Eight-X (29)

Hello, Eight-X calling a connected trio, first Martin Rev his debut solo album recorded between the Suicide albums I and II is followed by the first solo album of his Suicide partner Alan Vega, which was released in 81 after Suicide II which had a much more polished sound than their first effort, in a way his solo album a lot of original Suicide in it.... Alan Vega was available when Eldritch
asked him to do a quick studio project to record/release an album for a bandname Sisterhood , this to prevent third parties to take it. As these unpretencious and uncomplicated sessions can go...it worked out pretty well, the result was a true percurser of what would follow 2 years later as Sisters of Mercy's Floodland.

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Martin Rev - Martin Rev (80 ^ 90mb)

Martin Rev might have seemed in the shade compared to the exubérance of Alan Vega (especially as he used to refuge behind unspeakable-ski-sunglasses). He even acknowledged that with Suicide, he was playing only with one hand, using the second to protect himself from the stuff launched against the band. But, obviously, you should not minimize his role in Suicide: it is him who was in charge of the wall of sound, and Alan Vega and him always remained very close; their own solo career having each one their own logic. Besides Alan Vega had always affirmed that Suicide had never splitted : no split = no reformation. Martin Rev, as solo performer, plays it cooler, a music kind of minimalistic, electronic but not techno, much more eccentric than noisy.



1 - Mari (4:18)
2 - Baby Oh Baby (4:41)
3 - Nineteen 86 (4:28)

4 - Temptation (7:09)
5 - Jomo (4:37)
6 - Asia (3:37)

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Alan Vega - Alan Vega (81, ^ 87mb)

One half of the seminal electronic duo Suicide, Alan Vega was born in Brooklyn, New York in 1948. He began his career as a visual artist, gaining notoriety for his "light sculptures; " eventually Vega opened his own lower Manhattan gallery space, which he dubbed the Project of Living Artists. The Project served as a stomping grounds for the likes of the New York Dolls, Television and Blondie as well as the 15-piece jazz group Reverend B., which featured a musician named Martin Rev on electric piano. Soon, Vega and Rev formed Suicide, whose minimalist, aggressive music — a fusion of Rev's ominous, repetitive keyboards and Vega's rockabilly snarl — helped paved the direction for the electronic artists of the future.
Suicide disbanded in 1980, and both Vega and Rev undertook solo careers. Vega's self-titled 1981 debut and his later that year second effort Collision Drive continued to explore the fractured rockabilly identity he had established in his earlier work. 1983's Saturn Strip, produced by longtime fan Ric Ocasek, marked Vega's debut for Elektra Records; corporate relations soured during production for 1985's Just a Million Dreams, however, and at one point the label even attempted to remove the singer from his own studio sessions.

Alan Vega used to say that as beeing basically a sculptor, music was secondary for him. Was that just another provocation? Alan Vega is anyway a true legend (a romantic hero or a deamer for some), joining for any kinds of obscure or more visible projects. He actually induces what Legs McNeil calls the astonishment, a mixture of fascination, made of repulsion and admiration: otherwise, how can one continue to adulate somebody who is ok with just a 30 minutes act (sometimes less, sometimes more) without any communication with the assitance? He's probably one of the original punks actors of the CBGB (New York Dolls, Ramones, Richard Hell, Wayne County, etc... see the compilation Songs of the Naked City) and someone which remains the most homogeneous and with the most credible attitude. His latest release is Station (2007)



1 - Jukebox Babe (4:45)
2 - Fireball (3:49)
3 - Kung Foo Cowboy (3:22)
4 - Love Cry (4:39)

5 - Speedway (2:30)
6 - Ice Drummer (4:23)
7 - Bye Bye Bayou (8:30)
8 - Lonely (2:39)


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Sisterhood, The - Gift (86 ^ 85mb)

Eldritch's parting words were "Thank You ... and Goodbye", heralding Eldritch's retirement from live performance, it was to be five years before the Sisters would perform again. Eldritch got fed up with his local starstatus and moved to Hamburg. Dis putes over a number of songs for the new album, lyrically caused Adams and Hussey to leave.The split soon turned nasty as Adams and Hussey joined forces to form a new band, which they called the Sisterhood. The obvious trading on the Sisters of Mercy's name, by two former members of the band who had left of their own volition, was not appreciated by Eldritch, particularly as Eldritch was by this time the only person carrying the Sisters' debt to WEA.

A second version of the Sisterhood was swiftly formed, comprising James Ray, former Motorhead drummer Lucas Fox, Suicide's Alan Vega and Gun Club's Patricia Morrison, with Eldritch overseeing the project as producer, but critically, not as a performing artist ( constrained by the WEA contract). This allowed the Eldritch Sisterhood to release records via Merciful Release, The Giving Ground single was quickly released; as the first version of the Sisterhood to release a record, this gave Eldritch the rights to the name. And the Hussey Sisterhood were forced to rename as the Mission. It's easy to dismiss Gift as a spoiler album, but this would ignore the musical innovation present on the album. Keyboards and industrial/dance rhythms were used to considerable effect, particularly on the opening Jihad.

Following Gift, Eldritch seems to have been unsure of where to take his career, but in Autumn 1987 Eldritch re-emerged leading a re-activated Sisters of Mercy, now stripped down to Eldritch and Patricia Morrison. This Corrosion was a huge hit, and Floodland was an undisputed success.




1 - Jihad (8:17)
2 - Colours (8:03)
3 - Giving Ground (7:31)
4 - Finland Red, Egypt White (8:17)
5 - Rain From Heaven (6:44)

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

Around The World (MC 5)

Hello, Around the Worldmusics is still classical but getting more popular with Classical Treasures, romantic ones that is, with Mendelsohn, Chopin found a picture of him, made not long before his death. and Edvard Grieg, Smetana and Dvorak.

Romantic music as a movement refers to the expression and expansion of musical ideas established in earlier periods, such as the classical period. Romanticism does not necessarily apply to romantic love, but that theme was prevalent in many works composed during this time period. More appropriately, romanticism describes the expansion of formal structures within a composition, making the pieces more passionate and expressive. Overall, composers during this time (1820-1910) expanded on formal ideas in a new and exciting way.


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Far from the troubled, coarse libertine that has become an archetype of the Romantic composer, Felix Mendelssohn was something of an anomaly among his contemporaries. His own situation -- one largely of domestic tranquility and unhindered career fulfillment -- stands in stark contrast to the personal Sturm und Drang familiar to his peers. Mendelssohn was the only musical prodigy of the nineteenth century whose stature could rival that of Mozart.

Mendelssohn was a true Renaissance man. A talented visual artist, he was a refined connoisseur of literature and philosophy. While Mendelssohn's name rarely arises in discussions of the nineteenth century vanguard, the intrinsic importance of his music is undeniable. A distinct personality emerges at once in its exceptional formal sophistication, its singular melodic sense, and its colorful, masterful deployment of the instrumental forces at hand. A true apotheosis of life, Mendelssohn's music absolutely overflows with energy, ebullience, drama, and invention, as evidenced in his most enduring works: the incidental music to A Midsummer Night's Dream (1826-1842); the Hebrides Overture (1830); the Songs Without Words (1830-1845); the Symphonies No. 3 (1841-1842) and No. 4 (1833); and the Violin Concerto in E minor (1844). While the sunny disposition of so many of Mendelssohn's works has led some to view the composer as possessing great talent but little depth, his religious compositions -- particularly the great oratorios Paulus (1836) and Elijah (1846) -- reflect the complexity and deeply spiritual basis of his personality.

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Chopin (March 1, 1810 – October 17, 1849) was born in the village of Żelazowa Wola, in the Duchy of Warsaw, to a Polish mother and French-expatriate father and came to be regarded as a child-prodigy pianist. In November 1830, at the age of twenty, Chopin went abroad. After the suppression of the Polish 1830–31 Uprising, he became one of the many expatriates of the Polish Great Emigration. In Paris he made a comfortable living as composer and piano teacher, while giving few public performances. After some ill-fated romantic involvements with Polish ladies, from 1837 to 1847 he conducted a turbulent relationship with the French writer George Sand (Aurore Dudevant). Chopin the Polishvirtuoso pianist and piano composer of the Romantic period. He is widely regarded as the greatest Polish composer, always in frail health, at 39 in Paris he succumbed to pulmonary tuberculosis.
 pic 1849

Chopin's music for the piano combined a unique rhythmic sense, frequent use of chromaticism, and counterpoint. This mixture produces a particularly fragile sound in the melody and the harmony, which are nonetheless underpinned by solid and interesting harmonic techniques. He took the new salon genre of the nocturne, invented by Irish composer John Field, to a deeper level of sophistication. Chopin reinvented genres, namely the étude, by changing it by expanding on the idea and making them into gorgeous, eloquent and emotional showpieces.

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Edvard Hagerup Grieg (15 June 1843 – 4 September 1907) was a Norwegian composer and pianist who composed in the romantic period. He is best known for his Piano Concerto in A minor, for his incidental music to Henrik Ibsen's play Peer Gynt (which includes Morning Mood and In the Hall of the Mountain King), and for his collection of piano miniatures Lyric Pieces.
Grieg is renowned as a nationalist composer, drawing inspiration from Norwegian folk music. Early works include a symphony (which he later suppressed) and a piano sonata. He also wrote three sonatas for violin and piano and a cello sonata. His many short pieces for piano — often built on Norwegian folk tunes and dances — led some to call him the Chopin of the north. Although Grieg's smaller scale pieces are the most successful musically, the Piano Concerto is his most popular and still frequently performed. The slow movement, with its folk-like melodies, is perhaps its most successful feature.

Other well-known works are the Lyric Pieces (for piano), and the incidental music to Henrik Ibsen's play Peer Gynt. Despite In the Hall of the Mountain King being one of Grieg's most popular and enduring compositions, he himself did not care much for it. In a letter to a friend he wrote about the "infernal thing reek[ing] of cow-pies and provincialism." Grieg's popular Holberg Suite was originally written for the piano but later arranged for string orchestra. Grieg wrote songs with lyrics from Heinrich Heine, Johann Wolfgang von Goethe and others Grieg's songs now feature frequently in recitals and it is perhaps in these and the Lyric Pieces that his originality shows itself most convincingly.

In the spring 1903, Grieg made nine 78-rpm gramophone recordings of his piano music in Paris; all of these historic discs have been reissued on both LPs and CDs and, despite limited fidelity, show his artistry as a pianist. Grieg also made live-recording player piano music rolls for the Welte-Mignon reproducing system, all of which survive today and can be heard.
Edvard Grieg died in the autumn of 1907, aged 64, after a long period of illness. His final words were "Well, if it must be so"

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Millennium Classics - Classical Treasures ( 97min ^162mb)




01 - F.Mendelssohn - Symphone No.4 in A major, Op.90 'Italian'-Allegro vivace (7:44)
02 - F.Chopin - Prelude, Op.28 No.15 'Raindrop' (7:26)
03 - E.Grieg - Peer Gynt Suite No.1, Op.46-Morning (4:14)
04 - E.Grieg - Peer Gynt Suite No.1, Op.46-Ase's Death (4:46)
05 - E.Grieg - Peer Gynt Suite No.1, Op.46--Anitra's Dance (3:59
06 - E.Grieg - Peer Gynt Suite No.1, Op.46--In the Hall of the Mountain King (2:42)
07 - F.Chopin - Nocturne No.16 in E flat major, Op.55 No.2 (4:46)
08 - B.Smetana-Ma Vlast - No.2- Vltava (Die Moldau) (12:06)
09 - E.Grieg - Piano Concerto in A minor, Op.16-I- Allegro molto moderato (12:45)
10 - F.Mendelssohn - Midsummer Night's Dream, Op.21-Scherzo (4:55)
11 - A.Dvorak - Symphony No.9 in E minor, Op.95 'From the New World'-II- Largo (13:29)

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

Foundation (1)

Hello, been thinking about the followup Ebook, and decided on more sci-fi. Over the decades The Foundation Trilogy has expanded its place in sci-fi history as its creator Isaac Asimov grew in stature when 30 years later he started expanding the Trilogy to what has now become eight books (spin-offs excluding). The BBC broadcast this ' 73 series three times, last time was 6 years ago. The foundation series has drawn in many enthousiasts and captured their imagination, so plenty of word around (check the link at the bottom). Due to the big time leaps the stories havent been filmed yet..though id think it would lend itself very well for a good sci-fi tv series.

