some minor input by Eric Leeds and released the result as Madhouse - 8 , a project that would be extended upon later that year -this time with other musicians aboard - with Madhouse -16. The heavily cloaked 'band' served as an opening act for Prince’s headlining tours..
André Simon Anderson (Cymone) was the youngest of six children. His father Fred Anderson was a musician, while his mother Bernadette a social worker in Minneapolis, Minnesota. The Anderson home soon had an additional member — a young Prince who left his own home due to conflicts with his stepfather. Prince and Cymone started a cover band in high school called Grand Central (later renamed Champagne) which also included Cymone's sister Linda and schoolmate Morris Day. In the late 1970s, after Prince released his debut album he recruited Cymone as bassist for his touring band. He stayed with Prince until 1981, quitting the band over tensions with Prince.
The two later resolved their issues and Cymone went on to release 3 solo albums — Livin' in the New Wave (1982), Survivin' in the 80's (1983), and AC (1985). All are long out of print. His most successful single was "The Dance Electric," a song penned by Prince from the album AC. Cymone went on to become a record producer and is better known for producing Jody Watley (to whom he was married and shares a son) than for the music he released as a solo artist. He has produced and written songs for several other artists, including Pebbles, Lalah Hathaway, Jermaine Stewart and Adam Ant.
01 - Survivin' In The 80's (4:40) 02 - M.O.T.F. (4:18) 03 - Make Me Wanna Dance (4:50) 04 - Lovedog (3:08)
05 - Body Thang (3:39) 06 - Stay (3:11) 07 - What Are We Doing Here (3:38) 08 - Don't Let The Future (Come Down On You) (4:59) ----Xs--- 09 - The Dance Electric (Ext. Version) (5:30) 10 - Red Light (Edited Version) (4:56)
Jill Jones was born in a small town in Ohio. Her mother, a fashion model, is of African American heritage, and her father, a jazz drummer, is Italian She relocated to Los Angeles when her mother remarried, and began a singing career at age 15 as a backup vocalist for Teena Marie, whom her mother managed. She met Prince in 1980 at age 18, when Teena Marie was the opening act during his Dirty Mind tour. Prince loved her voice, encouraged her to sing, and stayed in touch with Jones. She became a backup vocalist for Prince when he invited her to the Sunset Sound recording studios in 1982, to sing backing vocals for several tracks on the album 1999. She was credited under just her initials J.J. and also was featured in the music videos for "1999" and "Little Red Corvette", as well as in the unreleased video for "Automatic", and then joined the tour for 1999 to sing backing vocals with Vanity 6. After the tour, she moved to Minneapolis, and had a bit part as a waitress in the film Purple Rain.
Her debut album was the self-titled Jill Jones (1987), and released on Prince's Paisley Park Records. Prince was credited as a co-writer with Jones, but wrote all of the songs himself. It was three years in the making and went through many different track listings, but in the end the final version was well worth the wait. Highlights include lead single "Mia Bocca," "All Day, All Night," and "For Love," on which Prince can be heard on the backing vocals and the Revolution can be heard on all instruments. The closing track, "Baby, You're a Trip," was originally a Prince demo in the vein of "Purple Rain," and his backing track survives on this version. The album was released on CD in 1987, and received positive reviews from critics, but, due to a culmination of poor sales and poor promotion, was quickly deleted and has now become very sought after.
Several demos were recorded for a second album on Paisley Park, and a video was filmed for the track "Boom Boom", but an album never surfaced. In 1993, she released the dance single "Bald" on Flying Records. With the help of former Paisley Park photographer and close friend David Honl, Jones finally released a second album entitled Two in 2001, there was no input from Prince on the second one, which was more pop-rock orientated. Jones also did backing vocals for Apollonia 6 and recorded the Prince-written single "G-Spot". She also sang lead vocals on Japanese artist Ryuichi Sakamoto's single "You Do Me" from his 1990 album Beauty, and contributed a version of Blondie's "Call Me" to a Giorgio Moroder tribute album. In addition, Jones wrote and co-produced the song "The Great Pretender" for Lisa Lisa. She was also lead vocalist for the band Baby Mother, who recorded an album in 1995 for London Records, which remains unreleased. In 1996, she toured performing co-lead vocals as part of Chic with Nile Rodgers and Bernard Edwards before his death, and can be heard on the 1999 Chic release "Live At The Budokan".
1 - Intro (Baby You're A Trip) / Mia Boca (7:21) 2 - G - Spot (4:30) 3 - Violet Blue (4:24) 4 - With You (4:00) 5 - All Day, All Night (5:41) 6 - For Love (4:27) 7 - My Man (3:15) 8 - Baby You're A Trip (5:23)
Prince had caressed the idea of an instrumental jazz-funk album ever since he recorded his first tracks with Eric Leeds for his 1985 side-project, The Family. In late 1985-early 1986, he recorded hours of instrumental music with Leeds and other musicians from his band, Sheila E. and musicians from her own band, as well as members from Wendy & Lisa's families. From these sessions, Prince compiled an album called The Flesh, supposed to be released by an eponymous pseudo-band, but the project was abandoned and its concept lightly modified to become Madhouse. As he did with most of his side projects, Prince created an alter ego, named Austra Chanel, who was said to have been the mentor/producer for Madhouse.
All instruments on "8", the first Madhouse album, were performed by Prince except for the saxophone and flute parts which were performed by Eric Leeds. The albums consists of instrumental jazz-fusion tracks. A remix of the track "Six" was released alongside with the b-side "Six & 1/2", composed by Leeds and featuring Atlanta Bliss on trumpet. "16", the second Madhouse album, featured contributions by Eric Leeds on saxophone and flute, Sheila E. on drums and Levi Seacer, Jr. on bass guitar (the three of them co-composed a few tracks besides playing on the album.) "Doctor" Matt Fink (keyboards) and John Lewis (drums) are also credited in the album's booklet but their participation to the recording is more than uncertain (though both were part of the short-lived live-version of the band.) "16" features more aggressive and minimalist jazz funk tracks than its predecessor.
Cover art for both albums featured a voluptuous woman playing with a small dog, reminiscent of a 1940s pinup photograph. The videos from "16" were more 1940s gangster-themed. The cover of "16" features the subtitle "new directions in garage music", which is a homage to Miles Davis' Directions In music series. The only vocals on either album consisted mainly of choice snippets of audio lifted from the first two Godfather films and samples of Vanity simulating an orgasm (from the Vanity 6 outtake "Vibrator", later used on Prince's own song "Orgasm" from Come.) In 1987, Madhouse served as an opening act for Prince’s headlining tours, with each of the musicians heavily disguised in baggy cloaks and sunglasses, to be removed for the final set. Prince himself often guested with Madhouse, incognito.
At least three other Madhouse albums were later recorded and remain unreleased to this day, all three of them being named "24". The first one was recorded in 1988, mostly by Prince and Eric Leeds. Only one track eventually emerged, severely edited, on Eric Leeds'1991 solo-album Times Squared. The second one was recorded in 1993 with a line-up consisting of Prince (keyboards), Eric Leeds (saxophone), Levi Seacer, Jr. (guitar), Sonny T. (bass) and Michael B. (drums.) Only two tracks were officially released, "17" and"Asswhuppin' In A Trunk" in 2001, via Prince's website. . The third unreleased album is almost unknown since only two tracks are circulating: one was released in 1998 on a very rare promo-CD, and another one in 2001 on Prince's website. The two released tracks feature even more complex arrangements than the 1993 album, sort of announcing Prince's "New directions In Music" series from 2002-2003.
1 - One (7:18) 2 - Two (5:29) 3 - Three (3:16) 4 - Four (2:24) 5 - Five (1:18) 6 - Six (4:28) 7 - Seven (4:09) 8 - Eight (10:06)
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Hello, Alphabet Soup day reached V now, and like in the english dictionairy it's just a small section in my collection. In fact VDGG, my first band here, was a favourite of mine in the midseventies, progrock without flowers and lyrics that got them labelled art rock. On this album Still Life, the problems of immortality are considered...and yes we all now how boring soaps tend to get after a few years. Anyway great cover..a Van Der Graaf machine in action, yes the cosmos is electric there's even huge DNA twists out there, but still those silly astrophysicists refuse to admit their 'daddies' teached them wrong..just throw in some more dark energy boys..Science ? Not like that it aint.... Ben Vaughn Combo, a tongue in cheek name for a band, but before getting to the humor of it, you'll have to pick it up and listen to it, and that sadly didnt happen too much. Great live shows but these too remain a local event and so this beauty got lost in time, that said whilst researching i found that its been remastered and re released recently...finally Die Verbannten Kinder Eva's (that's us btw) they are Shelley adepts and so a title like In Darkness Let Me Dwell should connect to the romantically inclined drama visionists. Shelly btw was a serious vegan who- rightfully abhorred the slaughter of animals..and he didnt even know pigs are only outsmarted by apes and humans on land, but then did you ? Anyway the Austrian DVKE is likely the kind of band that enhances the autumn mood, as such the release of the album here was almost late, and im not sure they were aware of the masonic undertones a date like 11-22 has, I guess from their perspective 22-11-99 was an easy date to remember, no idea what i did that day, but then do you...
The band first formed in 1967 while its members were studying at Manchester University. The three-piece was comprised of Peter Hammill (guitar and vocals), Nick Pearne (organ) and Chris Judge Smith (drums and wind instruments). On the basis of a demo, this blues- and jazz-influenced first incarnation were offered a recording contract with Mercury Records, which only the 19-year old Hammill signed. In 1968, Pearne was replaced by Hugh Banton. The band were able to secure Tony Stratton-Smith as a full-time manager. Through him, the band acquired a bass guitar player, Keith Ian Ellis. Drummer Guy Evans joined not too long afterwards. This line-up recorded a series of demos for Mercury, before releasing a single ("People You Were Going To" b/w "Firebrand") on Polydor Records. The single was withdrawn under pressure from Mercury, since it violated Hammill's contract as a solo artist.VDGG broke up in early 1969 with Mercury's refusal to let Hammill out of his solo contract and the band's unwillingness to sign under the "harsh" terms to which Hammill had agreed.
In July 1969, Hammill went to record his first solo album, Banton, Evans, and Ellis joined him as session musicians. Through a deal worked out by their manager, Hammill's intended solo album, The Aerosol Grey Machine, was released by Mercury under the VDGG's name in return for releasing Hammill from his solo contract. A new sound was established, leaving behind the psychedelic influence of The Aerosol Grey Machine in favour of darker textures influenced by jazz and classical music. The Least We Can Do... was well received, and was swiftly followed by H to He, Who Am the Only One. Potter left mid-way through that recording, and the band decided to carry on without a bass guitarist, with Banton on hand and feet bass pedals. The Hammill/Banton/Jackson/Evans quartet that resulted from H to He is now considered the 'classic' line-up, and went on to record Pawn Hearts, which is considered by many to be their finest work. The album proved highly successful in Italy, topping the chart there for 12 weeks. The band toured extensively from 1970 to 1972, but a lack of support from the record company and possibly also financial difficulties caused the band to implode and Hammill left to pursue a solo career.
Hammill's split with the group was amicable, and Banton, Jackson and Evans, among others, all contributed to his solo work at various times. By 1975 the band were ready to work with each other again, the sessions were produced by the band themselves, and displayed a more streamlined sound. VDGG released Godbluff starting off a trio of new albums that were recorded in just 12 months. The second step on the mid-'70s comeback trail, Still Life, saw Peter Hammill attempting to meld the introspective and the cosmic throughout, though this did not stop him from taking a dead run at a grandiose concept or two -- the consequences of immortality on the title track, and the grand fate of humanity on the epic "Childlike Faith in Childhood's End." The theme of humane cooperation informs the opening "Pilgrims," while "La Rossa" is an epic tale of desire fulfilled .The true highlight, however, is the beautiful, pensive "My Room (Waiting for Wonderland)," with its echoes of imagination and loss. The last record the classic line up produced was World Record, first Banton and then Jackson departed. It would be 30 years before they would release another VDGG record together.
Nic Potter returned, and in a typically eccentric move Banton was replaced by a violinist, Graham Smith (formerly of Charisma folk-rock band String Driven Thing). This line-up produced the album The Quiet Zone/The Pleasure Dome. The band also shortened its name to Van der Graaf. Charles Dickie then joined the band on cello for live work, documented on the live album Vital. By the time Vital was released, in the summer of 1978, the band had already split.
Banton, Jackson and Evans all made occasional appearances on Hammill's solo albums following the 1978 split, and the classic line-up also played occasionally together. In 2003, Banton, Jackson, and Evans joined with Hammill to perform the song "Still Life" at the Queen Elizabeth Hall in London. Following the Queen Elizabeth Hall performance, discussions between the band members led to writing and rehearsal of new material in mid-2004. A double CD, Present, containing this material was released in April 2005. A reunion concert took place at the Royal Festival Hall, London, on 6 May 2005, ( released as "Real Time" in 2007), it was followed by several European dates in the summer and autumn of 2005. A new album by VDDGG, "Trisector " is expected to be released this month (march 08).