Refresh your memory- if you read the books- or get hooked, for the next 8 weeks there's one hourly episode coming up.

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Foundation (novel) was originally a series of eight short stories published in Astounding Magazine between May 1942 and January 1950. According to Asimov the premise was based on ideas set forth in Edward Gibbon's History of the Decline and Fall of the Roman Empire and was invented spontaneously on his way to meet with editor John W. Campbell, with whom he developed the concept.The first four stories were collected, along with a new story taking place before the others, in a single volume published by Gnome Press in 1951 as Foundation (novel). The remainder of the stories were published in pairs as Foundation and Empire (1952) and Second Foundation (1953), resulting in the "Foundation Trilogy", as the series was known for decades.

In 1981, after the series had long been considered the most important work of modern science fiction, Asimov was convinced by his publishers to write a fourth book, which was Foundation's Edge (1982).[2] He followed this with a sequel, Foundation and Earth (1983) and five years later prequels Prelude to Foundation and Forward the Foundation. During the lapse between sequels and prequels Asimov tied in his Foundation series with his various other series, creating a single unified universe of his most known works.

In many ways, the Foundation series is unique as a science fiction novel. The focus of the books is certainly the trends through which a civilization might progress, specifically seeking to analyze how they might progress over time using history as a precedent.The Foundation series, looks at the trends in a wider scope, not necessarily looking at what the societies change into, but how they change and adapt. Furthermore, the concept of psychohistory, which gives the events in the story a sense of rational fatalism, leaves little room for moralization, as events are often treated as inevitable and necessary rather than deviations from the greater good.



Isaac Asimov's The Foundation Trilogy was adapted in eight hour-long episodes by the BBC, first broadcast in 1973, and repeated in 1977 and 2002. Foundation is the first book in Isaac Asimov's Foundation Trilogy (later expanded into The Foundation Series). Foundation is a collection of five short stories, which were first published together as a book by Gnome Press in 1951. Together, they form a single plot. Foundation tells the story of a group of scientists who seek to preserve knowledge as the civilizations around them begin to regress.


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Isaac Asimov - The Foundation Trilogy (73, 60min, 38mb)

Episode One; Psychohistory and Encyclopedia

The opening episode begins on Trantor capital of the Empire, with the meeting of Seldon and Dornick, their trial and exile to Terminus. The action jumps forward fifty years, where the repercussions of recent independence of the Four Kingdoms are felt on Terminus, and are handled by the first Mayor, Salvor Hardin.

AsimovWiki
is the fan-based Foundation Universe reference. This is the fictional universe in which the Robot, Empire and Foundation series by Isaac Asimov are set.

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

Sundaze, Inside Out (6)

Hello, today at Sundaze Rho-Xs is going Inside Out again, in this context i try lift some veils or enhance understanding of ourselves. Big media isn't interested in informing you, selling and controlling the uninformed is so much easier.
One of the shocking things i've found out these last years is how corrupted science has become, and not just those chemists and doctors singing the big pharma tune. Corruption is not just a matter of money but status and career are just as effective, certainly when combined when combined with the bigotry and ignorance of previous science masters,( i call them cardinals these days...theres no pope in science but a lot of cardinals and vicious bishops...) . You might think that hard math sciences are exempt from all that , but alas they've moved into the realm of fancy theorising..to keep old ideas afloat, this whilst the truth is staring them in the face, any one raising his/her voice gets shunned, denied access to funds to prove those fallacies they adhere to wrong, indeed they would burn them at the stake. Cosmology these days is a travesty, the only worthwhile thing the world gets from that 'science' are some nice pics which they manage to interpret completely wrong, bound as they are to the ideas of a century ago, and that sixties big bang bummer. Discard everything that doesnt fit, and come up with enormous unknowns to fill in the equasions...Try that at a math test and you get laughed out of the classroom, but these astronomer guys get away with it, they ride their high telescopes and refuse to come down.

Fortunately people have been working on the truth, be it with limited means and yes even under death treats..thats how desperate these goons are to keep their status and illusions. Nevertheless, they can't change reality, and that is that the universe is electric, and not just on the galactic or local solar level but on our human level aswell and beyond that on the DNA level. What you see below here is the work of researcher Jay Alfred, i think the imagery below speaks a thousand words. But wait there's more another program from the Hemi-Sync lab, who's afraid  of numbers ? Enhance your math skills...Constance Demby's Novus Magnificat masterpiece got this multimedia artist even a grammy nomination....Finally, David Wilcock, i came across his work years ago, he's done some excellent research, and  i think together with the human energy field article below will get you a good insight
 in the nature of reality. Lots to read...and learn.......your eyes are getting heavy.....

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There have been many depictions of the human energy field and subtle bodies in the metaphysical and religious literature. The interesting observation in these depictions is the many signature features that can be associated with plasma. This suggests that the human energy field and the subtle body can be modeled as a bioplasma body. A brief excursion of the images in the literature and their similarity with structures often seen in plasma will be carried out below.

1. Magnetosphere
It is well-known in general metaphysics that the (relatively) dense bioplasma body sits inside an ovoid which is enclosed by a sheath. This ovoid is similar to the magnetosphere around the Earth as it protects the dense bioplasma body (inside the ovoid) from unwanted radiation, just as the Earth's magnetosphere protects the physical-dense Earth from harmful solar radiation. The ovoid usually contains a dense body (relative to the rest of the ovoid) along the longer axis of the ovoid with low density (weakly ionized) magnetic plasma filling the rest of the ovoid. The field lines of the primary dipolar magnetic field generated by the central vertical currents (see #10 below) within the bioplasma body is largely embedded within the ovoid.




2. Concentric Shells
Plasma crystals, generated in the laboratory, are in the form of collections of particles which are held in a crystal-like array by a plasma of weakly ionized gas. When the assembly of microscopic particles was contained between two electrodes and illuminated by a laser beam, it could be seen, even with the naked eye, that the particles naturally arranged themselves regularly into as many as 18 planes parallel to the electrodes. In a subsequent experiment, the particles in the plasma crystal arranged themselves into neat concentric shells, to a total ball diameter of several millimeters. These orderly Coulomb balls, consisting of aligned, concentric shells of dust particles, survived for long periods. This onion-like layered structure, comprising of concentric shells, is also often seen in depictions of the human energy field or subtle bodies in the metaphysical literature.




3. Double Helix (Birkeland) Currents
The helical shape of the magnetic field around the gas cloud in the constellation Orion is believed to be caused by matter in the interstellar cloud moving in a straight line along the length of the filament. When this happens, it causes the magnetic field around the cloud to spiral around in a corkscrew pattern. Researchers were able to detect this spiral shape using the Green Bank Telescope, a radio observatory in Virginia. When helical magnetic fields form in plasma, charged particles move along the field lines generating helical currents.

Kundalini is a Sanskrit term is derived from the term kundala, which means a "ring" or "coil". Kundalini currents have often been depicted in the metaphysical literature as a serpent coiled around the back part of the root chakra in three and a half turns (comparable to a solenoid or a compressed helical current) around the sacrum. The energy is supposed to originate from an apparent reservoir of subtle bio-energy at the base of the spine. The central vertical currents in the subtle body (described as Ida, Pingala and Sushumna in the yoga literature) are often depicted in the metaphysical (particularly the yoga) literature as a pair of mutually entangled helical currents with straight currents passing through them.

Mutually entangled (double spirals) currents are frequently seen in space and laboratory plasmas. Helical structures can also be found in dusty (or complex) plasma. This shows that there is a strong connection between plasma dynamics and the formation of the central kundalini and pranic currents in the (supersymmetric) bioplasma body as described by plasma metaphysics.




4. Hot Spots or Plasmoids
Plasmas can take up a variety of shapes and have "hot spots" which are visible. It has been observed that these hot spots in plasma emanate along axes. Secondly, these hotspots have different colors and temperatures than the rest of the mass. These observations agree with the bright blobs of light of different colors often found depicted in subtle body and human energy field literature along the spinal axis of the human body.

The hot spots are believed to be sources of intense X-ray emission as well as pulsed electron and ion beams. Hot spots require intense heating rates more commonly associated with focused laser beams. Pulsed beams have also been depicted in the metaphysical literature (see #6 below). Presumably these are generated by the hot spots, exit out of the vortexes (see #9 below), and undergo "lensing effects" while being ejected from the ovoid and being refracted by the clear material in the ovoid which could produce convergent and collimated beams.




5. Coronas, Spicules and Granulations
Coronal auras and discharges, granulation and spicules are all features associated with the Sun and our subtle energy bodies - the latter, as seen by clairvoyants. Coronal discharges and flares can occur suddenly on the Sun. The various particles that are discharged, together with these flares, are carried by the Sun's plasma wind to cause magnetic storms on Earth. Spicules are short-lived phenomena, corresponding to rising jets of gas that move upward and last only a few minutes on the Sun. Spicules can also be seen in the coronas of bioplasma bodies. In addition, striations (which can also be associated with plasma and are seen on gas giants like Jupiter) are also seen. Coronas and spicules can also be seen in Kirlian representations of the aura. (In laboratory tests, it has been found that Kirlian representations of the aura correlate with the colors and shapes that human "seers" see.)




6. Beams and Jets
Using sophisticated scientific equipment, scientists at Jiao Tong University in Shanghai have shown that "subtle energy" has the properties of an electromagnetic current when flowing through acupuncture meridians but takes on the properties of coherent particle streams, similar to laser light, when projected out from the body through the hands of master Qigong healers who cure diseases by beaming their energy into the patient's body.

There are important vortexes on the palms of the hands (of the subtle body within the ovoid). Jets or directed beams of light have been seen in photographs taken during events where subtle energetic practices take place (for example: Reiki, Qigong and Christian "Praise and Worship"). There are also Hindu, Taoist, Buddhist and Christian images showing jets of light issuing-out from the palms of saints or deities. One of the seers of the Fatima apparitions of "Mary" in 1919, "Lucia", revealed that during one of the apparitions, "Mary" opened her hands and "rays of light" issued from them.