01 - Pilgrims (7:13) 02 - Still Life (7:24) 03 - La Rossa (9:52)
04 - My Room (Waiting For Wonderland) (8:03) 05 - Childlike Faith In Childhood's End (12:24)
Ben Vaughn is known more these days for television soundtrack work and some work as a rock historian, in the 1980s, however, he was fronting a wicked little rock band that captured the timeless, glorious quality of the Jersey/Philly sound from the ‘60s with white boy soul, pop hooks, catchy lyrics, and garage rock, the Ben Vaughn Combo. Vaughn understands its wild, rebellious nature whether it’s conveyed in a nasty electric guitar lick or the rhythms of a conga drum. It’s more than an attitude. It’s a groove Alas they never recorded an album that truly reflected their wigged-out, unpredictable live shows.
Beautiful Thing was the second Combo album and the most subdued, musically. Paradoxical as it was to the band’s live show, the songs are among Vaughn’s best and most memorable. The title track,”Beautiful Thing,” is a restrained performance of a song that sounds like it could take off in concert, “Jerry Lewis In France,” was the song that got the most attention at the time of the album’s release, It’s one of those lyrical metaphors that Vaughn is so adept at. He trots out a lineup of comparisons from American popular culture history, the joy expressed is palpable in Vaughn’s vocals, even as deadpan as they start out, when he concludes the song in an extended, shouted riff and harmonica outro, rendering what could have been a bookish cliche instead as a sentimental love song. Vaughn wrote 11 out of the dozen songs here, sings, plays lead guitar, harmonica and produced this effort that bathes in the joy of listening to the radio as a kid and remembering the pleasures summoned forth.Now that this, his best album, has just been reissued, perhaps some other clueless collegiate type will discover Vaughn’s magical mixture of hipster cool and retro rock ‘n’ roll schooling for themselves.
Vaughn lives in Venice, California these days, and he has been busy with revisiting his back catalog on albums such as Vaugh Sings Vaughn, vol. 1 & 2. You can check out more history and credits on his Myspace page, with new music and another video clip or two. After years in television work, it seems like Vaughn is getting back to the basics of making his back-to-basics rock ‘n’ roll, and that’s definitely a beautiful thing.....
01 - Jerry Lewis in France (4:01) 02 - Clothes Don't Make the Man (3:20) 03 - Beautiful Thing (3:18) 04 - North Wind Blew (4:10) 05 - Shingaling with Me (4:15) 06 - Gimme, Gimme, Gimme (2:27) 07 - She's a Real Scream (2:03) 08 - Big House with a Yard (2:24) 09 - On the Rebound (3:15) 10 - Good Woman Is Hard to Find (3:31) 11 - Desert Boots (1:26) 12 - Apology Line (4:56)
Die Verbannten Kinder Evas ("The Exiled Children of Eve".) was formed by Richard Ledere and Michael Gregor (member of his other project "summoning") . It was Michael who found this German line, that means "the banished children of eve", in a renaissance booklet while searching for new lyrics for one of their songs. The name was not supposed to contain some special message, it was just chosen because it suited well to the mood of the music.
In March 1995 the first album of DVKE was released, and it received good reactions.Soon after the release Michael left to concentrate on Summoning, so the band at that time consisted of two people only Richard and Julia. At this time Richard got in contact "oliver falk" what started the label "MOSrecords" and decided to change the label, in the hope for a better distribution. The second album "Come Heavy Sleep" saw the light in September 1997 , it was less "heavy", a more classic and orchestra orientated and much more professionally done. Lyrics were taken from "Percy Bysshe Shelley", the English romatic poet of 19th century. The reactions on "Come Heavy Sleep" were quite different, from "quite boring" to "highlight of the year". But sometime after the release the relations between Richard and Oliver were disturbed and thus the decision to change label was taken once again.
This time it was the Austrian label "Napalm Records", under which "Summoning" was releasing its albums since the debut in 1995. And the changes in the line-up took place once more. Julia was replaced by the new singer "Tania Borsky" who has got a voice much stronger and more in the classical style. The third album ("In Darkness Let Me Dwell") came out 22-11-99. It's less classical and polyphony, more darkwave , it concentrates more on vocals. All high parts were sung by Tania. This time the lyrics are taken from "Percy Shelly" and "John Dowland". By the way, in the beginning this album was supposed to be called"The Spirit of Solitude" (poem title of shelly), but later, when Dowland's lyrics were included the name was changed.
After that album singer Tania lost interest and fell away Richard had to search for a new singer, things didnt work out with the replacement singer and DVKE was put on hold and he returned to "Summoning" that was also already delayed for a very long time cause of all those problems with DVKE. After the new "Summoning" album was released he got in contact with "Christina", a singer from Greece that was a fan of DVKE. Richard heard one of her tracks and immediately decided to make the recording with her, she flew to Vienna and in only 3 days recorded all songs. Finally "Dusk And Void Became Alive" had been finished after a unintentional pause of 7 years.
1 - Intro (4:21) 2 - Brief Even As Bright (7:04) 3 - On A Faded Violet (6:56) 4 - Overpast (6:09) 5 - Cease Sorrows Now (6:59) 6 - In Darkness Let Me Dwell (7:02) 7 - Shall I Strive? (5:58) 8 - Arise From Dreams Of Thee (6:12) 9 - From Silent Night (7:18)
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Hello, Eight-X burps up some more nostalgia again from the days when the world had to do without the internet, cheap communications and computers were toys for nerdy boys. A time when governments and company's functioned without the demand to know everything about you, in fact it was easier to enter/visit a jail then, as it is to enter a 'democratic' country these days. Seen in that light this eighties nostalgia is escapism too. Buggles started off the MTV age , little did they know how bad it would get, Clear Channel that owns 1600 radiostations in the US has put out an 'edict' that no artists over 45 are to be played at their radiostations..wrinklefree radio..Well Buggles started off the career of Trevor Horn and Geoff Downes, ironically the main man responsible for Video Killed The Radiostar, Bruce Woolley disengaged shortly before and after one album fell into oblivion... The Passions began at the Cure's Fiction label and thats not surprising when listening to Michael And Miranda, later a major picked them up, but didnt really know what to do with them, a pity their music was still developping ( as did the line up) After 3 albums it was all over, to my surprise there's just one cd collection released, where's the remaster ? ...Finally Thomas Dolby, who btw worked with Buggles and later as backing for Woolley before setting out himself. His first album was great even, if it has been rereleased in 5 versions at the time, well i scored the first one back then..I'm not sure what happened after his great second album, The Flat Earth, he seems to have lost focus, too much too young perhaps.
Buggles formed in 1977 consisting of Trevor Horn (bass guitar, guitar, percussion, and vocals), Geoff Downes (percussion and keyboards) and Bruce Woolley. Horn and Downes first met in the mid 1970s while members of the backing band of British singer Tina Charles . After this stint they briefly went their separate ways, Horn playing bass guitar in the house band at Hammersmith Odeon for a while, where he met Bruce Woolley. During this period Horn yearned to become a record producer, but was frustrated by not being able to find ideal songs or artists to work with. As a result he reunited with Geoff Downes, and the trio of Horn, Downes, and Woolley began writing their own songs to record themselves as a studio band.
The Buggles' sound was characterised by a deliberately synthetic quality in keeping with the technological subject matter of their songs. The origin of the band's name the booklet for the CD remaster of "The Age of Plastic" says that it arose out of a private joke between Horn and Downes and was actually a pun on "Beatles". ( but then take out a g and you get bugles..horns). Their first song was "Video Killed the Radio Star," and in the summer of 1979 a demo recording was submitted to Island Records, who signed them immediately. Although the song was chiefly a Bruce Woolley composition, he left shortly before its release to form a new band, the Ian band, which included Thomas Dolby and Hans Zimmer. The Camera Club also released a version of the song. Three months after the demo was sent to Island, "Video Killed the Radio Star" was spending one week at the top and shooting Buggles to fame. At the time of the single's original release Buggles did not actually have an album's worth of material to record, and so they wrote most of the other tracks for their debut album The Age of Plastic (1980) while travelling around Europe promoting "Video Killed the Radio Star".
Being largely a studio creation, Buggles never toured as such. The novelty value of the song led to the Buggles' being perceived as being a one-hit wonder (three subsequent singles also charted, although they were largely ignored by radio and did not perform well), but its success was sufficient to launch both members of the band onto successful careers. The video for the song, directed by Russell Mulcahy, was the first video aired on MTV two years later, at midnight on the 1st of August 1981. By this time, the Camera Club had released their version of the song.
Later in 1980, Horn and Downes began work on a second album, working in a studio next door to progressive rock band Yes, who had recently lost vocalist Jon Anderson and keyboardist Rick Wakeman. Buggles offered a song to Yes, "We Can Fly from Here", but at the suggestion of Brian Lane, manager of both bands, Yes' bassist Chris Squire invited them to actually replace Anderson and Wakeman as fully fledged members of Yes. This they did, in one of rock music's more surprising shifts of personnel. The fruit of their labours was the album Drama (1980). On the whole, the team-up of Yes and Buggles was well received by fans both on record, and on stage. Yes officially disbanded, although temporarily, in early 1981, shortly after the Drama tour came to an end.
Whilst Downes went on forming Asia, Horn continued to work on the second Buggles album, Adventures in Modern Recording, with several new players, the most prominent being Simon Darlow. The album did not chart, nor did four singles released from it. Shortly afterwards Trevor Horn brought the Buggles to an end. Finally embarking on his new career as a record producer, achieving enormous success, with bands like ABC, Dollar, Frankie Goes to Hollywood, Art of Noise, and even a re-formed Yes, with Jon Anderson back on vocals. In 1985, Horn won the Best Producer BRIT Award.
01 - Living In The Plastic Age (5:13) 02 - Video Killed The Radio Star (4:13) 03 - Kid Dynamo (3:29) 04 - I Love You (Miss Robot) (4:58) 05 - Clean, Clean (3:53) 06 - Elstree (4:29) 07 - Astroboy (And The Proles On Parade) (4:41) 08 - Johnny On The Monorail (5:28) 09 - Island (3:33) 10 - Technopop (3:50) 11 - Johnny On The Monorail (A Very Different Version) (3:49)
Based in Shepherds Bush, West London, The Passions' music was grounded mainly in Barbara Gogan's voice, and Clive Timperley's delicate echoplex guitar work. Before forming in 1978, most of the members had spent time in other groups. Timperley was an ex-101ers, whilst drummer Richard Williams and singer/guitarist Barbara Gogan were in the punk rock outfit, The Derelicts. The Passions' first single, issued in March 1979, was "Needles and Pills", which helped them gain a recording contract with Fiction Records, home of The Cure.
A year passed between the release of the "Needles and Pills" single, and Michael and Miranda, the band's first album. Singles "Hunted", and "Swimmer" followed, and then their major charting song, "I'm in Love with a German Film Star". Before "The Swimmer" Bidwell and Barker left the band, the former to join The Wall. David Agar took over on bass guitar. The band's second album, 30,000 Feet Over China, was released in August 1981. It included previously released A-sides and several brand new recordings. Clive Timperley left the band in Verona in December 1981, during the Italian leg of their prophetically named "Tour Till We Crack" tour, as a result of "serious political differences".
The follow-up single release "Africa Mine" was recorded with a new line-up. Kevin Armstrong (a contributor to a Thomas Dolby album), who had previously been with Local Heroes joined, and the group added a keyboard player, Jeff Smith, perhaps best known for his past work with Lene Lovich. Armstrong and Smith took part in the recording of the band's third and final album, Sanctuary. It appeared in the autumn of 1982, Stephen Wright joined replacing Armstrong. The band toured Europe and the U.S., but dissolved for good in the summer of 1983, after playing their last ever live show at London's Marquee Club on 12 August that year.
01 - Pedal Fury (2:07) 02 - Oh No It's You (4:25) 03 - Snow (2:29) 04 - Love Song (2:34) 05 - Man On The Tube (3:51) 06 - Miranda (1:05)
Thomas Dolby (born Thomas Morgan Robertson, on 14 October 1958) is an English musician, producer, and inventor. Thomas was born in London, England. His father, Martin Robertson, was an internationally-distinguished professor of classical Greek art and archaeology at the University of London and Oxford University, and in his youth Thomas lived or worked in Greece and France. Thomas married actress Kathleen Beller in 1988; the couple have three children together. Dolby's interest in music arose through his interest in computers, electronics and synthesizers. He originally attended college to study meteorology, but he was soon side-tracked by electronics, specifically musical equipment. He began building his own synthesizers when he was 18 years old. Around the same time, he began to learn how to play guitar and piano, as well as how to program computers. The "Dolby" nickname comes from the name Dolby Laboratories, and was given to him by school friends due to his seemingly inseparable relationship with his cassette machine. Dolby Laboratories tried to stop him from using the name Dolby entirely. Eventually, the case was settled out of court and it was agreed that he would refrain from using the word Dolby in any context other than with the name Thomas.
In his late teens, Dolby was hired as a touring sound engineer for a variety of post-punk bands, including the Fall, the Passions and the Members; on these dates, he would use a PA system he had built himself. In 1979, he formed the arty post-punk band Camera Club with Bruce Woolley, Trevor Horn, Geoff Downes and Matthew Seligman. Within a year, he had left the group and joined Lene Lovich's backing band. Dolby gave Lovich his song "New Toy," which became a British hit in 1981. That same year, he released his first solo single, "Urges," on the English independent label Armageddon. By the fall, he had signed with Parlophone and released "Europa and the Pirate Twins." Dolby started playing synthesizer on sessions for other artists in 1982. He wrote and produced "Magic's Wand" for Whodini; the single became one of the first million-selling rap singles. Even with all of these achievements, 1982 was most noteworthy for the release of Dolby's first solo album, The Golden Age of Wireless, in the summer of 1982; the record reached number 13 in England, while it was virtually forgotten in America. "Windpower," the first single from the record, became his first Top 40 UK hit . Here he is performing at Top Of The Pops..Windpower...no need to remind the Brits as a storm is raging over the isles tonight.
In January of 1983, Dolby released an EP, Blinded by Science, which included a catchy number called "She Blinded Me with Science" that featured a cameo vocal appearance by the notorious British eccentric Magnus Pike, who also appeared in the song's promotional video. Blinded by Science was a minor hit in England, but the EP and the single became major American hit in 1983, thanks to MTV's heavy airplay of the "She Blinded Me with Science" video. Eventually, it was included on a resequenced and reissued version of The Golden Age of Wireless, which peaked at number 13 in America.
The Flat Earth, Dolby's second album, appeared in early 1984 and was supported by the single "Hyperactive." The single became his biggest UK hit. Though The Flat Earth did relativly well in the US , Dolby's momentum was already beginning to slow -- none of the singles released from the album cracked the American Top 40. Nevertheless, Dolby was in demand as a collaborator and he worked with Herbie Hancock, Howard Jones, Stevie Wonder, George Clinton, and Dusty Springfield. During 1985, he produced Clinton's Some of My Best Jokes Are Friends, Prefab Sprout's Steve McQueen (Two Wheels Good in the US), and Joni Mitchell's Dog Eat Dog, as well as supporting David Bowie at Live Aid. Also in 1985, he began composing film scores, starting with Fever Pitch. In 1986, he composed the scores for Gothic and Howard the Duck, to which he credited himself as Dolby's Cube. Aliens Ate My Buick, Dolby's long-delayed third album, appeared in 1988 to poor reviews and weak sales, even though the single "Airhead" became a minor British hit.
For the rest of the late '80s and early '90s, Dolby continued to score films, producing and he began building his own computer equipment. His fourth album, Astronauts & Heretics, was released in 1992 on his new label, Giant the album was a flop. The following year, Dolby founded the computer software company Headspace, which released The Virtual String Quartet as its first program. For the rest of the '90s, Headspace occupied most of Dolby's time and energy. In 1994, he released The Gate to the Mind's Eye, a soundtrack to the videotape Mind's Eye. Also that year, Capitol released the greatest-hits collection, Retrospectacle.
This is the original version of the LP, released in early 1982 in the UK. Later pressings differ from this one in a variety of ways, but most notably: First US issue (but second issue overall; on Harvest): Drops The Wreck Of The Fairchild, but adds Urges and Leipzig which were taken from an early single. Replaces the full-length Airwaves found here with a 7" version, and includes a different version of Radio Silence. A later US version then dropped Urges and Leipzig and instead added She Blinded Me With Science and One Of Our Submarines. Still later pressings switch off between the long and short versions of She Blinded... and Airwaves, and the rock (long) vs. synth (short) versions of Radio Silence. Confused ? Don't be, here's the original topped up with Blinded by Science EP
01 - Flying North (3:49) 02 - Commercial Breakup (4:15) 03 - Weightless (3:45) 04 - Europa And The Pirate Twins (3:17) 05 - Windpower (4:17)
06 - The Wreck Of The Fairchild (3:20) 07 - Airwaves (5:17) 08 - Radio Silence (3:45) 09 - Cloudburst At Shingle Street (5:35) ----Xs--- 10 - She Blinded Me With Science ( 5:07 ) 11 - One Of Our Submarines (5:10)
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Hello, Around the World still keeps that old heartbeat , you might be forgiven to think that its only germans doing the medievil dance, obviously not but then again Germany has many old castles as backdrop/inspiration for festivals and most towncenters still have plenty of woodwork buildings, 16 th century houses with 21 st century BMW and Mercs parked in front...duh. I think its a rather unique sense of history germans keep. Enough of that...My second title Mystica Antiqua Vol. 2 is actually a better compilation then last weeks vol 1 and you'll find besides germans an austrian , swiss, australian, bulgarian and evensome english babes on it, try to compile a rock sampler with those backgrounds, it wouldnt work but here it sure does. Firstly however i present a band, i myself discovered not that long ago and i was almost immediately taken by their music, they are from Valencia/Spain......
L'Ham de Foc (Fish hook of fire...great logo !) are from Valencia, power and beauty are the two main concepts in their music, and fire and water the contrary elements that are symbolized by their name. Their compositions have the ability to transform music for specialists into an understandable but profound music. Each album of L'Ham de Foc reflects what they have experienced in their recent journeys and studies. Three years passed by between the surprising and acclaimed debut album "U"and its successor "Cançó de Dona i Home", their second album and international breakthrough. Once again the band took a break of three years to release "Cor de Porc". Before entering the studio they spent six month in Thessaloniki (Greece) to study the music of the Ottoman Empire that is still vivid and being played on the Ud in Turkey, Greece and Armenia. This attitude was responsable for a lot of journeys especially to Greece where the main protagonists of L'Ham de Foc -singer Mara Aranda and multiinstrumentalist Efrén López- have now found their second home.
All songs have one thing in common - a sort of drone. This element is found in Medieval music but also in Afghan and Scandinavian styles. To this drone is added layer upon layer of instruments, topped off with the clear voice of Mara Aranda. Each layer might have its home in a distant part of the world. A Norwegian langeleik is matched with tabla, an Afghan rabab combines with a Persian santur and a bagpipe becomes the lead to a Catalan harp. It’s hard to put a label on this music. There are so many influences to discover in the melodies and timbres these instruments provide.
L'Ham de Foc also works on other traditional rhythms from Spain, like the Jota, and uses archaic and popular percussion like spoons, pots or a wooden table, played by Vanesa Muela as a basic rhythm, while new band member Osvaldo Jorge plays the Indian percussion instruments like Tabla, Kanjira or Ghatam and is responsible for the more specific and detailed pecussion. Stunning musical dialogues are developped on the Tomback (another percussion instrument) between Masur from Iran and band member Diego López. Again multiinstrumentalist Efrén López has introduced various new instruments in the sound universe of L'Ham de Foc. The whole family of the turkish Saz (string instrument) that consists of 6 instruments with different sizes has been involved in the repertoire and has strongly influenced the music. Out of more than 40 hours of material, that was recorded between Valencia and Thessaloniki, L'Ham de Foc produced 12 songs with a delicate selection of instruments, melodies and rhythms that make their music so unique.
"COR DE PORC ("Pig Heart") suggests the idea of the eternal coming and going through life with sadness and the natural imperfection which makes us (both musicians and the rest of the human race) like a pig attempting to wrench notes from a harp, when comparing with the ideal of perfection that we have. However much a man evolves, studies, investigates and wastes sleeping hours in the madness of being, he will never be more than this, a lonely pig with eternal insatisfaction like a hump."
01 - Voldrien (5:41) 02 - Per La Boca (4:45) 03 - Pandero (4:03) 04 - La Raó (4:00) 05 - Cus! (4:47) 06 - Tristos Ulls (5:42) 07 - L'Estimat Del Corb (4:41) 08 - Encara (8:56) 09 - Jorn E Nit (7:01) 10 - Història Curta D'Un Vent (5:14) 11 - Àngels De Menta (6:19) 12 - L'Únic Peix No Foll Del Món (1:56)
01 - Sarband - Stella Splendens (6:46) 02 - Hortus Musicus - Ninguno Cierre Las Puertas (4:56) 03 - Adaro - Se Ome Fezer De Grado / Apostos Miragres (2:43) 04 - Streuner, Die - Die Räuber (2:39) 05 - Spectaculatius - Der König Und Der Bettler (2:53) 06 - Airim - Follow Me Up To Carlow (2:36) 07 - Corvus Corax - Mit Dans Is All Die Werlt Genesen (3:24) 08 - Donner Trummel - The Chariot (3:14) 09 - Mediaeval Baebes - Omnes Gentes Plaudite (3:06) 10 - Louisa John-Krol - Alexandria (5:30) 11 - La Floa Maldita - L'Oasis (Night) (5:14) 12 - Verbannten Kinder Evas, Die - Overpast (6:08) 13 - Peron, Carlos and Ehrlich, Peter - Lohengrin (5:07) 14 - Hans-Andr Stamm - Requiem: Sanctus (2:49) 15 - Mothwing - The Castle (2:36) 16 - Miller, Dave - Mystic Procession (6:35) 17 - Lesiem - Liberta (Chor Version) (4:27)
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Hello, the Hitchhikers Guide To The Galaxy continues with the final episode of the Quandary Phase (the adaptation of So Long, and Thanks For All the Fish). Thusfar i posted all fits via Sharebee, but since last week i have been unable to get a link back from them, neither did they answer my mail as to why ? Well plenty of alternatives...
Last weeks 21st fit summary;
Fenchurch tells Arthur about her revelation at the time of the Vogon fleet's visit. At her urging, Arthur figures out that her feet do not touch the ground, leading him to suspect that she also can fly, and to a romantic tryst on the wing of a Heathrow-bound airplane.
Curious about the dolphins' fate, Arthur and Fenchurch head to California to visit Wonko the Sane, a scientist considered the foremost expert on the species. Wonko, who lives in an inside-out house called "The Outside of the Asylum" and claims to have had conversations with green-winged angels, tells Arthur and Fenchurch that they all received the same glass bowls — farewell gifts from the dolphins that, when pinged, play their final message to humans.
Meanwhile, a Vogon inquiry reveals that Earth's location in a plural zone means that any destroyed version is highly likely to be replaced by an alternate one. The Vogons decide that all Earths must still be destroyed, even though the bypass project has been cancelled.
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Hello, Sundaze presents just one album tonight , one very versatile artist that started at a young age doing his thing, a celtic bard of sorts who manages to transmute the isolated beautiful nature he grew up in and became an 'expert knob twiddler' falling for electronics but still having the rhythms of nature deeply embedded in his system. About the album here he said it came about by lucid dreams and synesthesia (mixing up of the senses ( f.i. hearing green)) Well here's 2 1/2 hours of Aphex Twin ( he was named after a brother who died at birth..hence the twin)
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Aphex Twin - Selected Ambient Works Volume II ( 94, 155min ^ 318mb)
Richard David James ( August 18, 1971) grew up in Lanner, Cornwall, England, enjoying, along with two older sisters a "very happy" childhood during which they, according to James, "were pretty much left to do what they wanted. He liked growing up there (near Lands end), being cut off from the city and the rest of the world.
As a child he experimented on the strings and hammers of the family piano. According to Benjamin Middleton, James started producing music at the age of 12. As a teenager he DJ ed at the Shire Horse in St Ives, with Tom Middleton at the Bowgie Inn in Crantock, and also along the numerous beaches around Cornwall. From age 16 to 18 James studied for a National Diploma in Engineering from 1988 to 1990 in Cornwall College. James describing his course said "music and electronics went hand in hand".
Richard James's first record was the 12-inch EP Analogue Bubblebath released as AFX, the track "En Trance to Exit" was made with Tom Middleton aka Schizophrenia. In 1991 James formed Rephlex Records with his friend Grant Wilson-Claridge to promote: "Innovation in the dynamics of Acid - Between 1991 and 1993, James released two Analogue Bubblebath EPs under the name of AFX and a Bradley Strider EP under "Bradley Strider". He would also record tracks during this time that appeared on his later releases. James moved to London to take an electronics course at Kingston Polytechnic, but his electronics studies slipped away as a career in the techno business took precedence. After quitting his course, James remained in London and released a number of albums and EPs on Warp Records and other labels under many aliases, including AFX, Polygon Window, and Power-Pill.
The first full-length Aphex Twin album, Selected Ambient Works 85-92, was released in 1992 on R&S Records. It got good reviews not withstanding the fact that the recordings were at times of cassette quality, but thats hardly surprising as he was 14 years old in 85. Anyway, he put to music the world around him, lush landscapes with oceanic beats and added bass lines. In 1992, he also released the Xylem Tube EP and Digeridoo as Aphex Twin, as Power-Pill the Pac-Man EP based on the arcade game Pac-Man, and two of his four Caustic Window EPs.
In 1993, Aphex released his third installment in the Analogue Bubblebath series, an ambient single On, his second Bradley Strider EP, two more Caustic Window EPs, and his first releases on Warp Records, Surfing on Sine Waves and Quoth under the alias Polygon Window. Warp Records pressed and released a follow-up to SAW85-92, Selected Ambient Works Volume II in 1994. The sound was much less beat-driven than the previous volume. James stated that these songs were inspired by lucid dreams and synesthesia. 1994 would also include a string of other releases including his fourth Analogue Bubblebath, GAK, derived from early demos sent to Warp Records and Classics, a compilation album that includes the Digeridoo single
Two months later, James released the single "Ventolin," a harsh, appropriately wheezing ode to the asthma drug on which he relied. I Care Because You Do followed in April, pairing his hardcore experimentalism with more symphonic ambient material, aligned with the work of many post-classical composers -- including Philip Glass, who arranged an orchestral version of the album's "Icct Hedral" on the August 1995 single Donkey Rhubarb. Later that year, the Hangable Auto Bulb EP replaced Analogue Bubblebath 3 as Aphex Twin's most brutal, uncompromising release -- a fusion of experimental music and jungle being explored at the same time on releases by Plug and Squarepusher. In July 1996, Rephlex released the long-awaited collaboration between Richard James and Michael Paradinas (µ-Ziq). " Expert Knob Twiddlers".