7. Filamentary Currents
Plasma naturally forms filaments in response to electric fields within the subtle body (which according to plasma metaphysics is composed of a complex plasma of negatively-charged, positively-charged and neutral particles). Charged particles are guided within these filaments by magnetic fields and accelerated by electric fields - generating currents. It is a well accepted fact in metaphysics that there are filaments within our subtle body, which have been referred to as "meridians", "nadis" and "channels" - in the Chinese, Indian and Tibetan literature, respectively. In Taoist and Qigong literature, they are also referred to as "circuits" and "orbits". For example, Qigong practitioners may speak of microcosmic and macrocosmic orbits. The microcosmic orbit is really the main meridian through which particles are accelerated in the relevant practices to bring energy to the rest of the subtle body. According to plasma metaphysics, these meridians are "Birkeland currents", i.e. currents in which charged particles flow through and are guided by magnetic field lines.




8. Plasma Focus Device
The plasma focus device produces, by electromagnetic acceleration and compression, a short-lived magnetically-confined, hot spot or plasmoid that is so hot and dense that it becomes a multi-radiation source. These plasmoids emit intense beams of accelerated ions and electrons (see #4 above). The plasma focus device is similar to the plasma gun which is a magnetically driven shock tube that ejects plasma in the form of a plasmoid, without pinching it.
The similarities in the image when we look down at the barrel of a dense plasma focus device and the image of the throat chakra as depicted by Leadbeater are obvious. Plasma focus devices are therefore already embedded in bioplasma bodies, with the vortexes in the bioplasma body acting as delivery systems of intense collimated beams of energetic particles that are seen in many religious depictions of deities (see 6 above).




9. Plasma Vortex
Charged particles in an ionized environment have a tendency to follow magnetic field lines. If the path of the particle is at an angle, i.e. neither parallel nor perpendicular to the magnetic field lines, the particle will spiral around the magnetic field lines using a helical path. When the particles plunge they collide with other particles in the ovoid, generating a light phenomenon similar to the auroras in the atmosphere at Earth's magnetic poles. This process will generate a helical path that will have a cone shape when viewed from the side, with the apex of the cone meeting the surface of the bioplasma body. Dynamically, this can be described as a vortex. Since there are many particles streaming down into the bioplasma body, taking slightly different trajectories, smaller vortexes can also appear within a larger vortex.

Experimental metaphysicist Barbara Brennan has observed, as many other metaphysicists, vortexes within the human energy field or bioplasma body. Within each vortex, residing on the surface of the relatively dense body within the ovoid, there are also small rotating vortexes spinning at very high rates.




10. Super Fields
It has been observed and recorded in the metaphysical and religious literature that within the bioplasma body are both helical and straight currents (see #3 above) aligned with the longer axis of the bioplasma body. These are the "central currents". In addition, there also numerous filamentary currents interpenetrating the bioplasma body (see #7 above).

A complex network of currents enveloping the bioplasma body has been observed by Barbara Brennan who notes, "The main vertical power current induces other currents at right angles to it to form golden streamers that extend directly from the body. These in turn induce other currents that circle around the field, so that the entire auric field and all the levels below it are surrounded and held within a basket-like network." Moving charges generate magnetic fields which have been depicted often in the metaphysical literature. There are localized fields embedded within global fields.



© Copyright Jay Alfred 2007 Plasma Life

Jay Alfred has been researching on plasma life forms since 2001. He is the author of three books on a new field called "plasma metaphysics". The books include Our Invisible Bodies, Brains and Realities and Between the Moon and Earth which are available on Amazon online bookstores. Plasma metaphysics is the application of plasma and dark matter physics to the study of plasma life forms and their corresponding habitats. This includes the study of bioplasma bodies which co-evolved with carbon-based bodies on this planet.

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Hemi Sync - Buy The Numbers ( ^ 99mb )

H-PLUS uses Hemi-Sync® to establish an Access Channel into which encoded Functions are inserted into such total-awareness, in the knowledge that the methodology to perform said Functions is already inherent and existent within the system. Thereafter, the ability to activate Functions so inserted and encoded lies within the conscious option of the individual. The H-PLUS Access Channel is open only during the insertion of a new H-PLUS Function. At all other times, it remains closed and unavailable.

H-PLUS Functions are derived from a wide variety of sources both present-day and historical, from individuals and organizations who have demonstrated success in a specialized area and which can be learned by the H-PLUS process.

H-PLUS recognizes the existence of an inertial mass within the structure of each human consciousness as generated by the long-encrusted belief system therein. The Program also acknowledges the incipient anxiety and fear related to the prospect of change within said structure. Therefore, H-PLUS encourages and abets change in small increments rather than the quantum leap. The result is evolution as against revolution, with the whole far greater than the sum of the parts, without resistance or fear.

The primary goal of H-PLUS is total, conscious control as may be desired by the individual over the entire self - mental, emotional and physical. Because all are inseparable, each learned and applied H-PLUS Function contains elements of all three. Thus the effect of any single Function is not limited solely to the area of focus or application. It adds to and shapes the formation of the new whole - the KNOW SYSTEM.

In that H-PLUS employs chiefly methods and techniques in sound, all Function Exercises are provided initially on audio cassette tape, one to each cassette. Each cassette consists of Access Channel Preparatory training on one side, with actual Function Encoding on the second. Use of the preparation exercise until proficiency is achieved is essential prior to working with the encoding on the second side. However, casual listening to the encoding portion first may be desirable so that the participant is well acquainted at a conscious level with the Function to be inserted and absorbed.

The Function Encoding exercise on the second side is used and repeated until conscious testing demonstrates such Function is securely in place and operational. From that point forward, the exercise tape is no longer needed and can be given to a new H-PLUS Apprentice of choice.

Buy The Numbers: Use the simple method anytime, anywhere, for improved homework and exam results, greater accuracy, speed, and ability to remember numbers. Use for paying bills, balancing checkbooks, figuring taxes, and overcoming discouragement about math and statistics. Increase ease proficiency with numbers, and end math phobia.
Sharpen your skills for working with numbers in everyday applications and improve your aptitude for defining and understanding numerical concepts. Use anytime to enhance your speed, accuracy, and ability to remember numbers and gain confidence in your mathematical abilities.



01 - Buy The Numbers 1 (30:21)
02 - Buy The Numbers 2 (29:59)

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Constance Demby - Novus Magnificat ( 86 ^ 99mb)

Born in Oakland CA, Constance Demby gave her first recital for classical pianoforte at the age of twelve. She studied sculpture and painting at the University of Michigan. After her marriage, she lived in New York for seven years. It was mainly as a sculptor that she built her sonic steel instruments, the space bass and later the whale sail. As a co-founder of The Central Maine Power, Sound and Light Company, an experimental visual and sound group, she created multimedia shows with sculptures and lights, and her sonic steel instruments.

As a pioneer in her field, she creates sounds you'd swear you never heard before; yet, somewhere in some dim memory, there is a faint memory echo - rich and compelling - calling up archetypal experiences which access the deeper, more profound levels of the mind-body-spirit, allowing listeners to travel into states of expanded consciousness.

Recommendation from Constance:

For NOVUS MAGNIFICAT, AETERNA, SANCTUM SANCTUORUM, SPIRIT TRANCE, SACRED SPACE MUSIC, SONIC IMMERSION, ATTUNEMENT I recommend that you listen “frontally” - at least for the first time. That is, prepare for the experience so that you will be able to give the music your full attention with no interruptions as you receive the tones. Without your full absorption, you could miss the potent emotional impact the music can deliver, for the music has frequencies and tones encoded within it that can potentially impact one down to the cellular level.

To prepare for a full immersion, turn off phone and phone machines, seclude yourself, close the door, turn down the lights, turn UP the volume, boost the bass frequencies, (good earphones are OK too), and relax deeply as the music takes you on a journey. If you wish, you may ask to be taken to “the same realms from which the music came.” Since sound is a carrier wave for intention, you can also experiment with the tones by sending them to specific parts of your embodiement that may need healing. By listening in this way, many listeners have experienced life changing events, powerful healings, altered consciousness, gotten in touch with guidance, viewed past lives, had spontaneous healings, with some even being rescued from suicide attempts.Blessings and have a good journey!



1 - Part One - 26:15
-----Ascent
-----Choral Climax
-----My Heart Doth Soar

2 - Part Two - 27:14
-----The Flying Bach
-----Certainty
-----Stargate

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David Wilcock - Divine Cosmos PDF (196 pages, 8mb)

THE ENERGETIC TRANSFORMATION OF OUR ENTIRE SOLAR SYSTEM is now underway, and we are already feeling the effects – which the US government now admits, but is attempting to blame on global warming. This is by far the most facile and under-informed opinion about what is going on. In this book, we go miles beyond either of our previous two books in the Convergence series ... The Shift of the Ages and Convergence III. If you liked these books ... just wait. The problem was that we didn’t even know about the entirely new world of Russian physics when we wrote those books ... and once we found it, ALL the pieces fit together.

We now present a completely Unified model, showing how the same energetic fields are at work on all levels of size, from the quantum to intergalactic. This proves that the Universe is holographic and/or fractal in its very nature. This model has never existed in such a complete form in any of our recent history, at least overtly. Many annoying paradoxes of science have now been resolved into one single, stable multi-dimensional cosmology – which has dazzling implications for our immediate future.

The information contained within this book has waited long enough. It keeps banging on the door, because it wants a hot meal and a warm place to sleep in your mind. Start learning what a part of you already knows… come and discover The Divine Cosmos.

 

~ Table of Contents ~Prologue: The Mystery is Revealed
Chapter One: The Breakthroughs of Dr. N.A. Kozyrev
Chapter Two: Light on Quantum Physics
Chapter Three: Sacred Geometry in the Quantum Realm
Chapter Four: The Sequential Perspective
Chapter Five: Large-Scale Geometric Energy Forms
Chapter Six: The Universal Heartbeat
Chapter Seven: Spherical Energy Structures in the Cosmos
Chapter Eight: The Energetic Transformation of the Solar System
Supplemental: The Ultimate Secret of the Mayan Calendar

~ Peace be With You ~

~ On Behalf of the One Infinite, David and all Collaborators Thank You ~

A great lecture by the man
Wilcock Talk @ Videogoogle , 90min


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

Rhotation (29) Into BPM

Hello, Rhotation 29 this week and today Into BPM goes Drum and Bass again, 3 releases from the last decade and a bonus mix, in all 4hours of great and danceable D&B , i'd say enough to break the beat with the neighbour...maybe a good carstereo then, but likely this would result in speeding tickets...

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Breakbeat Era - Ultra-Obscene (99 ^151mb)

Breakbeat Era was a short-lived British project that combined the breakbeat talents of drum and bass producers Roni Size and DJ Die with the vocals of singer Leonie Laws. Combining the hyperkinetic breakbeats and chilly electronic textures of drum'n'bass with actual song structures . Breakbeat Era differs from all of these in that this group comes to rock from drum'n'bass, not the other way around. Leonie Laws is not a tuneless singer, by any means, but her approach is more punk than pop, and the instrumental accompaniment is straight out of the "darkcore" subgenre of drum'n'bass, a style typified by minor chords and creepy, robotic basslines. Song titles like "Rancid," "Our Disease" and "Anti-Everything" -- all of which sound like they were nicked from first-wave punk albums -- give you an idea of what to expect.

In conjunction with the album's release, the group was also seen as a live act in the U.S. and UK in a similar vein as Reprazent, with focus on Leonie Laws. Since the album seems to be a one-off project, other releases seem unlikely. As of 2006, Leonie Laws was working with a new drum and bass live band called "Blackout".