The fourth proper Aphex Twin album, November 1996's Richard D. James Album, continued his forays into acid-jungle and experimental music. James' next two releases, 1997's Come to Daddy EP and 1999's Windowlicker EP, were acid storms of industrial drum'n'bass. The accompanying videos, both directed by Chris Cunningham, featured the bodies of small children and female models (respectively) dancing around, all with special-effects-created Aphex Twin faces grinning maniacally
With very little advance warning, another LP, Drukqs, finally arrived in late 2001, his most personal album yet, a 2-CD album which featured prepared piano songs influenced by Erik Satie and John Cage. It is notable that many of the tracks names are written in the Cornish language (e.g. 'jynweythek' translatable as 'machinemusic'). Also included were abrasive, fast and meticulously programmed computer-made songs. Although James continued making frequent DJ appearances, he released no more material until 2005, when Rephlex issued the first installment in a lengthy, 11-part series of 12" singles titled Analord. For the series James used his extensive collection of Roland drum machines which he bought when they were still at bargain prices.The singles' minimalist acid techno harked back to his Caustic Window/Analogue Bubblebath material of the early '90s. Chosen Lords, a CD compilation of some of the Analord material, appeared in April 2006.
07 - Curtains (8:51) 08 - Blur (5:08) 09 - Weathered Stone (6:54) 10 - Tree (9:58) 11 - Domino (7:18) 12 - White Blur 1 (2:38)
Volume II differs significantly from the first volume in the series, in that the first volume is mostly beat-oriented, with complex instrumental rhythmic patterns and heavy bass frequencies. In contrast to the fast, club-inspired ambient music of its predecessor, Volume II consists of slow, moody pieces, performed much like ambient pioneer Brian Eno; e.g. "[lichen]" is reminiscent of Eno's Discreet Music. Many of the tracks feature almost no percussion, and have strong synth textures. James said that the album is "like being in a power station on acid."
Richard D. James has stated in interviews that the sounds in this music were inspired by lucid dreams, and that upon awaking, he would attempt to re-create the sounds and record them. He claimed that he has natural synaesthesia, which contributed to this album.
Volume II originally consisted of 25 songs, all untitled except for the song "Blue Calx." Every song matches with a specific photograph taken by James himself (except for a solid blue emblem representing the first track of the second CD, "Blue Calx"). The graphics are part of an encoded track-listing system that uses circles and pie diagrams—present in varying forms among the different releases—to represent each track.The lack of written titles for the tracks on this release provided impetus for fans of the album to come up with their own. Officially, however, the songs are still referred to by their track numbers.
There were several editions of SAW2 available for purchase. The most complete, with all 25 tracks, were the Limited Edition UK vinyl, which was pressed on brown vinyl and limited to a press run of 10,000 copies and the UK cassette edition, released simultaneously with the vinyl and CD. The second most complete versions are the regular vinyl release and the Warp Records (UK) CD release, which has every track except for "[stone in focus]", omitted due to the capacity limit of the CD format. The only hard-copy digital form of it can be found on the Astralwerks compilation Excursions In Ambience: The Third Dimension.
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Hello, my last DnB Into BPM six weeks ago centered on DJ Grooverider, i mentioned back then that he had been arrested when arriving at Dubai airport to do a show that weekend. Timesonline reported 19th of feb (abridged) ..
The Radio 1 DJ Grooverider has been sentenced to a four-year prison term in Dubai after admitting to carrying cannabis into the country. Grooverider – whose real name is Raymond Bingham – told judges at previous court appearance: “The drugs were in my possession and I forgot I had them in my trousers.” The 40-year-old DJ, who co-hosts the weekly BBC Radio 1 drum-and bass programme Fabio and Grooverider, was arrested at Dubai airport on November 23, with 2.16 grams of cannabis in his pockets just hours before he was due to play a sold-out show at a popular nightclub.
Drugs are strictly banned in the United Arab Emirates, there have been several high-profile cases of foreigners being jailed for smuggling small amounts into the country. A Swiss national is serving a four-year jail term after three poppy seeds from a bread roll he ate at Heathrow airport were found on his clothes. A British tourist, Keith Brown, spent four years in jail for the possession of 0.003 grams of cannabis. ...0.003 gr ? can you smoke that ? No it was an old butt that he had picked up under his shoe ! Well i think all this is a good reminder when you see Dubai selling itself, it's an abhorrent and deeply racist place, and someday some state sponsored terrorist (are there any other ?) will likely nuke it. Meanwhile Grooverider won't be alone, last year 59 Britons were arrested in the UAE on 'drugs'-related charges.
In the summer of 1992, a Thursday night club in London called "Rage" was changing in response to the commercialization of the rave scene (see breakbeat hardcore). Resident DJs Fabio and Grooverider; amongst others, began to take the Hardcore sound to a new level. The speed of the music increased from 120bpm to 145bpm, whilst more ragga and dancehall elements were brought in and Techno, Disco and House influences were decreased. Eventually the music became too fast and difficult to be mixed with more traditional rave music, creating a division with the other popular electronic genres. When it lost the four-on-the-floor beat, and created percussive elements solely from raw, 'chopped up' breakbeats, the old-school ravers would complain that it had "gone all jungle-techno".
First time i heard this music in the early nineties i was struck by the raw energy of it, this was not yet the DnB as we know it today but the ragga-jungle, mad beats that enabled one to dance like david byrne on speed, it certainly did away with the rhythmically limited dancers on the floor, personnally i found it all rather extatic. Unfortunately this hi-energy came quickly associated with an aggresive atmosphere. Add to that lot's of d.i.y and mutual ripping off and the scene quickly lost the limelight though it's still there, if anything it bore Drum n Bass.
The speed of drum and bass is not however only characterised by that of the broken beat. Drum and bass has a bassline, which will typically play at half the speed of the drums, bringing its speed down to that of, for instance, a laid back hip-hop track. A listener or dancer can concentrate on this element rather than the faster drums. It should be noted that the speed of music is subjective. An aggressively produced track with a complicated beat and synthesizer sounds may 'sound faster' than one with a sampled double bass bassline, guitar riffs and simpler beat, however the second track may be in strict BPM terms faster.
Jungle music had also a large impact on a variety of other styles like IDM and Electronica. Notable artists who were influenced by jungle are Squarepusher, Aphex Twin and Venetian Snares. Jungle reached the peak of its popularity between 1994 and 1995. It was toward the end of this period that the genre diversified into drum and bass as most producers started to incorporate new sounds and rhythms into their music. The co-produced "Timeless" by Goldie and Rob Playford (Moving Shadow label owner) is the clearest example of a track from this time period which is not considered Jungle.
Goldie was born to a Scottish-Jamaican couple and put up for adoption. He bounced around child-care homes and several sets of foster parents during his childhood years, and became fascinated with the rise of hip-hop, breakdancing, and graffiti art. By 1986, he was involved with breakdancing crews around his home of Wolverhampton; after making several trips to London for all-day breakdancing events (and to see hip-hop pioneer Afrika Bambaataa), Goldie appeared in the English documentary on graffiti art called Bombing. He also spent time in New York and Miami but returned to Walsall England by 1988. After moving to London he began hanging out with two fellow heads from the British hip-hop scene, Nellee Hooper and 3-D (later of Massive Attack), and by 1991 he'd been introduced to the breakbeat culture that birthed jungle; at the seminal club night Rage, DJs Grooverider and Fabio pitched ancient breakbeats up to 45 rpm, blending their creations with the popular rave music of the time. Goldie was hooked on the sound of raw breakbeat techno, and he gradually switched his allegiance to jungle from the British hip-hop scene that later generated trip-hop.
Through his girlfriend DJ Kemistry, Goldie hooked up with Dego and Mark Mac, two of the most influential figures in the emerging drum'n'bass scene. The duo's Reinforced Records and recordings as 4hero were fostering an increasingly artistic attitude to the music, and Goldie learned much about breakbeat production and engineering at their studios. He recorded his first single as Ajax Project, then debuted on Reinforced as Metalheadz with two 1992 singles, "Killermuffin" and "Menace." The 1993 single "Terminator" broke him into the jungle scene -- besides pioneering the crucial jungle concept of time-stretching (basically extending a sample without altering its pitch) the single evinced the growing separation between the uplifting rave scene and its emerging dark side, reliant on breakbeats and restless vibes. After spending several years working on his production skills at Reinforced Records he founded Metalheadz Records, which released seminal dark-yet-intelligent singles by Source Direct, Photek, J. Majik, Optical, Lemon D, Wax Doctor, and Peshay, among others.
In 1995, Goldie released Timeless, one of jungle's first and best full-length works of art. Goldie was joined in the studio by engineer/producer Rob Playford (aka Timecode), who did most of the programming and production (with Goldie generating the musical ideas, rhythms and arrangements). The album blended the complex, chopped and layered breakbeats and deep basslines of jungle and drum and bass with expansive, symphonic strings and atmospherics, and beautiful female vocals.The sweeping synths and lilting female vocals that form the intro to the title-track opener could be taken from any above-average house anthem, but once the beat kicks in, percussion rolls around and through the song while a muscular dub bassline pounds additional sonic territory. The beat fades in and out, appearing and re-appearing with all the stealth of a charging rhino. The seven other tracks are just as uncompromising.
Goldie resurfaced in 1998 with a high-profile follow-up, SaturnzReturn, an epic two-disc set including one track, "Mother," that broke the 60-minute barrier itself. The album tanked with critics and fans, leading to a return to the underground later that year with the Ring of Saturn EP. Goldie mixed a two-disc volume in the INCredible series of mix albums compiled by Ovum, as well as a number of Metalheadz-centric sets. Malice in Wonderland, a production album credited to Rufige Kru, was completed for a 2007 release.
Though he hardly developed the style, Goldie became one of the first personalities in British dance music, his gold teeth and b-boy attitude placing him leagues away from the faceless bedroom boffins that had become the norm in intelligent dance music. For the first time, England had a beat maestro and tough-guy head who could match the scores of larger-than-life hip-hop stars America had produced, and the high profile of drum'n'bass as the first indigenously British dance music made Goldie a figure of prime importance.
1 - Timeless (I. Inner City Life, II. Pressure, III. Jah) ( Voc.Diane Charlemagne , Goldie) (21:03) 2 - Saint Angel (Voc.Diane Charlemagne) (7:17) 3 - State Of Mind (Voc.Lorna Harris) (7:06) 4 - Sea Of Tears (Voc.Lorna Harris) (12:04) 5 - Angel (Voc.Diane Charlemagne) (4:58) 6 - Sensual (Voc.Goldie , Justina Curtis) (8:13) 7 - Kemistry (Voc.Diane Charlemagne) (6:50) 8 - You & Me (Voc.Lorna Harris)(7:02)
Ragga Jungle is credited with engaging the black community within the jungle scene, and contributed to the 'bad boy' or 'rude boy' subculture within the UK. Ragga jungle's popularity waned significantly since 1995 in the UK, in part because the more popular DJs have avoided giving the sound airtime. Ragga jungle is now a niche sound, with a small number of labels releasing music that can be categorised in this manner.
Recently, (2001-present) Canadian and American producers have been gaining popularity with their updated version of the sub-genre largely through online networks, sparking a small, yet international renaissance. This renaissance has sparked the return of many oldschool fans and producers alike; who faded from the scene or reinvented themselves when the raves thinned and the music shed its soundsystem roots. A veritable Dark Ages followed for ragga junglists when club djs opted to support the more technical and less vocal-oriented Drum and bass productions. Dubwise junglists have welcomed the return of the rub-a-dub sound, and ragga vocals have gradually regained favour, no doubt helped by the crossover of big brother Dancehall.
01 - General Levy - Wikkeda (4:53) 02 - Remarc - Sound Murderer (4:27) 03 - Sweetie Irie - Slim Body Girls (4:52) 04 - Juggler - Gangstar (4:14) 05 - General Pecos - Wickedest Thing Around (4:20) 06 - Praga Khan - Gun Buck (Voc.Jade 4U) (6:14) 07 - DJava & Big Smurf - Loose Control (3:54) 08 - Chuck E - Smokin' A Blunt (4:27) 09 - Strictly Dub - Press Up (5:30) 10 - Dead Dred - Dred Bass (5:01) 11 - Kemi & Juggler - You Don't Know (3:41) 12 - Urban Trees - Boom (4:33) 13 - J & J - We'll Come (4:54) 14 - DJ Dub Rush - Now You Know (5:57) 15 - Nation Of Dreads - I Like 2 Move It (4:05) 16 - Urban Gangsta - Bitch, I Got Something 4 You (4:37)
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Hello, Into The Groove goes back to the old skool, way back infact as it is said that my first show cut the first raptrack back in 65 it was called Rap Dirty, most Ho's weren't even born then ! I'm talking Blowfly here a nick he got from his grandma when she overheard him singing his own -dirty rhyme..over the hit of the day, personally i think thats a nice way for an adolescent to express his hormonal mind. Anyway, as later he was a respected songwriter, his Blowfly activities were strictly anonymous. In the seventies thru to the eighties he released an album of these party tracks almost every year. Then things got more quiet until recently he's found a new home at jello biafra's label, alternative tentakels, and he has released 2 albums using punk/wave music as inspiration to rap dirty "I Wanna Be Fellated" guess who inspired that one.. Well as for this best of it's not that inspiring as it once was, but then these days i have more control over my hormones...Kurtis Blow, todays next show, had a thing with first, and late seventies early eighties he was big, but then things slided into oblivion, with one mentionable burp, Ego Trip. Here i present a mini hits album that was released in Europe ..Finally a compilation of oldskool raptracks, nice packaging 2x12" format first of which with W.M.O.T. artists. Well what can i say labels didn't have a good grasp of the market back then in 81, when it was still unclear which musical direction rap would take. Still some nice raps on it...
Blowfly is the stage name and alternate persona of Clarence Reid , he started off writing songs for artists including Betty Wright, Sam & Dave, Gwen McRae and KC & the Sunshine Band. He also recorded a few hits of his own in the 60's including "Nobody But You Babe" under his real name and a Blowfly song called "Rap Dirty" in 1965. Many hip hop fans consider "Rap Dirty" as the first rap song because in he talks in rhyme and it has rap in the title.
Reid would write sexually explicit versions of hit songs for fun but only performed them for his friends at parties or in the studio. In 1971, he along with a band of studio musicians recorded a whole album of "dirty" songs under the name "Blowfly". Back then, no record label would release profane material so he distributed the records himself on his own independent record label, Weird World. As Blowfly, he has recorded numerous albums, mostly of sex-based parodies of other songs as well as original raps themed around sex. His stage name originated from his grandmother, who overheard him as a child singing "Do the Twist" as "Suck My Dick", and said "You is nastier than a blowfly." Reid performed in increasingly bizarre costumes as his Blowfly character. The albums were widely popular as "party records" in the 70's.
Many of Blowfly's songs featured his style of talking in rhyme which can be considered a primitive form of rapping. Many of his songs have also been sampled in numerous hip hop songs. After rap music hit the mainstream with Sugarhill Gang's "Rapper's Delight", Reid recorded a profane version of "Rap Dirty" titled "Blowfly's Rapp ". The song was a hit and helped the album, Blowfly's Party reach #26 on Billboard magazine's Black Albums chart and #82 on the Billboard Top 200 in 1980.
After 17 years of sporadic touring and occasional re-recording of his classic raps, Blowfly signed with Jello Biafra's independent Alternative Tentacles label in 2005. His first album for Alternative Tentacles, Fahrenheit 69 (2005), featured appearances from Slug of Atmosphere, King Coleman, Gravy Train!!!! and Afroman. Blowfly's latest album and second Alternative Tentacles release is Blowfly's Punk Rock Party. The album features several punk classics given the Blowfly treatment, including a rewrite of the Dead Kennedys song "Holiday in Cambodia" recast as "R. Kelly in Cambodia", that features Biafra playing a trial judge.
01 - Blowflys ABC (5:12) 02 - Porno Freak (4:21) 03 - Hole Man , Clean Up Woman (4:14) 04 - I've Got To Be Free (5:48) 05 - Shake Your Ass (5:38) 06 - Who Did I Eat Last Night (3:23) 07 - Please Let Me Cum In Your Mouth (3:55) 08 - Fuck The Pain (6:09) 09 - The First Black President Part 2 (6:57) 10 - Cum Of A Lifetime (5:02) 11 - Blowfly For President (6:20) 12 - Blowfly In The Army (5:30)
As the first commercially successful rap artist, Kurtis Blow is a towering figure in hip-hop history. His popularity and charisma helped prove that rap music was something more than a flash-in-the-pan novelty, paving the way for the even greater advances of Grandmaster Flash and Run-D.M.C. Blow was the first rapper to sign with (and release an album for) a major label; the first to have a single certified gold (1980's landmark "The Breaks"); the first to embark on a national (and international) concert tour; and the first to cement rap's mainstream marketability by signing an endorsement deal. For that matter, he was really the first significant solo rapper on record, and as such he was a natural focal point for many aspiring young MCs in the early days of hip-hop. For all his immense importance and influence, many of Blow's records haven't dated all that well; his rapping technique, limber for its time, simply wasn't as evolved as the more advanced MCs who built upon his style and followed him up the charts. But at his very best, Blow epitomizes the virtues of the old school: ingratiating, strutting party music that captures the exuberance of an art form still in its youth.
Kurtis Blow was born Kurtis Walker in Harlem in 1959. He was in on the earliest stages of hip-hop culture in the '70s -- first as a breakdancer, then as a block-party and club DJ performing under the name Kool DJ Kurt; after enrolling at CCNY in 1976, he also served as program director for the college radio station. He became an MC in his own right around 1977, and changed his name to Kurtis Blow at the suggestion of his manager, future Def Jam founder and rap mogul Russell Simmons. Blow performed with legendary DJs like Grandmaster Flash, and for a time his regular DJ was Simmons' teenage brother Joseph -- who, after changing his stage name from "Son of Kurtis Blow," would go on to become the first half of Run-D.M.C. Over 1977-1978, Blow's club gigs around Harlem and the Bronx made him an underground sensation, and Billboard magazine writer Robert Ford approached Simmons about making a record. Blow cut "Christmas Rappin'," it helped him get a deal with Mercury . Blow's second single, "The Breaks," was an out-of-the-box smash, following "Rapper's Delight" into the Top Five of the R&B charts in 1980 and eventually going gold; it still ranks as one of old school rap's greatest and most enduring moments. The full-length album Kurtis Blow was also released in 1980, and made the R&B Top Ten in spite of many assumptions that the Sugarhill Gang's success was a one-time fluke, the poverty-themed "Hard Times" marked perhaps the first instance of hip-hop's social consciousness, and was later covered by Run-D.M.C.
Blow initially found it hard to follow up "The Breaks," despite releasing nearly an album a year for most of the '80s. 1981's Deuce and 1982's Tough weren't huge sellers, and 1983's Party Time EP brought D.C. go-go funksters E.U. on board for a stylistic update. Around this time, Blow was also making his mark as a producer, working with a variety of hip-hop and R&B artists; most notably, he helmed most of the Fat Boys' records after helping them get a record deal. 1984's Ego Trip sold respectably well on the strength of cuts like the DJ tribute "AJ Scratch," "Basketball," and the Run-D.M.C. duet "8 Million Stories." Blow followed it with an appearance in the cult hip-hop film Krush Groove, in which he performed "If I Ruled the World," his biggest hit since "The Breaks."
"If I Ruled the World" proved to be the last gasp of Blow's popularity, as hip-hop's rapid growth made his style seem increasingly outdated. 1985's America was largely ignored, and 1986's Kingdom Blow was afforded an icy reception despite producing a final chart hit, "I'm Chillin'." Critics savaged his final comeback attempt, 1988's Back by Popular Demand, almost invariably pointing out that the title, at that point, was not true. In its wake, Blow gave up the ghost of his recording career, but found other ways to keep the spirit of the old school alive. He spent several years hosting an old-school hip-hop show on Los Angeles radio station Power 106. In 1997, Rhino Records took advantage of his status as a hip-hop elder statesmen by hiring him to produce, compile, and write liner notes for the three-volume series Kurtis Blow Presents the History of Rap.
01 - Party Time(feat. EU) (9:27) 02 - Do the Do (3:01) 03 - Boogie Blues (5:24) 04 - The Breaks (7:40) 05 - One-Two Five (5:05) 06 - Your Years (5:13)
W.M.O.T. ("We Men of Talent") Records, an independent recording company in Philadelphia, produced a number of singles in the "Philadelphia sound" soul tradition. The best selling record among those produced by WMOT was Double Dutch Bus a 1981 funk song by Frankie Smith, made famous for its extensive use of the "izz" infix form of slang. The song title represents a portmanteau of two institutions in Smith's Philadelphia, Pennsylvania neighborhood: the double dutch game of jump rope played by neighborhood kids, and the SEPTA bus system that was a backbone of the local transportation network (and for which Smith had unsuccessfully applied for a bus driving position). The song rocketed to popularity in a matter of weeks. On the U.S. Billboard Hot R&B/Hip-Hop Songs, it held the number one spot for eight weeks, and sold more than 4 million copies. Other WMOT artists present on this compilation include: Count Coolout, Captain Sky, and Funk Fusion Band .
Doctor Ice was a rapper in the hip-hop group UTFO, most famous for their song "Roxanne, Roxanne". Doctor Ice is the younger brother of Jalil from the rap group Whodini. T3 was formed in 1978 in the Bronx, New York, consisted of rappers Kool Moe Dee, Special K, L.A. Sunshine, and DJ Easy Lee. Kool Moe Dee, LA Sunshine, and DJ Easy Lee all went to the same high school (Norman Thomas) and added MC named Special K (Kevin Keaton). They became popular in part due to Kool Moe Dee's faster style of rapping (dubbed 'speed-rapping').
01 - Frankie Smith - Double Dutch Bus (5:17) 02 - Funk Fusion Band - Can You Feel It (Progressive Version) (8:06)
03 - Captain Sky - Station Brake (5:56) 04 - Count Coolout - Here To Stay (Me And My Double R.R.) (7:08)
05 - Doctor Ice - Calling Doctor Ice (8:02) 06 - Midnight Blue - Enjoy With Me (5:59)
07 - Treacherous Three - Put The Boogie In Your Body (6:18) 08 - Disco Four - Do It, Do It (5:50)
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Hello, Alphabet Soup reached U today, now U will understand that i won't be plugging U too, they have plenty of shelfspace. In line with previous soups i start off with a seventies band. At the time they were called a supergroup on the basis the members had done their thing in King Crimson, in fact it was the refusal, at that time, by Fripp to revive Crimson that led to the forming of U.K, ironically after they folded in 80, Fripp did revive King Crimson with Bruford on board. Whilst Yes man Wakeman was nixed by his label, ex Roxy Music Eddie Jobson stepped up to the plate and U.K. was born. Maybe there were too many captains on the ship, because despite good reviews of their albums and live shows and even a classic hit, Rendezvous 6.02, it was all over by early 1980...Uncle Green delivered a number of indie albums that finally led to a major showing interest, they responded by delivering their best album, alas for them the timing was lousy as the Seattle grunge scene took all the limelight, frustrated they folded....Finally Urban Dance Squad the hard hitting rock, rap and scratch band claim they started this particular crossover format that in years to come would be incorperated by many bands. Persona Non Grata is a hardhitting thrill that won't let you sit still..
In September 1976, singer/bassist John Wetton and drummer Bill Bruford, alumni of King Crimson, worked on forming a band with Yes keyboardist Rick Wakeman. The project was nixed by Wakeman's label.Determined to work together, Bruford and Wetton next asked guitarist Robert Fripp to reform King Crimson which Fripp had disbanded in 1974. When Fripp declined, Bruford and Wetton decided that each would bring in a musician of his choice to formulate a band. Wetton brought in keyboardist/violinist Eddie Jobson, whom Wetton knew from his work with Roxy Music in 1976 . Bruford recruited guitarist Allan Holdsworth (formerly of Soft Machine and Gong) who had played guitar on his 1978 début solo album, Feels Good to Me. U.K. released its self-titled debut album in 1978, capturing the attention of progressive-rock and jazz-fusion fans, as did the band's supporting tour. Refusing to capitalise on its former glory by drawing from King Crimson's back catalogue, the quartet fleshed out its stage repertoire with what amounted to an entire second album (half of which would appear on Danger Money, the other half on Bruford's One Of A Kind').'
The debut album from amalgamated progsters has the edge over both Danger Money and Night After Night because of the synthesis of melody and rhythm that is inflicted through nearly every one of the eight tracks. Jobson's work with the electric violin and assorted synthesizers adds to an already profound astuteness carried by Wetton. Former Yes and Genesis drummer Bill Bruford is just as important behind the kit, making his presence felt on numbers like "Thirty Years" and "Nevermore." Without carrying the same rhythms or cadences through each song, U.K. implements some differentiation into their music, straying from the sometimes over-the-top musicianship that occurs with the gathering of such an elite bunch. All three of U.K.'s albums are enjoyable, but the debut sports the most interest, since it spotlights their remarkable fit as a band for the first time.