01 - Past Life (5:23)
02 - Rancid (5:07)
03 - Ultra-Obscene (5:03)
04 - Bullitproof (4:32)
05 - Breakbeat Era (5:22)
06 - Time 4 Breaks (4:20)
07 - Late Morning (6:11)
08 - Anti-Everything (5:26)
09 - Animal Machine (3:03)
10 - Our Disease (5:51)
11 - Max (0:48)
12 - Control Freak (5:44)
13 - Terrible Funk (5:38)
14 - Sex Change (3:42)
15 - Life Is My Friend (7:59)

Breakbeat Era - Ultra-Obscene (99 * 99 mb)

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Peshay - Fuzion ( 02 ^ 153mb)

Peshay's style of jungle/drum'n'bass, influenced both by house and the more polished forms of jazz fusion, allies itself both with Goldie and 4 Hero. A breakbeat DJ from early in his career, Peshay debuted on wax with Reinforced in 1993, recording the Protegé EP before joining Goldie's Metalheadz stable and releasing its second single, "Psychosis." He also recorded several twelves with LTJ Bukem's Good Looking Records, including "The Piano Tune" and "19.5." Though hampered by a serious illness which sidelined him during jungle's breakout year of 1995, Peshay returned in 1996, remixing singles from Goldie's Timeless ("Inner City Life" and "Angel") and contributing tracks to the Mo'Wax compilation Headz II. Signed up to Mo'Wax, Peshay released the "Miles from Home" single in mid-1998 and worked on material with Photek's Rupert Parkes. The label's practical dissolution by the following year led to delays for the expected full-length, though by July 1999 Peshay's debut album -- also called Miles from Home -- appeared on the Island Blue label. Following de rigeur for top-flight jungle producers, he also formed his own label, Elementz Records, which released twelves from Decoder and Technical Itch.

Long delayed because of release problems with Mo' Wax, Peshay's debut funnels his jazz influences -- not just the slick end of '70s fusion and disco, but the hard boppin' '60s as well -- into a solid album of breakbeat dance. The jazz'n'breaks angle is done better than most, thanks to input from two of the jungle scene's prime engineer/producers, Decoder and (on two tracks) Photek. The title track is an obvious highlight (it actually appeared on Mo' Wax as a single more than a year earlier), and the live bass and piano on "Live at 2:37" are a welcome attempt to continue integrating jazz improv with drum'n'bass

On Fuzion , apart from featuring collaborations with Co-Ordinate, Flytronix, and Neil Mac, Peshay has, naturally, caught the pick 'n' mix drum 'n' bass re-birth vibe and refined its application with spotless production. Where others have taken their cue from Samba, house and soul, Peshay has for the most part delved into house's early roots in disco, borrowing strings and funky guitar links to embellish the beats with a soft, soulful underbelly.The result is an album that pumps with energy while simultaneously invoking the warm vibes more often associated with deep house. Some of this cross-pollination is sublime.



01 - You Got Me Burning (Ft. Co-Ordinate) (8:25)
02 - Satisfy My Love (8:38)
03 - Fuzion (7:49)
04 - Bring It (7:29)
05 - No More Tears (Ft. I-Eka) (6:24)
06 - Take Me Higher (8:10)
07 - What I Need (7:45)
08 - Downtown Sound (6:57)
09 - Rotation (Ft. Co-Ordinate) (8:45)
10 - It's A House Thing (6:04)

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E-Z Rollers - Titles Of The Unexpected (03 * 99mb)

The E-Z Rollers is a British drum and bass group made up of Jay Hurren (also known as JMJ), Alex Banks (also known from the band Hyper-On Experience) and Kelly Richards. The group was formed in 1995 in Norfolk, England. They defined the easy-rolling two-step of Moving Shadow Records during the late '90s with their recordings as E-Z Rollers, after developing hardcore breakbeats earlier in the decade . They were originally involved in the mid-'80s rare-groove and hip-hop scene around their native East Anglia, pr- omoting shows and DJing as well. They moved into house as well after the rave explosion, and while Banks increasinly concentrated on production work in his home studio during the early '90s, Hurren continued to mix at events, usually billed as JMJ. The duo began recording after meeting emerging jungle don L.T.J Bukem -- releasing various singles for Rob Playford's Moving Shadow and Bukem's Good Looking -- "Montana" and "Universal Horn" as JMJ & Richie, "Thunder Grip" and "Lords of the Null Lines" as Hyper-On Experience -- and helped write the template for smooth drum'n'bass with plenty of jazz texture but swift rhythms to keep the vibes moving in clubs.

After meeting up with vocalist Kelly Richards at one of their gigs, Hurren and Banks decided to form E-Z Rollers around the threesome. Their first long-player together, Dimensions Of Sound, arrived in 1996 and its gentle, jazz influenced hooks, solid beats and melodic keys were wonderfully enhanced by Kelly's exquisite vocals. The crew kept their hand in over the next few months with various 12s before unleashing their second album, Weekend World, in 1998. This saw a brief excursion into the UK charts with "Walk This Land" which reached an astonishing No.18 in the UK charts after being used for the British flick, Lock, Stock and Two Smoking Barrels.

With their third album, Titles Of The Unexpected, they have produced their most accomplished disk to date. Packed with anthemic tunes and the hip-hop grooves, this album stretches right across musical genres, from the breaks inspired "Take It EZ" to the dancehall-style flavas of "Lady Jam". Always open minded and well known for serving a huge assortment of different sonic delicacies from a number of different platters, Titles of the Unexpected sees them search deeper within their inner self. With the enrolment of hip-hop beatbox legend Doug E Fresh and soul diva Sharon Brown, the sonic adventure is complete. EZs roll with high tempo d & b and mid-tempo breaks with a collection of tracks full of fervour and flair.



01 - E-Z Intro (0:50)
02 - Back To Love (Radio Edit) (3:26)
03 - Music Keeps Me (6:13)
04 - One Crazy Diva (5:37)
05 - Half A Chance (5:23)
06 - You'll Never Know (Voc. S. Brown) (3:25)
07 - Lady Jam (Voc.Mango Seed) (3:04)
08 - Sunshine People (6:14)
09 - Tu-Ruf (Voc. R. Birch) (3:39)
10 - Rhyme And Punishment (4:07)
11 - Dust (4:33)
12 - Submission (3:23)
13 - Take It Easy (Rap MC Jakes) (3:26)
14 - E-Z Outro (4:20)


Live Mix Session (99, 63:22 * 99mb)

Recorded at Manic One Studios, London, England.

01 - Intro (0:16)
02 - Music Keeps Me (5:02)
03 - Sunshine People (5:50)
04 - Submission (4:18)
05 - Back To Love (4:40)
06 - Walk This Land (Live Mix) (4:13)
07 - RS2000 (Filibuster Remix) (6:04)
08 - One Crazy Diva (5:23)
09 - Dust (5:02)
10 - Superheros (Voc. K. Wilkinson) (3:28)
11 - RS2000 (Vocal Mix) (2:37)
12 - Tough At The Top (Remix) (5:28)
13 - Dollar Man (5:12)
14 - Half A Chance (5:42)

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

Into The Groove (28)

Hello, Into The Groove asks what is soul is "music that arose out of the black experience in America through the transmutation of gospel and rhythm & blues into a form of funky, secular testifying." The performance is very emotional, and the melody is decorated with improvisational additions, twirls and auxiliary sounds. Catchy rhythms, stressed by handclaps and plastic body moves, are an important feature. Other characteristics are a call and response between the soloist and the chorus, and an especially tense vocal sound. So much for the theory and i gather decades ago the record companies assumed many people wondered about what soul was, because both sets of vinyl state, better said testify that what's on it is soul...it does make it a bit confusing .. well here's 54 tracks , many of them real classics those that aren't add to the depth and quality this Soul Music and their performers had . The sixties may have brought the Beatles, the Stones, the Doors and The Beach Boys and the rebellion that came with it, it was the black people that really came out and touched the hearts and minds, not forgetting those hips too, of many black and white....that is soul....

In the comments section there's a listing of the re-uploads of these past weeks.

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Various - That's Soul I ( 55min ^ 99mb)




01 - Ray Charles - What I'd Say (4:27)
02 - Supremes - Where Did Our Love Go (2:30)
03 - Drifters, The - On Broadway (2:57)
04 - Jackie Wilson - To Be Loved (2:27)
05 - Mary Wells - My Guy (2:48)
06 - Sam Cooke - Twistin' The Night Away (2:37)
07 - James Brown - Please Please Please (2:44)
08 - Marvelettes, The - Please Mr. Postman (2:43)
09 - Booker T & The MG's - Green Onions (2:49)
10 - Brook Benton - Call Me (2:33)

11 - Marvin Gaye - How Sweet It Is (2:55)
12 - Temptations - My Girl (2:43)
13 - James Brown - Try Me (2:29)
14 - Martha Reeves & The Vandellas - Dancing In The Streets (2:36)
15 - Supremes - Baby Love (2:34)
16 - Drifters - Up On The Roof (2:34)
17 - Jackie Wilson - Baby Workout (2:57)
18 - Lee Dorsey - Ya Ya (2:20)
19 - Sam Cooke - Chain Gang (2:32)
20 - Dinah Washington - What A Diff'rence A Day Made (2:27)

Various - That's Soul II ( 58min,* 99mb)

21 - Lou Rawls - Love Is A Hurtin' Thing (2:12)
22 - Brook Benton - Rainy Night In Georgia (3:48)
23 - Spinners - Could It Be I'm Falling In Love (4:06)
24 - Roberta Flack - The First Time I Ever Saw Your Face (4:14)
25 - Drifters, The - Save The Last Dance For Me (2:25)

26 - Otis Redding - (Sittin' On) The Dock Of The Bay (2:40)
27 - Aretha Franklin - Spanish Harlem (3:26)
28 - Clyde McPhatter - A Lover's Question (2:31)
29 - Platters, The - Smoke Gets In Your Eyes (2:36)
30 - Percy Sledge - When A Man Loves A Woman (2:47)

31 - LaVerne Baker - I Cried A Tear (2:34)
32 - Drifters, The - There Goes My Baby (2:08)
33 - R.B. Greaves - Take A Letter Maria (2:40)
34 - Barbara Lewis - Hello Stranger (2:36)
35 - Spinners - I'll Be Around (3:04)

36 - Aretha Franklin - (You Make Me Feel Like) A Natural Woman (2:41)
37 - Ben E. King - Stand By Me (2:56)
38 - Blue Magic - Sideshow (3:22)
39 - Barbara Lewis - Make Me Your Baby (2:26)
40 - Watts 103rd St Rhythm Band - Love Land (3:00)

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Various - That's Atlantic Soul ( 67, 38 min ^ 90mb)




01 - Wilson Pickett - Mustang Sally (3:03)
02 - Carla Thomas - Baby (2:50)
03 - Arthur Conley - Sweet Soul Music (2:18)
04 - Percy Sledge - When A Man Loves A Woman (2:53)
05 - Sam & Dave - I Got Everything I Need (2:43)
06 - Ben E.King - What Is Soul (2:16)
07 - Aretha Franklin - I Never Loved A Man The Way I Love You (2:45)

08 - Otis readding - Fa-Fa-Fa-Fa-Fa (2:40)
09 - Eddie Floyd - Knock On Wood (3:01)
10 - Solomon Burke - Keep Looking (2:37)
11 - Wilson Picket - Land Of The Thousand Dances (2:22)
12 - Joe Tex - Papa Was Too (2:39)
13 - Percy Sledge - Warm And Tender Love (3:16)
14 - The Drifters - Baby What I Mean (2:25)

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

Alphabet Soup II (B)

Hello, Alphabet Soup back to B and I continue with the format of picking one from the 7, 9 and 0 ties...as the 8 ties has its own dedicated day...First up the seventies contribution from Bachman-Turner Overdrive, when ripping that vinyl i thought how good some of the tracks are..a track like Hey You showed the US wave pop, which came a few years later, the way. The 76 album here Best Of B.T.O. (So Far) never got extended much hits wise but a great number of variations have seen the market...but this is the original one...its even been rereleased remastered now, not many original compilations ever get to that stage.. Secondly..Brad, the band that aquinted me with the voice of Shawn Smith, it was an agreeable one as i bought into his other projects Satchel and his work with Steve Fisk in Pigeonhed aswell. Well thats the thing with vocals they can grab you or push / make you cringe. Obviously most of the time vocals stay in the bland range..adapting to the lyrics....Finally Broadcast, i happen to have chatted with them after a show the guys had a very intellektual approach to their music, Trish the singer was as sweet as she looks and sings..ah well it was a few years ago. Broadcast's retro-futuristic sci-fi music sounding like they could've been written in the sixties and yet they don't sound dated, far from it...judge yourself..