At the conclusion of the two lengthy American tours (June-October 1978), Holdsworth and Bruford left the group to form Bruford, leaving keyboardist Jobson as the band's leader. U.K. didn't hire another guitarist, but they did have Terry Bozzio replace Bruford. The new lineup of U.K. released Danger Money in 1979 and followed the album with a tour. Once the tour was completed, the group broke up. The posthumous live album Night After Night was released shortly afterward. Following the disbandment of U.K., Eddie Jobson became a member of Jethro Tull, Terry Bozzio formed Missing Persons, and John Wetton formed Asia with fellow progressive rock stars Steve Howe, Carl Palmer, and Geoffrey Downes... The trio recorded the album Danger Money, released in March 1979, and spent much of that year touring North America as opening act for Jethro Tull. A live album, Night After Night, was recorded in Japan that Spring and released in September. Following a final European tour in December 1979, and in spite of plans to record a new studio album in America in March 1980, U.K. disbanded.
01 - In The Dead Of The Night (5:32) 02 - By The Light Of Day (4:33) 03 - Presto Vivace And Reprise (2:56) 04 - Thirty Years (7:53)
05 - Alaska (4:34) 06 - Time To Kill (4:58) 07 - Nevermore (8:04) 08 - Mental Medication (7:11)
A jangly Southern power pop band in the classic mold, Atlanta-based Uncle Green featured vocalists/guitarists/songwriters Matt Brown and Jeff Jensen, bassist Bill Decker, and drummer Pete McDade. Formed when some of its members were just 15, Uncle Green debuted with two albums for the small New Vision label (1987's Get It Together and 1988's 15 Dryden), but didn't truly hit their stride until signing with the indie DB. Produced by Brendan O'Brien, 1989's You was a major step forward, finding Brown and Jensen both perfecting their voices as lyricists and their senses of craft and structure as tunesmiths.
Having won a contract with Atlantic on the strength of 1991's What an Experiment His Head Was, the Atlanta band traveled to California with longtime producer Brendan O'Brien (Pearl Jam, Matthew Sweet) and returned with a full-fledged rock album, complete with shimmering guitars, raunchy grooves, and crisp production. Lyrically, Book Of Bad Thoughts finds songwriters Matt Brown and Jeff Jensen less concerned with turning a cute, ironic phrase than fully exploring the experience of love/hate relationships. Book is roughly a concept record about cheating lovers.
Book of Bad Thoughts remained a little-heard gem -- a '90s rock record of the highest order. Unfortunately, despite radio's greater receptivity to Uncle Green's style of music, the record failed to catch on with a wider alternative audience; after Atlantic ditched them, the group wound up disbanding in 1994. However, they immediately regrouped -- with the exact same lineup -- as the slightly more alt-rock-sounding 3 Lb. Thrill; they signed to O'Brien's Sony subsidiary 57 and recorded one album, Vulture, in 1995.
01 - I Know All About You 02 - I Don't Wanna Know About It 3:53 03 - Wake up Now 4:11 04 - Look into the Light 3:52 05 - Bellingham 3:46 06 - She's Storing It Up 4:29 07 - Your'e Getting into It 3:09 08 - In Good Time 3:23 09 - He Woke up Naked 3:32 10 - The Blue Light 3:43 11 - A Good Man 3:55 12 - I Always Knew You'd Come to Me 4:43
The Amsterdam-based rock/rap collective Urban Dance Squad began in 1986, playing and jamming together on an informal basis. There, something revolutionary, new, and exciting was going on: the live strength of drums, bass, guitar, with added elements from hip hop: rap and scratch. What was happening was so different that a name for it still had yet to be invented. Twenty years later, the sound that UDS stumbled across is one of the most potent contemporary genres in the musical spectrum and is copied all over the world. The non-committal character of a jam session soon grew into the fixed form of a close group; Rudeboy Remington - Vocals, Tres Manos - Guitar, Sil - Bass, Magic Stick - Drums and DNA (DoNotAsk) - Turntables. UDS’s first two years were pretty chaotic. The band appeared on a series of club performances, strategic supporting performances , well-chosen radio and TV performances and 'special events' . In this 'obscure' period - there was no record yet, UDS swept the New Music Seminar NY (summer 1989) off its feet.
The money made in these two years of playing live was used by UDS to finance the recording of the first album: Mental Floss for the Globe. The album was recorded at ICP in Brussels in the spring of 1989 with the help of Jean-Marie Aerts (of Belgian band TC Matic). In August 1989, the ready-made mixed tapes were offered and eventually UDS signed with Ariola/BMG. Mental Floss for the Globe was a major success and receives universal critical acclaim. It is an unprecedented combination of rock, rap, funk, ska, hip hop, soul, trash, reggae, and acoustic sounds. A true melting pot of what used to be traditionally separate musical styles, full of rhythmic and tonal boobytraps.
The group spent another year touring constantly, and released their second album Life 'n Perspective of a Genuine Crossover in 1991. This album, Life 'n Perspectives of a Genuine Crossover, was once again recorded at ICP, Brussels, and released in the autumn of 1991. Musically speaking this album was a more extreme and even more kaleidoscopic sequel to Mental Floss for the Globe. While press and audience did their utmost to invent all kinds of superlatives, the record company, unable to pigeonhole/market them combined with the lack of an obvious hit, American Arista stopped promoting the album. In September 1992, UDS broke with Ariola/BMG and locked itself into the rehearsal room to write new material. While on touring Europe spring 93, DJ DNA decided to leave the band. In the summer of 1993, UDS, now a 4-piece band, played an impressive set at a new major festival: Lowlands, this gig was the direct reason for Virgin to sign the band in the autumn of 1993.
In May 1994 Persona Non Grata was released. In contrast to the first two albums, Persona Non Grata was an album without overdubs. Upon release, it was an immediate success in Europe. "Demagogue," the album's opener and centerpiece, became a club hit, and is an utterly bracing concoction of raw-throated rap and spare, bright metal guitar, all underlaid with minimalist funk drums. That formula remains basically unaltered throughout the rest of the album. Again, the band bombarded the European club scene with a continuous series of shows and many festivals were visited in the summer.
In January 1996 recordings start on the fourth album, Planet Ultra. May 1996 Phil Nicolo (producer of Persona Non Grata) is called in for the final mix. The enigmatic album Planet Ultra seemed to puzzle the press, but unperturbed by their evasive reaction the band hit the road, knowing there has always been a vast and solid fanbase waiting out there. The tour that followed from early October 1996 sees the band in all the familiar places in Europe. One leg of the tour also takes the band to 'new territories', like Prague, and Belgrade, the capital of Serbia. Impressed by the overwhelmingly warm reception UDS spends two unforgettable days in this city that was craving for live music after four years of political and economic embargo during the wars that followed the breakup of the former Yugoslavia. The band plays two sold-out shows and UDS decide to release the recordings of the first show as its first bootleg album, called Beograd Live. The album contains 21 songs, mixed directly to two-track without overdubs.
An official press release on April 6, 1997 announces the renewed collaborating of the five original founding UDS members, meaning that DNA rejoined the band. They decide on a retro-tour as in small venues, no roadies, obviously there were the big festival gigs aswell. UDS are contacted by Triple XXX that will rerelease their remastered albums topped with a live bonus disc in the years that follow. Their final album, Artantica, is released in the spring of 1999. A long summer of European clubs and festivals follows, in which UDS visits the large European festivals. The last concert of this tour at Axion Beach Rock on July 17, 1999, later proves to have been the very last UDS gig. When on February 2, 2000 Tres Manos announces that he is to leave the Urban Dance Squad, the band decides to fold. Six years later they came together to support their compilation album The Singles Collection( 2006), and performed at the 2006 editions of the Dutch Lowlands festival and Pukkelpop in Belgium.
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Hello, another midweek, i get the impression weeks go by ever faster, i wonder .. Well the past sure catches up at Eight-X every week. Thusfar i hadnt posted any masquara Susan, better known as Siouxsie, these days she's off those layers even when turning 50 coming in May. The album here, the first i bought from her and her banshees, Kaleidoscope, was a make-or-break affair and we know how that turned out... It was break for my next rip, their label Virgin was busy elsewhere and their music not mainstream (alternative) enough. Some are still raving about the album, its not available on cd but i got the impression that the band sells some directly (likely illegal) . Anyway, as most of you probably never heard of them before, you can taste the sound of Interview yourselves here....The last X of the day are the Fun Boy Three, who after splitting away from the Specials made two albums , were reasonbly succesful but didnt see a road ahead and ended the fun. Anyway their music was prophetic and these days The Lunatics Have Taken Over The Asylum , even if that's not exactly true..the lunatics have been running the show for the last 5,000 years, but hey at least it's becoming clear to see these days...
Throughout its numerous lineup changes and textural shifts, Siouxsie and the Banshees remained under the leadership of vocalist Siouxsie Sioux, born Susan Dallion on May 27, 1958. She and the Banshees' initial lineup emerged from the Bromley Contingent, a notorious group of rabid Sex Pistols fans; inspired by the growing punk movement, Dallion adopted the name Siouxsie and formed the Banshees in September 1976. In addition to bassist Steven Severin and guitarist Marco Perroni, the band included drummer John Simon Ritchie, who assumed the name Sid Vicious; they debuted later that year at the legendary Punk Festival held at London's 100 Club. Soon after, Vicious joined the Sex Pistols, while Perroni went on to join Adam & the Ants. The core duo of Sioux and Severin, along with new guitarist John McKay and drummer Kenny Morris, reached the U.K. Top Ten with their 1978 debut single, "Hong Kong Garden"; their grim, dissonant first LP, The Scream, followed later in the year. Two days into a tour for their 1979 follow-up, Join Hands, both McKay and Morris abruptly departed, and guitarist Robert Smith of the Cure (the tour's opening act) and ex-Slits and Big in Japan drummer Budgie were enlisted to fill the void; although Smith returned to the Cure soon after, Budgie became a permanent member of the group, and remained with the Banshees throughout the duration of their career.
Siouxsie Sioux and Steven Severin elected to soldier on with ex-Slits drummer Budgie and two guitarists, ex-Sex Pistol Steve Jones and John McGeoch of Magazine as guest Banshees. Despite the personnel upheaval, the result is a surprisingly strong record: Kaleidoscope. While a number of the songs here are still dark-hued and feature bleak lyrics, they are made very palatable by extraordinarily imaginative production values featuring intricate synthesizer-flecked arrangements; psychedelic touches in "Christine," spaceship synthesizer swoops in "Tenant," and rhythmic camera clicks in "Red Light" all enliven their respective songs. Kaleidoscope was a make-or-break album for Siouxsie and the Banshees, and happily the band came through strongly. A year later, the Banshees released the psychedelic Juju, along with Once Upon a Time, a collection of singles; at the same time, Sioux and Budgie formed the Creatures, an ongoing side project. Following 1982's experimental A Kiss in the Dreamhouse, McGeoch fell ill, and Smith temporarily rejoined for the group's planned tour. Also in 1983, Severin and Smith teamed as the one-off project the Glove for the LP Blue Sunshine.
After his recovery, McGeoch opted not to return, so the Banshees recruited former Clock DVA guitarist John Carruthers after Smith exited following the sessions for 1984's dark, atmospheric Hyaena. With 1986's Tinderbox, Siouxsie and the Banshees finally reached the U.S. Top 100 album charts, largely on the strength of the excellent single "Cities in Dust." After 1987's all-covers collection Through the Looking Glass, Carruthers took his leave and was replaced by guitarist Jon Klein and keyboardist Martin McCarrick for 1988's Peepshow, a techno-inspired outing that gave the group its first U.S. chart single with "Peek-a-Boo." In 1991 -- the year in which Sioux and Budgie married -- the Banshees performed on the inaugural Lollapalooza tour; their concurrent LP, Superstition was their most commercially successful, spawning, "Kiss Them for Me." Another singles collection, Twice Upon a Time, followed in 1992 before the group returned after a long absence with 1995's stylish The Rapture, produced in part by John Cale. A year later, the nostalgia surrounding the reunion of their former heroes the Sex Pistols prompted Siouxsie and the Banshees to finally call it quits; Siouxsie and Budgie turned to the Creatures as their primary project, while Severin composed the score for the controversial film Visions of Ecstasy.
Imagine an album on which every track is a fully conceived and superbly executed pop gem, at once timeless and unique, with hooks to die for, gorgeous, chiming guitar breaks, compelling, literate, emotionally charged lyrics, and a passionate and driven vocalist who ties all these distinct elements together into a perfect package, without the slightest trace of gimmickry or trendiness. Now imagine that this record is released with virtually no record label support, is totally ignored by radio and the music press--even the "hip" music press--and subsequently stiffs in the racks, disappearing without a trace. Such is the tragic truth of Interview self-titled second LP (titled Snakes and Lovers overseas), released in 1980.
The Bath band's 1979 debut, Big Oceans, was a lackluster effort, notable primarily for interesting fretless bass work and some intellectually appealing subject matter. What an unexpected turn of events then, when the band re-emerged the following year with a great rock album. From the opening strains of "Adventurers," with its rhyming guitars sounding the album's arrival, the listener knows that something very special lies ahead. There is simply no let up in quality on this record. Starrs, and co-writers Alan Brain and Peter Allerhand never glorify, as other, less mature outfits might. They merely observe. By album's end, after eight overwhelming minutes of shame and personal wreckage in "Until I Hold Her," ("There's nothing that I can do until I hold her/And you must never tell her that I told you"), a musical equivalent of the destruction scene in Citizen Kane, the listener is exhausted, drained, but still hoping for more. Unfortunately, there is no more. INTERVIEW died as quietly as they arrived, and no one even showed up for the funeral.