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Bachman-Turner Overdrive - Best Of B.T.O. (So Far) (76 ^ 90mb)

Following his 1970 departure from the Guess Who, guitarist Randy Bachman recorded a solo album (Axe) and planned a project with ex-Nice keyboardist Keith Emerson (later canceled due to illness) before forming Bachman-Turner Overdrive in 1972. Originally called "Brave Belt," the metal group was comprised of singer/guitarist Bachman, fellow Guess Who alum Chad Allan, bassist C.F. "Fred" Turner, and Randy's brother, drummer Robbie; after a pair of LPs (Brave Belt I and Brave Belt II), Allan was replaced by another Bachman brother, guitarist Tim, and in homage to the trucker's magazine Overdrive, the unit became BTO. While their self-titled 1973 debut caused little impact in the U.S. or the band's native Canada, Bachman-Turner Overdrive II was a smash, netting a hit single with the anthemic "Takin' Care of Business." Prior to the release of 1974's Not Fragile, Tim Bachman exited the group to begin a career in production, and was replaced by Blair Thornton; the album was a chart-topping success, and notched a number one single with "You Ain't Seen Nothin' Yet."

After 1977's Freeways, Randy Bachman left the group for a solo career and formed another group, Ironhorse. Bachman-Turner Overdrive continued on in his absence with replacement Jim Clench for two more albums, Street Action and Rock n' Roll Nights (both 1978), eventually changing their name to simply BTO. At the tail-end of the decade, the band dissolved, but in the 1980s they re-grouped to tour as both Bachman-Turner Overdrive (led by Randy) and BTO (led by Robbie); the ensuing confusion the name game triggered ultimately resulted in Randy Bachman filing suit against his one-time bandmates for rights to the group's logo.

This nine-song collection released in 1976 was the first of close to two dozen "Best Of," "Greatest Hits," and "Greatest Hits Live" collections .. ". These songs are culled from the group's first five albums, 1973's Bachman Turner Overdrive debut up to 1975's Head On. They ruled the charts as a North American counterpart to the British Bad Company, whose first version charted during the same time period with almost the same amount of hits. Five of the nine songs were composed all or in part by Randy Bachman, including the song that didn't break the Top 40 but should have, "Looking Out for #1." Its "Girl From Ipanema" riff and majestic performance was touted by Mercury in the trades as their next number one, but for some inexplicable reason, it fizzled. This album has been re-mastered and refined over the years, but it is what it is, a compact collection of their hits released over a two-year period.



01 - Roll On Down The Highway (3:53)
02 - Hey You (3:27)
03 - Lookin' Out For #1 (5:12)
04 - Gimme Your Money Please (4:13)
05 - Let It Ride (3:26)

06 - Take It Like A Man (3:36)
07 - You Ain't Seen Nothing Yet (3:34)
08 - Blue Collar (6:02)
09 - Takin' Care Of Business (4:41)

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Brad - Shame ( 93 ^ 99mb)

Regan Hagar was in a band called Malfunkshun with Andrew Wood, and Malfunkshun shared a rehearsal space with Green River which Stone Gossard was a member of. Andrew Wood and Stone Gossard played together in Mother Love Bone after that and Regan, Shawn and Mike formed the band Satchel. They all remained friends during this time as Regan, Stone, and Jeff Ament would often have jam sessions and eventually Regan, Shawn, Mike, and Stone decided to form another band which they wanted to call `Shame` but that name was already taken by a man named Brad Wilson... so they decided on the next best thing, they called this band Brad. That is the story on how this band was formed.

With drummer Regan Hagar, guitarist Stone Gossard formed Brad as a side project after his main band, Pearl Jam, became superstars in 1992. Also featuring vocalist Shawn Smith and bassist Jeremy Toback, the group spent the spring of 1993 putting together material. Recorded in roughly 20 days, with many tracks taken from in-studio jam sessions, Shame is an eclectic mix of styles and a raw, vital recording. The track "20th Century" was a minor hit in the UK. In the US it got mixed reviews and lukewarm sales. Shame is one of the sharper side-project efforts out there, largely because it doesn't seek to clone the parent group. Instead of Gossard, the focus falls on vocalist Shawn Smith, the sweetly voiced, soul-inspired frontman who also achieved notice later for his own group, Satchel, as well as his project with production legend Steve Fisk, Pigeonhed. On his first major effort, Smith shows excellent control, his astonishing falsettos have won him Prince comparisons, but he's no slavish imitator, with a rich tone and sense of hurt. He handles keyboards for the group as well, and his piano and organ parts quite fine and his performance sense generally spot on.

Their follow-up album, Interiors, in 1997 was much more polished, again to poor sales but a more enthusiastic cult audience started developing. It was accompanied by a tour of the United States in that year, as well as a small tour of Australia and New Zealand in 1998. Fans of the group championed the disc, but they would have to wait until 2002 before the group came together for another album. With Mike Berg taking Jeremy Toback's spot for most of the disc, Welcome to Discovery Park was released that summer. It mixes the rawness of Shame and the polished, produced sound of Interiors. In July 2005 they released an album of unreleased and incomplete Brad and Satchel tracks called Brad vs. Satchel. Currently the band is working on a fourth album.



01 - Buttercup (4:14)
02 - My Fingers (3:19)
03 - Nadine (3:31)
04 - Screen (5:11)
05 - 20th Century (4:02)
06 - Good News (4:23)
07 - Raise Love (4:14)
08 - Bad For The Soul (1:11)
09 - Down (4:17)
10 - Rockstar (2:47)
11 - We (5:26)

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Broadcast - Haha Sound ( 03 ^ 99mb)

Space-age pop collagists Broadcast formed in Birmingham, England, in 1995; comprised of vocalist Trish Keenan, guitarist Tim Felton, bassist James Cargill, keyboardist Roj Stevens, and drummer Steve Perkins The band's style is a mixture of electronic sounds and Keenan's 1960s-influenced vocals. It is heavily influenced by the 1960's American psychedelic group The United States of America, using many of the same electronic effects. It is also reminiscent of Stereolab. However, despite the similar musical pedigree, Broadcast's music often has a darker, edgier sound - with amorphous samples and analogue dissonance giving it a retro-futuristic sci-fi edge.

The band's first releases were singles released on Wurlitzer Jukebox Records ( "Accidentals" ) and Duophonic Records ("The Book Lovers") in the mid-1990s. "The Book Lovers" was also featured on the soundtrack of the film "Austin Powers." They attracted the attention of Warp Records, who compiled the singles in 1997 on Work and Non Work. All subsequent releases have been on Warp Records, or in the USA on Tommy Boy Records. Their song "Before We Begin" was used in the Season Four finale of the L Word. On their early singles and brilliant debut album, The Noise Made by People, Broadcast's commitment to crafting meticulously, ethereally beautiful atmospheres gave their music a detached quality that made them somewhat difficult to embrace fully.

Ever the studio perfectionists, fans had to wait until 2003 to hear any new material from the band, when the Pendulum EP arrived that spring and Haha Sound appeared that summer. While their music still sounds like it could've been crafted by ghosts in the machine, now Broadcast give it flesh and blood through more warmth and texture. Haha Sound's more human touch comes through in its looser, more intimate, and rougher sound. A big part of Haha Sound's expansive feel is Trish Keenan's increasingly expressive vocals; while she can still occasionally seem to be hovering slightly outside the songs, her delivery is much more vulnerable and emotive. The delicately spooky nursery rhyme "Colour Me In" begins the album with the wistful, childlike viewpoint that creeps into Haha Sound from time to time. "Pendulum" finds the band digging deeper into their psychedelic influences, with acid rock drumming and flashback-like washes of sound making it one of the most tense, driving tracks they've recorded. "Ominous Cloud," and "Winter Now" suggest that Broadcast could probably make dozens of immaculate pop songs like these if they wanted to.

In fall 2005, Broadcast -- pared down to the duo of Keenan and Cargill -- issued the America's Boy single and Tender Buttons full-length. 2006's Future Crayon collected the group's numerous rare tracks and B-sides. They are currently working on their fourth studio album.



01 - Colour Me In (2:51)
02 - Pendulum (4:21)
03 - Before We Begin (3:22)
04 - Valerie (4:04)
05 - Man Is Not A Bird (4:52)
06 - Minim (3:00)
07 - Lunch Hour Pops (3:36)
08 - Black Umbrellas (1:08)
09 - Ominous Cloud (3:46)
10 - Distorsion (2:02)
11 - Oh How I Miss You (1:17)
12 - The Little Bell (2:48)
13 - Winter Now (3:48)
14 - Hawk (3:42)

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

Eight-X (28)

Hello, so what does Eight-X come up with this week ? How about a rare album by Robin Scott, better known under the moniker ' M' that provided him with the megahit Pop Muzik and i suspect still a steady trickle of pecunia from the rights.. Now he was a bit too experienced and pig headed to let that success guide him and 2 years later his record company refused to release this album in the UK, however it did get a release on the continent. Anyway those that DL this album should check the backside photo because i think its Robin again..feminised.. Well the album title turned out to be prophetic as he didnt release another album again.....How different my next guests..Bad Manners, they scored a string of hits in the early eighties, mainly by having the singer, Buster Bloodvessel, living up to their name. Then the hit connection dried up midway thru the eighties but they' ve kept on releasing albums and performing....My last stop today are Crass the godfathers of anarcho punk,
Best Before...1984 was named in reference to the notion that 1984 was the band's 'sell by date', the year that they had often publicly stated that they would split up, they kept their word and ceased gigging and recording in that year.After their final gig the band retired to Dial House, their Essex commune home, to get on with writing, painting and tending the organic vegetable garden. There were splits within the house which led to some members leaving. The remainder then found themselves in a legal battle with British Telecom to save their home and the surrounding countryside from being swallowed by a housing development. They defeated BT in the courts with the help of local villagers, but were immediately thrust up against new owners, property developers Peer Group. Who put the place up for sale, thanks to donations Crass was able to buy Dial House and continue living there.