Whose fault is it that Interview were never given a chance? Surely, their label, Virgin Records is the primary culprit, making no attempt whatsoever to market the band. The music press too is culpable. It's futile to wallow in such past blunders at this late date, unless, of course, some label decides to pick up the record for release on CD, in which case Interview might, just might, have the chance to finally be recognized for what they were. In the meantime you could buy Interview cd's directly from the source
01 - Hide and Seek (2:57) 02 - Adventurers (4:45) 03 - It's Over Now (3:16) 04 - Conqueror (4:06) 05 - To the People (3:35) 06 - Style on Seaview (4:08)
07 - A Gift (4:33) 08 - Hope It's Me (4:06) 09 - Crossing Borders (3:13) 10 - Until I Hold Her (7:23) 11 - Union Man (3:00)
The Specials were one of the most popular and influential bands in the U.K., scoring a streak of seven straight Top Ten singles. Their popularity culminated with the prophetic "Ghost Town," which spent three weeks at number one in the summer of 1981. The "Ghost Town" single was the last to feature Terry Hall and the original lineup -- after its release Hall split with the group's other two vocalists, Lynval Golding and Neville Staples, to form the Fun Boy Three.
Where the Specials were a ska-revival band, the Fun Boy Three was a new wave pop group with distinctly weird, skeletal, and experimental overtones. The band released their first single, "The Lunatics (Have Taken Over the Asylum)," shortly after they departed from the Specials. The single peaked at number 20 late in 1981. Early in 1982, the group charted again with "It Ain't What You Do (It's the Way That You Do It)," a duet with Bananarama on an old Jimmie Lunceford song. The Fun Boy Three finally released their eponymous debut in the spring of 1982. The album was built firmly around tribal drumming, whose percussive possibilities were inspiring a number of groups at the time.
The Boys, however, were taking the same African influence in an entirely different, and even more innovative, direction. Most surprisingly, was how minimalistic the music was. Many of the songs were stripped down to bare vocals and percussion. At the same time, the vocalists created their own rhythm, which cunningly counterpoints the main beats. The band used both vocals and rhythms to explode genre boundaries, as "Sanctuary" beautifully illustrates. Beginning as an exercise in African choral singing, it subtly evolves into a Gregorian chant, all the while pulsating with pounding tribal drumming. It says much about the state of the British music scene of the time that such innovative music was not only accepted, but reveled in. It also introduced the world to Bananarama, who provided backing vocals on many of the record's tracks. "One of the most wonderful recordings of our time," the album sleeve boldly stated, and it was absolutely true.
That summer, they had a hit with a cover of George Gershwin's "Summertime." The group recorded a second album with Talking Heads leader David Byrne late in 1982. The resulting album, Waiting, appeared in the spring of 1983, concurrently with the Top Ten singles "The Tunnel of Love" and "Our Lips Are Sealed," a song Hall wrote with Jane Wiedlin, who already made it into a hit the previous year with her group, the Go-Go's. By the summer of 1983, the Fun Boy Three were peaking in popularity and Hall disbanded the group.
01 - Sanctuary (1:21) 02 - Way On Down (2:53) 03 - The Lunatics Have Taken Over The Asylum (3:12) 04 - Life In General (Lewe In Algemeen) (3:17) 05 - Faith, Hope And Charity (2:48) 06 - Funrama 2 (3:04)
07 - Best Of Luck Mate (3:18) 08 - It Ain't What You Do...( Feat.Bananarama) (2:50) 09 - The Telephone Always Rings (3:35) 10 - I Don't Believe It (3:23) 11 - Alone (2:57) ----Xs--- 12 - It Ain't What You Do..ext.( Feat.Bananarama) (5:44) 13 - Funrama 2 ext (5:54)
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Hello, Around The World stays on the medievil theme for now. Faun is a german pagan folk / medieval band using mainly old medieval instruments . They' ve released 4 great albums in relative quick succesion (5years). So i would think, after you tasted their third, you will add them to your watch list. For those that want some more depth to their pagan / medieval collection there's another sampler Mystica Antiqua Vol. 1..and yes expect Vol 2 next week.
FAUN combines ancient instruments with modern influences to create an enchanting and powerful atmosphere. The band's performances incorporates with up to three voices chant and employs many different instruments. Faun was founded in 1998 by Oliver Sa Tyr, Lisa Pawelke, Fiona Rüggeberg and Birgit Muggenthaler. Two years later, Rüdiger Maul got into the band as percussionist. At the same time, Birgit left the band, to continue her musical life with the folk-rock band Schandmaul. In 2002, they released their first album Zaubersprüche. Niel Mitra was a guest musician on this album, and he later became a full-time member of the band, the only one playing only electronic instruments.(Oliver Sa Tyr – Vocals, Bouzouki, Nyckelharpa, Celtic harp, Jews harp, Lisa Pawelke – Vocals, Hurdy Gurdy, Fiona Rüggeberg – Vocals, Recorders, Whistles, Bag pipe, Seljefloit, Rüdiger Maul – Tar, Riq, Davul, Panriqello, Darabukka, Timba, Gaxixi and many other percussion-instruments and Niel Mitra electronics ) . They have released 4 albums these last years; Zaubersprüche 2002, Licht 2003, Renaissance 2005 and Totem 2007.
Faun has performed at more than 350 occasions in festivals, markets, concert halls and churches throughout Europe. For example: The Mèra Luna Festival, Elf Fantasy Fair (Holland), Wave Gotik Treffen 2002, 2003, 2004 & 2005 & 2007, Fiesta Celtica Biella (Italy), Zillo Open Air, Folkwoods Folkfestival (Netherlands), Arena van Vletingen (Belgium), Savari Karneval 2005 (Hungary) and many more...
Faun kindly explains what this album is all about
01 - Satyros (3:36) With lyrics from the Carmina Burana Faun has created a new song. This song (and thus the album) starts of with the sweet voices of Lisa and Fiona. Then the drums set in. Little laughs and flutes give the song a light element. It is as if you hear the dryads and fauns have a party in the woods.
02 - Da Que Deus (3:53). The virgin mary performs a miracle and is thus praised for this. A cheerful song with a thriving melody but also some slower and softer, more sacred moments. Not only the vocals tell a story, so does the flute.
03 - Tagelied (5:01) A song about leaving each other and returning, a song about love. On the rhythm of a waltz you are lead through the song. The lyrics are easy to understand, and remember. It is a sweet melody with at times just a little extra emphasis on the low tunes giving the song an extra tension.
04 - Rhiannon 3:28 min. Rhiannon contains no vocals. A song about Rhiannon from the Welsh mythology, and hter messengers, the songbirds form the Celtic Otherworld. The song is carried on ongoing beats which obviously come from the laptop of Niel. Besides that there are ongoing drums and a higher melody which I think is produced by the hurdy-gurdy of Lisa. It is a song which gets you moving.
05 - Sirena 5:11 min. This lyrics of this song come from a Sephardic wedding song, Faun has written music to these lyrics. The song has an eastern sound to it, because of the instruments which are used and the rhythm. After the ocean sounds which open the song, drums set in and then you’ll hear the sirens (Lisa and Fiona) which are part of this story. They sing the song in its original language which is a bit like Italian.
06 - Königin 6:25 min. A sad and slow song about a king trapped in his own castle and the young girl in the valley who makes him realise how silly his earthly worries are. You hear the girl (Lisa) sing her song, guided by a light snare instrument and when the vocals seize there is the sound of a flute. Through these light instruments you can hear the hope which is embedded in this song.
07 - Iyansa 4:51 min. A song to evoke the Afro-Brazilian Goddes of the wind. Faun uses the traditional text and the music is part traditional, part Faun. A flute calls out to the wind and then the vocals set in. The lyrics, even though you can’t understand them are easy to remember and like the rhythm they could get you in a trance if you’d repeat the over and over again. The drums have a steady rhythm which builds up to an outburst at the end of the song.
08 - Loibere Risen 3:33 min. This is a ‘minnelied’ by Wizlaw von Rügen, dung by Lisa. About how love would make a difference between the horrible winter and wonderful times. The song has a slow rhythm and is guided by (I think) the Celtic Harp. It could easily guide you into wonderful dream.
09 - Rosmarin 6:44 min. “A song about a beloved who seems to have become the slave of a far-away aim, her paths are lined with rosemary”. The song is sung by the lover who stays behind (Oliver). In the melody of the song you can hear the steps of the lover and her winding paths. At one point in the song there is a silence and then slowly the beat is built up again to what it was and then one line of a chorus is repeated on and on, by the other lover, then fading to silence again.
10 - Das Tor 8:12 min. This song is written by a friend of Faun, a friend they have now lost. It is about the gate, the gate to the other side. Even though the melody is sad and the rhythm is slow there is a reassuring peace in it. The lyrics are beautiful.
01 - Lesieґm - Fundamentum (4:47) 02 - Blackmoreґs Night - Play Ministrel Play (3:59) 03 - Vox - Mirage (4:52) 04 - Ophelias Dream - Saltarello (1:58) 05 - Galahad - The Leaving of Inishmore (3:04) 06 - Elysia - Genesis (4:49) 07 - Lydia - St. Claires Mountain (3:41) 08 - Margie Butler - Lea Rig - Kind Robin (2:58) 09 - Engelsstaub - A Dream Within A Dream (6:39) 10 - Poeta Magica - Madre Deus (4:39) 11 - Van Langen - Eyn morgenl. Tдnzeleyn (3:38) 12 - Mothwing - Uzma's Springtime Dance (3:28) 13 - Dave Miller - Holy Days Of Glory (6:26) 14 - Mystic Elements - The Ring of The Giant (2:38) 15 - Mystic Millenium - Swell to Doubt (7:43) 16 - Stella Maris - Cantara (4:32)
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Hello, The Hitchhikers Guide To The Galaxy nears it last words, Don't Panic ! Still weeks to go until the 6th of april , meanwhile here's a recap of fit 20 ,
Arthur arrives at his house, finding it undemolished and the phone ringing. He is unable to get to the phone before it rings off. The contents of the house are as he left them, apart from a large pile of junk mail just inside the front door, and a strange bowl, bearing the inscription 'So Long and Thanks for All the Fish'. He phones his boss at the BBC to explain that he has been absent due to going mad and would return to work when hedgehogs come out of hibernation (plus a few minutes to have a shave). Driving, he encounters Fenchurch again, and gives her a lift to the train station, saying that he has something he wants to tell her. At the station pub they attempt to engage in conversation, but are interrupted by someone offering raffle tickets. Fenchurch has to leave to catch her train, and leaves her phone number on a ticket — with which Arthur then wins the raffle.
Distraught, Arthur decides to find the Islington cave that he spent some years in during prehistoric times. He knocks on a few doors in Islington near where he thinks that cave was, firstly calling at Friends of the World. When there he attempts to make a donation to "save the dolphins" but is met with mockery from the "Ecological Man" (played by David Dixon, Ford Prefect from the television series. There is a brief allusion to the TV series as Arthur asks if they've met before). The next door he knocks on is Fenchurch's. She is surprised that he didn't call first, shows him his misplaced copy of the Guide, and notes that they need to talk....
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Hello, no more Tuxedomoon related work for the time being, no today is for Kitaro, 11 months ago (Japan I) i posted the Far East Family Band, the first band thru which he acquinted himself to the world. After the demise of that band he retreated to the countryside, contemplated Mount Fujji and got a satori of sorts, this understanding/enlightenement became his center from which he has shared his music with the world.
Inspired by the R&B music of Otis Redding, Kitaro( Masanori Takahashi ) taught himself how to play guitar. He says of teaching himself, "I never had education in music, I just learned to trust my ears and my feelings." While attending Toyohashi Commercial High School, Kitarō organized the "Albatross" band with his friends. At that time, they performed in parties and clubs. "In high school, I was in an amateur band. I started out playing the guitar but then changed to the keyboards. Before one of our gigs, the drummer was injured. I had no experience at all on the drums, but I had to learn it because I was the leader of the band, and we had to do the gig. My drumming was not very good, but we got through the show in one piece. Later, the bassist had injuries, so I had to learn how to play the bass. [These accidents are] the main reasons why I can play all these instruments; I had a crash course in how to play them. It was a hard time for me, but a very good experience. It created the base knowledge of all the instruments.
After graduating, I really wanted to be in the music business, so I moved to Tokyo and started looking for bands to play with. I basically did it for the experience and to get a feel of all the clubs that were available in Tokyo and Yokohama. At that time I played keyboards, and then I discovered the synthesizer. In the early '70s Kitaro joined the band "Far East Family Band" and toured with them around the world. In Europe he met the German synthesizer musician and former Tangerine Dream member Klaus Schulze. Schulze produced two albums for the band and gave Kitaro some tips for the use of synthesizers. In 1976 he left the band and travelled through Asia (China, Laos, Thailand, India).
Back in Japan Kitaro started his solo career in 1977. The first two albums Ten Kai and From the Full Moon Story became cult favorites of fans of the nascent New Age movement. He performed his first symphonic concert at the 'Small Hall' of the Kosei Nenkin Kaikan in Shinjuku, Tokyo. During this concert Kitaro used a synthesizer to recreate the sounds of 40 different instruments, a world's first. But it was his famous soundtrack for the NHK series "Silk Road" which brought him the international attention.