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Robin ' M ' Scott - Famous Last Words (82 ^ 99mb)

Robin Esmond Scott (born 1 April 1947) grew up in the South London suburb of Croydon, and after leaving school enrolled at Croydon Art college, where he met Malcolm McLaren in the late 1960s. Scott befriended him and fashion guru Vivienne Westwood. He declined their offer to be involved in SEX, the Chelsea clothes shop which MacLaren and Westwood launched, preferring to make his career in music. While at college he had displayed a talent for writing topical songs which he performed on radio and TV, and this led to his debut album, entitled Woman From the Warm Grass. Scott began working as a troubadour, singing his own songs and accompanying himself on guitar and spent a period playing folk music clubs as a solo artist. In 1972 he entered the 'Search For A Star' national talent contest, which he won, and was offered a recording contract by EMI, but because they would not support his backing band, he turned down the deal.

Scott then started working with the band Roogalator, a well regarded and original R&B band producing their debut single, "Cincinnati Fatback" (one of the first releases on the Stiff label) followed by another single "Love & The Single Girl" on Virgin. As Virgin failed to pick up the album option, he independently produced Roogalator's debut LP Play It By Ear to be released on his own Do It Records. In 1978 Scott worked as producer for Barclay Records in Paris. While still in Paris he recorded early versions of "Moderne Man" / "Satisfy Your Lust", tracks which would ultimately appear on the first album. With a group of session musicians he called 'M', he also produced and recorded "Pop Muzik", which was written as his resume of years of pop music and of being in the music industry. Released in the UK at the end of 1979 on the back of the no 1 hit, New York • London • Paris • Munich was also a sizeable hit in the U.S. In contrast to "Pop Muzik", another track titled "Moonlight and Muzak" was the follow-up single. MCA executives were unhappy with this change of direction, but with a hit behind him, Scott felt it was relevant to be heard at this point. The track was written as a result of his experiences in the U.S. where he came into contact with the music company called the Muzak Organisation.

In late 1980, the follow-up album called The Official Secrets Act was released, containing the songs "Keep It to Yourself" and the title track, and was inspired, albeit tongue-in-cheek, by the overwhelming worldwide paranoia of the time. In 1981 Scott co-produced rising star Ryuichi Sakamoto, along with fellow members of the Yellow Magic Orchestra (who also participated on resultant albumsLeft Handed Dream and The Arrangement ) The next year brought a third 'M' album Famous Last Words, which featured many of the musicians from the previous albums, including the early incarnation of Level 42 (who by this time were having their own regular hits), producer Wally Badarou also playing keyboards, Julian Scott on bass, Brigit Novik on backing vocals, a young Thomas Dolby on programming, Yellow Magic drummer Yukihiro Takahashi, guitarist from Gang of Four Andy Gill and Tony Levin on bass.

MCA declined release of the album in the UK, and it only saw the light of day in France, Italy and the U.S. (where 'M' was not even signed up). Subsequently the label and M parted company. Scott found a new musical direction, producing an EP of African acts in Kenya. This led to the yet unreleased album, 'Robin Scott & Shikisha' in 1983/4, recorded in Kenya and the UK, with musicians from several different African states. Most of this pioneering World Music was originally suppressed, but was remastered and released in 2003.

These days Scott is working as a digital artist, you can visit his website here ! and have a (flash) look around and possibly buy some..



01 - Double Talk (3:22)
02 - The Bridge (4:40)
03 - Honelulu Joe (3:54)
04 - Love Life (4:17)
05 - Yellow Magic (4:58)

06 - Smash The Mirror (3:55)
07 - Nutron (5:13)
08 - Dance On The Ruins (4:03)
09 - Here Today Gone Today (4:37)
10 - To Be Is To Buy (3:11)

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Bad Manners - The Height Off.. (83 ^ 98mb)

Bad Manners, fronted by Buster Bloodvessel (born Douglas Trendle), was formed in 1976 while the members were together at Woodberry Down Comprehensive School near Manor House, North London. They were were at their most popular during the late 1970s and early 1980s, during a period when other ska revival bands, such as Madness and The Specials, filled the charts. Bad Manners spent 111 weeks in the British singles charts between 1980 and 1983. One of the main reasons for their notoriety was their outlandish huge-tongued and shaven-headed frontman, Buster Bloodvessel. His manic exploits got them banned from the British BBC TV chart show Top of the Pops.The band was also banned from Italian TV after Bloodvessel mooned a concert audience, after being told that the Pope was watching on TV.

In 1986 Bad Manners went their separate ways, but Buster Bloodvessel reformed the band with original members Louis Alphonso, Martin Stewart, Chris Kane and Winston Bazoomies in 1987. They released Return of the Ugly in 89, Fat Sound (93), Heavy Petting (97) and Stupidity (03) but scored no more hits. In 1995, Buster Bloodvessel moved to Margate opening a hotel on the seafront called "Fatty Towers", which catered for people with huge appetites. While living in Margate, Buster was a regular spectator and sponsor of Margate F.C. "Fatty Towers" closed in 1998, and Buster moved back to his native London. As of 2007, Buster Bloodvessel still performs with Bad Manners in venues all over the UK and Europe.



01 - Special Brew (3:19)
02 - Ne-Ne Na-Na Na-Na Nu-Nu (2:35)
03 - Lip Up Fatty (2:46)
04 - Woolly Bully (3:06)
05 - Lorraine (3:08)
06 - Just A Feeling (3:02)
07 - Inner London Violence (3:49)
08 - Buena Sera (2:48)

09 - Walking In The Sunshine (3:28)
10 - Can Can (2:52)
11 - Samson And Delilah (2:53)
12 - My Girl Lollipop (2:44)
13 - Got No Brains (3:49)
14 - Here Comes The Major (2:51)
15 - Falling Out Of Love (3:21)
16 - That'll Do Nicely (2:49)

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Crass - Best Before...1984 (86, 79min * 123mb)

Crass influenced the anarchist movement in the UK, US, and around the world. With the growth of anarcho-punk came new generations of people who became interested in anarchist ideas. The philosophical and aesthetic influence of Crass on numerous punk bands from the 1980s were far reaching, even if few bands mimicked their later more free-form musical style.


In keeping with early punk ethos, Crass assumed obviously fake stage names. The membership changed a bit over the years, but the group's mainstays were vocalists Steve Ignorant, Eve Libertine, and Joy de Vivre. Drummer Penny Rimbaud and G. Sus, who did tape collages and provided the distinctively bleak black and white artwork on the fold-out posters that usually enclosed their LPs, were also important contributors. Their late-'70s recordings may sound like just so much hardcore punk decades later. But at the time they were indeed shocking assaults of noisy guitars and relentless drumming, backed by throaty, angry rants that were made incomprehensible to many ears by the heavy British accents and the sheer speed of delivery. They were the definitive uncompromising punk band, which guaranteed them a cult following of very disaffected youth, and also ensured that they would never come remotely close to mainstream exposure, or even to many new wave playlists. An undiluted lyrical message was far more important to Crass than commercial considerations. The horrors of war, the arbitrary nature of legal justice, sexism, media imagery, organized religion, the flaws of the punk movement itself -- all were subjected to harsh critique. Like few other rock bands before or since, Crass took rock-as-agent-of-social-and-political-change seriously, and not just in their music.



Taken from their entire period 1977-84.Crass manage to make a representative selection throughout their work, covering both their raw power and their more sophisticated songwriting, while they proove their uniqueness from the very beginning to the last gig. This compilation presents the whole of Crass and is to be enjoyed by beginners as well as by those who know all their albums. The album was named in reference to the notion that 1984 was the band's 'sell by date', the year that they had often publicly stated that they would split up. Indeed the band ceased gigging and recording in this year.



01 - Do They Owe Us A Living? (1:51)
02 - Major General Despair (1:16)
03 - Angela Rippon (1:01)
04 - Reality Asylum (6:37)
05 - Shaved Women (4:41)
06 - Bloody Revolutions (6:18)
07 - Nagasaki Nightmare (8:23)
08 - Big A, Little A (6:13)
09 - Rival Tribal Rebel Revel (3:09)
10 - Sheep Farming In The Falklands (Flexi) (5:22)
11 - How Does It Feel? (4:24)
12 - The Immortal Death (3:58)
13 - Don't Tell Me You Care (3:34)
14 - Sheep Farming In The Falklands (3:53)
15 - Gotcha (3:03)
16 - You're Already Dead (4:27)
17 - Nagasaki Is Yesterday's Dogend (2:00)
18 - Don't Get Caught (3:10)
19 - Smash The Mac (4:00)
20 - Do They Owe Us A Living? (Live July 1984) (1:29)

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Around The World (28)

Hello, Around the Worldmusics still in classical mode, today another giant of the past, Beethoven..Like last week's Mozart who died prematurely off ill health , Beethoven suffered serious illness and was deaf at 30, serious stumach achs from his early twenties onwards. Considering both were upper middle class at the time, it shows how poor and ignorant medical services were at the time (200 years ago). Death was part of life, one in 3 babies lived to grow to adulthood, life was precious and inspirational to these musical giants.. Btw i learned something new about Beethoven today, its not von but Ludwig van Beethoven a name which shows his namesakes (grandfather) flemish ancestry, Flemish or not he was born in Bonn, Germany ( which btw didnt exist until 100 years later).

Beethoven is acknowledged as one of the giants of Western classical music. He was one of the first composers to systematically and consistently use interlocking thematic devices, or "germ-motives," to achieve inter-movement unity in long compositions. Equally remarkable was his use of "source-motives," which recurred in many different compositions. He made innovations in almost every form of music he touched. Beethoven composed in various genres, including symphonies, concerti, piano sonatas, other sonatas (including for violin), string quartets and other chamber music, masses, an opera, and Lieder.

Beethoven was born in Bonn, Germany in 16 dec 1770, he was named after his grandfather Ludwig (1712–1773), a musician of Roman Catholic Flemish ancestry, who was at one time Kapellmeister at the court of Clemens of Bavaria. Beethoven's first music teacher was his father, who was a tenor in the service of the Electoral court at Bonn. He was reportedly a harsh instructor. Johann later engaged a friend, Tobias Pfeiffer, to preside over his son's musical training. Beethoven's talent was recognized at a very early age, and by 1778 he was studying the organ and viola in addition to the piano. His most important teacher in Bonn was Christian Gottlob Neefe, who helped Beethoven publish his first composition: a set of keyboard variations.
In 1787, the young Beethoven traveled to Vienna for the first time, in hopes of studying with Mozart. It is not clear whether he succeeded in meeting Mozart, or if he did whether Mozart was willing to accept him as a pupil. In any event, the declining health of his mother, dying of tuberculosis, forced him to return home after only about two weeks in Vienna. His mother died , when Beethoven was 16. Due to his father's worsening alcohol addiction, Beethoven became responsible for raising his two younger brothers.

In 1792, Beethoven moved to Vienna, where he studied for a time with Joseph Haydn: his hopes of studying with Mozart had been shattered by Mozart's death the previous year. By 1793, Beethoven established a reputation in Vienna as a piano virtuoso. His first works with opus numbers, a set of three piano trios, appeared in 1795. He settled into the career pattern he would follow for the remainder of his life: rather than working for the church or a noble court (as most composers before him had done), he supported himself through a combination of annual stipends or single gifts from members of the aristocracy; income from subscription concerts, concerts, and lessons; and proceeds from sales of his works.

Around 1796, Beethoven began to lose his hearing.He suffered a severe form of tinnitus, a "ringing" in his ears that made it hard for him to perceive and appreciate music; he also avoided conversation.
Beethoven @ 33

Over time, his hearing loss became profound: there is a well-attested story that, at the end of the premiere of his Ninth Symphony, he had to be turned around to see the tumultuous applause of the audience; hearing nothing, he began to weep.Beethoven's hearing loss did not prevent his composing music, but it made concerts—lucrative sources of income—increasingly difficult. Beethoven used a special rod attached to the soundboard on a piano that he could bite—the vibrations would then transfer from the piano to his jaw to increase his perception of the sound.

Beethoven's personal life was troubled. His encroaching deafness led him to contemplate suicide he was often irascible, and may have suffered from bipolar disorder, and irritability brought on by chronic abdominal pain beginning in his 20s which has been attributed to his lead poisoning. He nevertheless had a close and devoted circle of friends all his life, thought to have been attracted by his reputed strength of personality. Sources show Beethoven's disdain for authority, and for social rank. He stopped performing at the piano if the audience chatted among themselves, or afforded him less than their full attention.

The women who attracted Beethoven were unattainable because they were either married or aristocratic. Beethoven never married, although he was engaged to Giulietta Guiccardi. Her father was the main obstacle to their marriage.
Beethoven @ 50

Beethoven was attracted to the ideals of the Enlightenment and by the growing Romanticism in Europe. He initially dedicated his third symphony, the Eroica (Italian for "heroic"), to Napoleon, believing that the general intended to sustain the democratic and republican ideals of the French Revolution. But in 1804, when Napoleon's imperial ambitions became clear, Beethoven took hold of the title-page and scratched the name Bonaparte out. The fourth movement of his Ninth Symphony features an elaborate choral setting of Schiller's Ode An die Freude ("Ode to Joy"), an optimistic hymn championing the brotherhood of humanity. Since 1972, an orchestral version of this part of the fourth movement, arranged by the conductor Herbert von Karajan, has been the European anthem as announced by the Council of Europe. In 1985 it was adopted as the anthem of the European Community / European Union.


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Millenium Classics - Mighty Beethoven ( 99, 77min ^ 162mb)



01 - Symphony No.5 in C minor, Op.67 - Allegro con brio (7:19)
02 - Symphony No.5 in C minor, Op.67 - Bagatelle No. 25, G.173 'Fur Elise' (3:21)
03 - Symphony No.6 in F major, Op. 68 'Pastoral' - I- Allegro ma non troppo (11:00)
04 - Piano Concerto No.5 in E flat major Op.73 'Emperor' - II-Adagio un poco mosso (7:28)
05 - Symphony No.7 in A major, Op.92 - III- Presto (8:24)
06 - Symphony No.8 in F major, Op.93 - III- Tempo di menuetto (5:31)
07 - Violin Concerto in D major, Op.61 - II- Larghetto, attacco (9:50)
08 - Piano sonota No.14 in C sharp minor, Op.27 No.2 'Moonlight' - I-Adagio sostenuto (5:57)
09 - Symphony No.9 in D minor, Op.125 'Choral' - Hymn to joy (18:49)

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Into The Twin Peaks Night

Hello, as The Hitchhikers Guide series has ended and before a new series starts, today a one-off about the early nineties cult series Twin Peaks, the sometimes eerie music played a big part . Director David Lynch was known for his off beat work and with Twin Peaks his initial goal was to merge a murder mystery with a soap. His main character FBI agent Dale Cooper showed some quirky habits and mystical tendencies, but remaining firmly analytical throughout his investigations. His dictaphone always at hand and always adressing it with Diane who remained his unseen assistant....

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Created by David Lynch and Mark Frost, Twin Peaks's pilot episode was first broadcast on April 8, 1990 on the ABC Network, which led to another eleven episodes being produced, and a second season, which aired until June 10, 1991. The show is set in a small fictional Washington town known as "Twin Peaks", and was primarily filmed in the Washington towns of Snoqualmie and North Bend.

After its debut episode on April 8, 1990, Twin Peaks became a top-rating programme and was a critical success both nationally and internationally. Reflecting its devoted cult fan base, the series became a part of popular culture, referenced in other television shows, commercials, comic books, a video game, films and song lyrics. Declining viewer ratings in the long-running second season led to a cancellation. In 1992, the series spawned a prequel to the series, Twin Peaks: Fire Walk with Me (1992), which attempted to connect the events leading up to Laura Palmer's death

On the morning of February 24, in the town of Twin Peaks, Washington state, lumberjack Pete Martell discovers a naked corpse tightly wrapped in a sheet of clear plastic on the bank of a river. Following the arrival of Sheriff Harry S. Truman, his deputies, and Dr. Will Hayward on the scene, the body is discovered to be that of homecoming queen Laura Palmer, the most popular girl at the local high school. FBI Agent Dale Cooper is called in to investigate, his initial examination of Laura's body reveals a tiny typed letter 'R' inserted under her fingernail. He recognizes this as the "calling card" of a killer who took the life of Teresa Banks a year earlier. Cooper quickly establishes that Laura's character and relationships are not as they first appear, and that she's far from the wholesome homecoming queen that those closest to her believed her to be.....

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Diane, The Twin Peaks Tapes of Agent Cooper (91, 49mb)

Cooper (played by Kyle MacLachlan) is an FBI agent who arrives in Twin Peaks to investigate the brutal murder of the popular high-school student, Laura Palmer, and falls in love with Twin Peaks and gains a great deal of acceptance within a tight knit community. He displays an array of quirky mannerisms such as giving a 'thumbs up' when satisfied, sage-like sayings, distinct sense of humor, along with his love for a good cherry pie and a "damn fine cup of coffee". One of his most popular habits is recording spoken-word tapes to a mysterious woman called 'Diane' into his dictaphone that he always carries with him, that often contain everyday observations and thoughts on his current case.

Early in season 2, Diane ... The Twin Peaks Tapes of Agent Cooper was released, a cassette-only release performed by Kyle MacLachlan. The tape consisted of newly-recorded Cooper messages to his never-seen assistant, Diane, mixed in with monologues from the original broadcasts. The tape begins with a prologue monologue in which Cooper discusses his pending trip to Twin Peaks, continues with the initial monologue heard in the pilot, and continues to a point after his recovery from being shot.



01 - Diane, Twin Peaks Tapes part I (11:05)
02 - Diane, Twin Peaks Tapes part II (7:54)
03 - Diane, Twin Peaks Tapes part III (6:58)
04 - Diane, Twin Peaks Tapes part IIII (7:27)
05 - Diane, Twin Peaks Tapes part V (11:04)

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Angelo Badalamenti - Soundtrack From Twin Peaks ( 90 ^ 99mb)

All of the songs from this album, released in conjunction with the series, were written by Angelo Badalamenti, who won a Grammy Award in 1990 for Best Pop Instrumental Performance for "Twin Peaks Theme." While most of the songs were instrumental, three tracks included lyrics which were written by David Lynch and sung by Julee Cruise.




01 - Twin Peaks Theme (4:45)
02 - Laura Palmer's Theme (5:08)
03 - Audrey's Dance (5:15)
04 - The Nightingale (Voc. Julee Cruise) (4:54)
05 - Freshly Squeezed (3:48)
06 - The Bookhouse Boys (3:24)
07 - Into The Night (Voc. Julee Cruise) (4:42)
08 - Night Life In Twin Peaks (3:23)
09 - Dance Of The Dream Man (3:39)
10 - Love Theme From Twin Peaks (4:34)
11 - Falling (Voc. Julee Cruise) (5:18)

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Sundaze (28)

Hello, Sundaze today is all about Wendy Carlos , she became known to the world as Walter after releasing Switched-On Bach a sensational effort at the time to transcode Bach''s music with moog synthesisers, it brought her much acclaim and Grammys, in 71 she made another splash when doing the soundtrack for Clockwork Orange. When she started on Sonic Seasonings , Vivaldi's Four Seasons may have been on the back of her mind, but something completely different came out. In her liner notes for the 1998 Compact Disc reissue, Carlos explained that the music "was intended to work on a timbral and experiential level", as part of "a third, viable alternative to acoustic and musical environmental presentations. Well its an amazing album and totally unique at the time therefore hard to recognise for the masterpiece it was . This kind of ambience was unheard off as the new age of meditation had yet to start...

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Carlos was born in Pawtucket, Rhode Island. Carlos's musical education began when she started playing the piano at the age of six. Her formal education included Brown University where she studied music and physics, and Columbia University where she earned a MA in music. At Columbia, Carlos was a student of Vladimir Ussachevsky, a pioneer in electronic music. Following her graduation, she moved to Manhattan, where she found work as a recording engineer. In Manhattan, she met Dr. Robert Moog and, not long afterward, she began playing the Moog synthesizer, providing feedback for his further development of the Moog synthesizer. Around 1966, Carlos met Rachel Elkind who produced her early albums. Carlos has lived in New York since 1962.

Her first six recordings were released under the name Walter Carlos. In 1967, Carlos underwent sex reassignment surgery. The last release to be credited to her as Walter Carlos was By Request (1975). The first release credited to her as Wendy Carlos was Switched-On Brandenburgs (1979). Carlos's first public appearance after her gender transition was in an interview in the May 1979 issue of Playboy magazine, a decision she would come to regret because of the unwelcome publicity it brought to her personal life.

Switched-On Bach (1968) was perhaps the first album to demonstrate the use of synthesizers as a genuine musical instrument. As an early user of Robert Moog's first commercially available synthesizer, Carlos helped pioneer the technology, which was significantly more difficult to use than it is today. Multitrack recording techniques played a critical role in the time-consuming process of creating this album. Switched-On Bach became the first classical album to sell 500,000 copies, and (eventually) to go platinum. It also earned three Grammy Awards. A similar effort, The Well-Tempered Synthesizer, followed in 1969. In 1971, Carlos wrote the music for Stanley Kubrick's controversial film A Clockwork Orange, introducing the vocoder -- an electronic device designed to synthesize the human voice -- in her score .1972's Sonic Seasonings pushed the envelope further. This was packaged as a double album, with one side dedicated to each of the four seasons, and each side consisting of one long track. It blended recorded sounds with synthesized sounds, without melodies, to create an ambient effect. It was very influential on other artists who went on to create the ambient genre.

In 1982, she scored the theatrical film Tron for Disney. This score incorporated orchestra, chorus, organ, and both analog and digital synthesizers. Some of her end title music was replaced with a song by the rock group, Journey, and the music that originally was composed for the lightcycle scene was dropped. On 1984's Digital Moonscapes she switched to digital synthesizers, instead of the analog synthesizers that were the trademark of her earlier albums. Some of the unused material from the Tron soundtrack was incorporated into it.

1986's Beauty In the Beast saw Wendy Carlos experimenting with various alternate tunings, including just intonation, balinese scales and several scales she invented for the album. One of her scales involved setting a "root note", and retuning all of the notes on the keyboard to just intonation intervals. There are a total of 144 possible notes per octave, from 12 notes in a chromatic scale times 12 different home keys. Other scales included Carlos' Alpha & Beta scales, which experimented with dividing the octave into odd numbers of equally-spaced intervals.


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Wendy Carlos - Sonic Seasonings I ( 72, 195min ^ 279mb )

Originally mastered in quad, in 1972. Digitally remastered down to stereo and released in 1998 along with the last three tracks. Represents the original efforts to combine natural sounds, digital, and acoustic. Decades later this became a genre of its own. Sonic Seasonings is a fantastic masterwork of early ambient, and the remastering job was incredible--no hiss, and great sound quality. It's a collection of soundscapes made of overlayed natural sounds with very subtle and quiet snatches of electronics and melodies throughout--very much in advance of anyone else's ambient work.