Kitaro's style is the epitome of the contemplative, highly melodic synthesizer music often associated with the new-age movement. His first solo album, Astral Voyage, appeared in 1978 and quickly gained a cult following. Two years later, he produced the first of several soundtracks for Silk Road, a Japanese television documentary series that ran for five years. Several albums of music from Silk Road were released to a growing international contingent of fans who admired his combination of lush, majestic textures and gentle, almost naive, melodies. Kitaro, however, was still considered an underground artist in America until he signed with Geffen Records in 1986, which re-released seven of his earlier albums and gave him the support to expand his scope in many ways. For instance, after years of creating albums in the privacy of his home studio near Japan's Mt. Fuji, Kitaro produced his 1987 release, The Light of the Spirit, with the help of Mickey Hart. The album featured an array of American musicians and was nominated for a Grammy Award in the Best New-Age Performance category. That same year, Kitaro also made his first live tour of North America and sold two million albums in the U.S. alone.
In 1988 his record sales had soared to 10 million worldwide. He was nominated twice for a Grammy award and his soundtrack for the movie "Heaven & Earth" won the award for best original score. He won another grammy award for his album Thinking of You in 2001. Kitaro's style had changed as well, becoming more theatrical and assertive while retaining a certain level of innocence and purity. His more recent recordings also show a renewed interest in the rock and pop elements that originally attracted him to music in the late '60s; in 1998, he also released the soundtrack to Cirque Ingenieux, a production bound for the Broadway stage. Thinking of You followed a year later; Ancient appeared in spring 2001. It was well received, leading to a sequel of sorts in the like-minded Ancient Journey in 2002. His contributions on the soundtrack to the controversial Chinese drama The Soong Sisters came out the same year, as did a live album and DVD.
"This music is not from my mind, it's from heaven, going through my body and out my fingers through composing. Sometimes I wonder. I never practice. I don't read or write music, but my fingers move. I wonder, 'Whose song is this?' I write my songs, but they are not my songs."
After the break-up of the Far East Family Band - following the recording of Parallel World - keyboardist Kitaro retreated to the Japanese countryside, something which shows in the pastoral shadings of this album. The fade in to “By the Sea-Side,” for example, takes upwards of a minute before even the most gentlest of sounds is heard amongst the samples of tidal shores softly buttressing this aural shoreline. Feverish electronic chattering beaches itself upon this most peaceful of musical environments, as the tide ebbs out, leaving only a high whistling synth-line to accompany these chimp-like mutant electro sounds. A peaceful Japanese melody sounds out, joined eventually by a brand new tidal undertow borne out of huge chordal swipes of string-ensemble synthesisers. Aqueous bubbles of electronica fizz all around, as if to keep the (sub-)marine sonic metaphor intact......Last Track “Astral Voyage” begins with a raucous (free-)drum’n’biwa space raga, before the trance-like synth arises once more - a slow moog sonnet - with fireworks displays of synthetic noise being blasted over to the beyond, spectral string instruments are occasionally hit, strange wind instruments blown, and still the elegiac melody holds court, the occasional hint of a choral emerging out of the mist - it’s a monument of seventies kosmiche exploration. What's inbetween ? Go figure.. just a click or two away.
01 - By The Seaside (6:00) 02 - Soul Of The Sea (2:40) 03 - Micro Cosmos (4:50) 04 - Beat (4:50) 05 - Fire (7:12) 06 - Mu (5:10) 07 - Dawn Of The Astral (5:10) 08 - Endless Dreamy World (3:28) 09 - Kaiso (4:34) 10 - Astral Voyage (8:00)
We learn from the liner notes of this 1990 release that Kojiki, is from the story of the same name familiar to Japanese school children, an ancient account of the creation of Japan. It is a mythical tale that provides a fitting thematic backdrop for the swelling symphonic flourishes that Kitaro uses liberally on this recording. Accompanied by a pop-rock ensemble, violinist Steve Kindler, and the string section from George Lucas's Skywalker Symphony Orchestra, Kitaro's approach to the Kojiki tales is to focus one the creation stories, starting with the creation of the islands, and climaxing in an intense and lurid dance that lures the sun goddess out of her cave, restoring the light and establishing Japan's royal line.
Kitaro's keyboards and flutes are sometimes submerged in the mix, perhaps lost in the Celestial Rock Cave or swept away under the Bridge of Rainbows, but the intended attraction here is the widescreen flash and pop-orchestral dash generated by more than two-dozen pop and classical musicians. Overall, it may be a bit heavy-handed for New Age fans and a touch too pretty for progressive fans. The most effective piece is the disc's concluding work,"Reimei," a sweetly stirring, bell-chiming anthem. Overwrought to some, a masterpiece to others.
Cirque Ingenieux was the first Broadway score that Kitaro made, and it's one of his most ambitious projects. The play is about a young girl who falls in love with a circus and discovers the strange, wonderful, occasionally haunting world of the cirque ingenieux. There is no dialogue to the play; it is told solely through visuals and music, which makes Kitaro's score integral to the success of the production. He rises to the challenge, drawing from not only classical and worldbeat sources, but also contemporary styles. The result is a swirling, intoxicating array of sounds that are both enchanting and haunting.
01 - Cirque Ingenieux 02 - Sarah's World 03 - Solar System Trapeze 04 - The Tailor 05 - Costume Shop 06 - Wall Of Masks 07 - Contortionists 08 - Winter Waltz 09 - The Wizard 10 - Galina 11 - Underworld ----1 - Parade Of Riches ----2 - Court Performers ----3 - Palace Dance 12 - Strength 13 - The Escape 14 - The Bottom Of The Sky 15 - Double Lira / Finale
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Hello, March is underway and i thought let's start the 21st Rhotation on a sexual note. At Into BPM, electro comes to mind, though i initially wanted to go for sexually explicit lyrics, i sort of retracted Blowfly as he didn't fit musically, but don't worry he'll be around on a Into The Groove Friday soon enough. That left me with a pair of kinky ladies Peaches shocked the scene 8 years ago with her frank and blunt macha pose, turning the tables on those leacherous men....Princess Superstar is as outspoken but less confronting, she doesn't mince her words but lays them out, engaging the women and teaching those premature ejaculaters.. So who 's the third women today ? It's Sylvie Marks, in the early ninties she rose quickly to prominance as a radio and club dj, after more then a decade of gigs around germany and europe, it took her surprisingly long to release her first album on her friend Ellen Allien's label, Bpitch control. Her electro-disco groove will have your hips moving...
Before she became "Peaches", Merrill Beth Nisker ( 1966 in Toronto) was an elementary school music and drama teacher. She plays almost all the instruments for her songs, programs her own electronic beats and produces her records. In Toronto before rising to fame, she was the roommate of fellow recording artist Feist. Peaches' music is preoccupied with genderchange identity, and she often plays with traditional notions of gender identity, gender roles, and gender presentation. Her lyrics and live shows self-consciously blur the distinction between male and female; she appears on the cover of her album Fatherfucker with a full beard. When asked if she had chosen the title for shock value, she commented:“ What is a motherfucker? ... We use it in our everyday language, and it's such an insanely intense word. I'm not one to shy away from these obscene terms that we actually have in our mainstream.. But if we're going to use motherfucker, why don't we use fatherfucker? I'm just trying to be even. " She disputes accusations of "penis envy," preferring the term "hermaphrodite envy" since "there is so much male and female in us all".
The Teaches of Peaches is a crash course in Peaches' punk-disco burlesque. "Sucking on my titties like you wanna be callin' me all the time like Blondie/Check out my Chrissie be-Hynde it's fine all of the time" she sings on the opening manifesto "Fuck the Pain Away," which crystallizes her sound and approach -- her music is equal parts sex, humor, rock, and dance, with her frank, and often frankly hilarious, lyrics riding atop stark drumbeats, throbbing basslines, and repetitive but undeniably rockin' guitar riffs. Trashy, energetic tracks like "Rock Show" and "Lovertits" put the "rude" back in rudimentary; it's the kind of cleverly stupid music that's made by pretty bright people. Indeed, it's quite possible to read all sort of women's studies theories into Peaches' music; she's unrepentantly, triumphantly sexual and turns the tables by objectifying guys, but the fact that her sexually explicit music isn't presented as a bravely feminist act is, paradoxically, exactly what's so liberating about it. It's fairly remarkable for an artist with such a brash, distinctive style that she doesn't start repeating herself until the very end of the album. Funny, sexy, outrageous, and danceable all at once, The Teaches of Peaches is a great introduction to a unique artist who defines herself by gleefully blurring boundaries.
The Herms (short for hermaphrodites) were formed in spring 2006 as Peaches' live backing band. "Herms is a reference to 70's duo Peaches & Herb and blending of words her and him.
01 - Fuck The Pain Away (4:10) 02 - AA XXX (4:33) 03 - Rock Show (2:09) 04 - Set It Off (3:17) 05 - Cum Undun (4:20) 06 - Diddle My Skittle (4:40) 07 - Hot Rod (4:43) 08 - Lovertits (4:41) 09 - Suck And Let Go (6:28) 10 - Sucker (3:38) 11 - Felix Partz (4:29)
Princess Superstar ( Concetta Kirschner, 1971) parents were psychologists, and they moved the family to the suburbs of Philadelphia, sending Kirschner to Germantown Academy. She was a member of the Singing Club, the Theatre Club and the Black Student Union (?). After graduating from high school, she moved to New York City and studied acting at New York University, learning to play the guitar and sending a demo tape to the College Music Journal and Grand Royal, a record label headed by the Beastie Boys. Her debut was called Strictly Platinum, and gained her some notoriety as one of very few white rappers, as well as for her openness regarding her Jewish heritage and gender-related issues.
A hip-hop album of pure, silly fun with zero pretensions, Princess Superstar's Is, her fourth record, should have a wide appeal, as it is mostly about sex and though there are a zillion hip-hop albums about sex (especially from women rappers), few are this clever. One of the few white gal rappers out there, Princess Superstar is an oddity on the rap scene, unlike other gal rappers Lil' Kim and Foxy Brown, Princess Superstar doesn't have a voice made for rap. Her vocals are higher and her flow less smooth, but what she does have, which, is skillfully written rhymes that aren't about building on rap stereotypes. Princess Superstar raps about inviting her boyfriend over and humping him on the couch while babysitting and getting paid six bucks an hour. Also, there's the ultra-silly "Keith 'N Me" featuring Kool Keith, mostly though, the album is Princess Superstar rapping about how horny she is in various witty scenarios.
01 - Super Fantasy (1:40) 02 - Bad Babysitter (Feat. The High & Mighty) (3:35) 03 - Keith 'N Me ( (Rap Kool Keith) 4:24) 04 - Wet! Wet! Wet! (3:26) 05 - We Got Panache (3:18) 06 - Trouble (3:32) 07 - You Get Mad At Napster (4:05) 08 - Untouchable Part 2 ( Voc. Beth Orton )(3:33) 09 - Untouchable Part 1 (Rap 7Even) (3:35) 10 - What Is It? (1:49) 11 - Welcome To My World (3:42) 12 - I Love You (Or At Least I Like You)(Rap J-Zone) (4:12) 13 - Who Writes Your Lyrics (2:43) 14 - Dichotomy (3:26) 15 - Keith 'N Me (Remix) (Rap Kool Keith) (4:31) 16 - Too Much Weight (7:25)
Sylvie Marks started off playing the piano and surprising the teacher by playing the pieces without notes. Ten years later she's playing in a band, purely local heroism and by the late eighties she takes up dj'ing. Frankfurts scene is bubbling and by the end of 92 she's booked internationally. First 12 "release and a "own" hr3 clubnight, the most famous radio show in central germany every saturday night, becomes a resident dj in frankfurts biggest club, the "music hall". End of 94 the move to Berlin lots of gigs, radioshows and the occasional remix, first work with fellow frankfurter Hal 9000 in 98 with whom she would record Krazeee in 2004.
Sylvie Marks and HAL9000 bring more than a decade of experience to their Krazeee debut, with much of that time spent DJing and producing remixes. The primary weakness of this otherwise strong outing some tracks are a bit drawn out, excising the excess would only make the material stronger . Yet there's plenty of quality electro-synthpop exercises, with Blutenspass a strong opener. The duo here conjures an unusual bluegrass-electro-disco groove and then adds plinkety-plunk melodies, vibes, and Marks breathy German vocals. The inclusion of vibes in particular is an imaginative touch, and it s this kind of gesture which distinguishes other songs too. In addition, there s robotic techno ( Jupitersex ), dreamy trip-hop, and electro-techno, plus thumping beats that swing and sash.
01 - Blütenspass (5:39) 02 - Kiss Me (4:52) 03 - Jupitersex (5:13) 04 - Juno (6:25) 05 - My Computer Eats An Acid Trip (7:27) 06 - Wir Sterne (5:26) 07 - Krazeee (5:23) 08 - Unreachable (6:13) 09 - Die Blume (6:19) 10 - Steppenwolf (6:18) 11 - Cowboy (6:10) 12 - Somebody (6:34) 13 - Baby I'm Electric (3:54)
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