The same year Carlos finalized the score for A Clockwork Orange, s-he recorded a double album named Sonic Seasonings; it was a complete turn away from the majestic synthesizer soundscapes and classical inspirations that had marked the movie score. Instead, Carlos recorded large amounts of environmental passages to produce a work that cycled through the four seasons. Beginning with bird calls and a thunderstorm to mark "Spring," Carlos phrases the synthesizers only in terms of the nature sounds heard. They rarely interject themselves, and the result is closer to a nature recording with occasional effects than a synthesizer recording with nature sounds. Of course, there was no precedent for "nature," "environmental," or even "new age" music in 1972 -- Sonic Seasonings was basically the genesis for several entire genres of music two decades later. As part of East Side Digital's Carlos CD reissue campaign, Sonic Seasonings was issued as a two-disc set, including the original LP plus a second disc of "natural" recordings, originally begun in 1986 and known as Land of the Midnight Sun.



Wendy Carlos - Sonic Seasonings I (* 95mb)

01 - Spring (22:24)
02 - Summer (21:40)
03 - Fall (21:06)

Wendy Carlos - Sonic Seasonings II (* 94mb)

04 - Winter (20:40)
05 - Winter (Outtake) (5:21)
06 - Aurora Borealis (19:55)
07 - Midnight Sun (19:57)




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Wendy Carlos - Clockwork Orange Original Score (72 ^ 94mb)

Carlos had already begun work on a composition (Timesteps) based on the book A Clockwork Orange. It's the best piece of music in the score (and one of the most famed in the early history of electronic music), fitting in well next to late-'60s minimalist works by Terry Riley as well as the emerging Tangerine Dream (pre-Phaedra). Carlos also pioneered the effect of synthesized vocals (known as a vocoder), and their eerie nature perfectly complemented scenes from the film. Much of the rest of A Clockwork Orange is filled with rather cloying synthesizer versions of familiar classical pieces (from Beethoven's Ninth Symphony, Purcell's Music for the Funeral of Queen Mary, Rossini's The Thieving Magpie) similar to Carlos' previous Switched-On Bach recordings. Still, it's worthwhile if only for Timesteps. A Clockwork Orange was originally released as a Warner Bros. soundtrack, containing only film cuts (which edited Timesteps down from 13 minutes to only four). Though Carlos released another version with more music, that issue was superseded in 1998 by the release of A Clockwork Orange: Complete Original Score



01 - Timesteps (13:50)
02 - March From A Clockwork Orange (7:00)
03 - Title Music From A Clockwork Orange (2:21)
04 - La Gazza Ladra (The Thieving Magpie) (5:50)
05 - Theme From A Clockwork Orange (Beethoviana) (1:44)
06 - Ninth Symphony: Second Movement (Scherzo) (4:52)
07 - William Tell Overture (1:17)
08 - Orange Minuet (2:35)
09 - Biblical Daydreams (2:06)
10 - Country Lane (4:43)

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Rhotation (28) Into BPM

Hello, Rhotation 28 and Into BPM today has two sub themes, one is remixes, originalwork into the hands of dj producers. Second subtheme is France , obviously Serge Gainsbourg and DJ Cam are both French but the better halve (as they say) of System 7, Miquette Giraudy is aswell, Steve Hillage meanwhile has spent so many days there , i reckon him half french. Ok so thats how todays post got together. I have to say here, that i had some trouble with I Love Serge, years ago i gave the original to a good friend, the copy showed signs of decay..spontanous decumbustion..as cd's rarely get out of their box with me, that makes me wonder and this was no cheapo but a sony cdr.. Well in the end there's some scratchy bits in track 4, overall its good enough for me to rewrite the disk. System Express showcases all the big techno names of the midnineties, just as the euro jazzhop scene worked over the work from one of their stars DJ Cam.

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System 7 - System Express (96, 79min * 125mb)

System 7links' 90s ambient house community to its space rocking forebear of the '70s, Steve Hillage and Miquette Giraudy played in the prog rock band Gong, Hillage and Giraudy released several albums during the late '70s and early '80s on Virgin, and later returned to music in the '90s to form System 7, more of a recording collective than an actual band. Hillage was recruited back to the music scene by Dr. Alex Paterson of the Orb, who spun Hillage's Rainbow Dome Musick at London's Heaven one night while Hillage was there himself. The two became friends, and Paterson encouraged him to begin recording ambient house -- with Hillage's guitar explorations just as prominent in the mix as on his solo work. Hillage and Giraudy released the single "Sunburst" in late 1990, and followed with a self-titled album in September 1991, produced with the help of a varied cast of techno heavyweights (including Paterson and Derrick May). Initially the name 777 was used for US releases until by 96 rights of that name had been cleared.

During 1992, Hillage and Giraudy released the British-only singles "Freedom Fighters" and "Altitude" as System 7, and prepared their second album. Given the confusing title of 777, it was nonetheless a completely different work than the earlier LP, and featured additional production by Dr. Alex Paterson. Though it wasn't given an American release, System 7's next project, a techno album and an ambient one released on the same day in late 1994, was issued in America as a two-disc set (again as 777). Signed to Britain's Butterfly label by producer Youth (who had engineered several sessions), the group worked with Derrick May and Carl Craig plus Paterson to record 1996's Power of Seven. Early 1997 they released the remix LP System Express, collecting remixes from singles and EPs, System Express succeeds through sheer name-power, including remixes by Marshall Jefferson, Carl Craig, Plastikman, David Holmes, Doc Scott and the 4 Hero project Jacob's Optical Stairway. They returned later in 1997 with Golden Section. 2002's Seventh Wave and Mysterious Traveller followed, as well as 2006's Encantado and Live Transmissions.



01 - Alpha Wave (Plastikman Acid House Mix) (10:43)
02 - Desir (Turbo Mix) (5:52)
03 - Hangar 84 (Cox's WW Ultimatum Mix) (5:40)
04 - Coltrane (Red Moon Mix) (8:57)
05 - Altitude (Adam Wren's Easy Life Mix) (8:51)
06 - 7:7 Expansion (Elastic Mix) (7:31)
07 - Big Sky City (High Rise Mix) (6:53)
08 - Big Sky City (Jacob's Optical Stairway Mix) (4:44)
09 - Interstate (Doc Scott Mix) (7:08)
10 - Sirenes (Marshall Jefferson Mix) (5:53)
11 - Sunburst (Adam Wren's Atahualpa Mix) (6:43)

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Various - I ♥ Serge ( Electronica Gainsbourg) (01, 78 min * 134mb)

Serge Gainsbourg was the dirty old man of popular music; a French singer/songwriter and provocateur notorious for his voracious appetite for alcohol, cigarettes, and women, his scandalous, taboo-shattering output made him a legend in Europe.
There's an erotic aura with more than a hint of madness around all of this music. The different electronica artists paying tribute to Serge here are obviously big Serge fans, each of these remixes exposes and builds upon much of the imagination that lies beneath the sassiest of Serge's oeuvre. They add a new layer to the originals with taste and style. In that light i changed the frontcover in case you wondered where that Tshirt went...



01 - Ballade de Melody Nelson (Howie B. Remix) (7:06)
02 - Là-bas C'est Naturel (Faze Action Remix) (6:16)
03 - Love On The Beat (Krikor & W.A.R.R.I.O. Remix) (4:26)
04 - Bonnie & Clyde (Herbert Remix) (7:30)
05 - No Comment (Dax Riders Remix) (5:37)
06 - Sea, Sex & Sun (Demon Ritchie Remix) (5:38)
07 - Lola Rastaquouère (Château Flight Remix) (5:00)
08 - Aeroplanes (Ready Made Remix) (5:19)
09 - Marabout (Bob Sinclar Remix) (5:41)
10 - Five Easy Pisseuses (OGM Remix) (5:01)
11 - Requiem Pour Un C.. (The Orb Remix) (5:59)
12 - L'hôtel Particulier (Stratus Remix) (5:42)
13 - Je T'aime... Moi Non Plus (Dzihan & Kamien Remix) (4:39)
14 - New York USA (Snooze Remix) (4:42)


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DJ Cam - Revisited By ( 06 ^ 154mb)

DJ Cam (born Laurent Daumail in 1973) , after trading his instruments for a set of turntables he spend his days listening to the likes of Eric B and specially Public Enemy At 16 Laurent created his own place hitting bars and clubs with his Bomb Rush . At 20 he started his own label to release himself, undettered by the absence of initial succes he recorded his first LP was "Undergound Vibes" in 1994. It was revolutionary for it's time, featuring familiar jazz samples and loads of vibe samples and heavy hip-hop influences, "Undergound Vibes" it got him noticed by the international music press. On "Substances" he experimented with a change of direction from previous albums. The tracks were more melancholy in feel than usual, featuring a variety of slick cool-jazz samples from the likes of Alice Coltrain. Cam fused his smooth easy-listening jazz samples with the usual hip hop rhythms, but this time round the emphasis was definitely on mellow.

By now Dj Cam was on the map and in demand to produce ever since releasing a string of ep' .s albums and projects with jazz artists or the likes of bill Laswell . His latest 2006 release, a remix project DJCam revisted which gives a remix overview of his oeuvre thus far, except, curiously, for his first album. "Success," remixed by Kenny Dope (straight-up hip-hop), Thievery Corporation (outernationalism) and Attica Blues (hip-hop funk), reflects more of the remixer than the original. Kid Loco goes stoned and mellow, while DJ Vadim goes minimalistic on his hip-hop take of "Innervisions." Hypnotic "Meera," winds down an obscure path with Extra Lucid at the helm, it's a collection as rich and interesting as DJ Cam's career itself.



01 - Success (Kenny Dope Remix) (5:05)
02 - Success (Thievery Corporation Remix) (5:23)
03 - Meera (Extra Lucid Remix) (5:32)
04 - He's Gone (Kid Loco Remix) (5:21)
05 - Voodoo Child (DJ Premier Remix) (3:40)
06 - Innervisions (DJ Vadim Remix) (4:42)
07 - Success (Attica Blues Remix) (5:01)
08 - Espionage (Bob Sinclar Remix) (3:02)
09 - Broadcasting Live (Lord Finesse Remix) (2:54)
10 - DJ Cam Sound System (Demon Remix) (6:15)
11 - Love Junkee (J Dilla Remix) (5:14)
12 - Meera (Tek 9 / Four Hero Remix) (4:10)
13 - Innervisions (Flytronix Remix) (9:00)

DJ Cam - Revisited By ( 06 * 99mb)

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

Into The Groove (27)

Hello, Into The Groove stays on the trail of crucial soulmen that beat the odds and managed to share their passion with the world. Today in the picture, Autry De Walt, his squealing gutbucket style was inspired by jump blues and early R&B, he possessed a raspy, untrained voice, his singing nonetheless complemented the energy of his sax playing, and he cut a wealth of danceable, party hearty R&B for Motown during his heyday in the second half of the '60s.... Here are the first two albums that launched him and his All Starrs on the scene aswell as his last.

Autry DeWalt Jr., was bom in Blytheville, Arkansas, on June 14, 1931, though Motown always stated that he was born in 1942. As a teenager living in South Bend, Indiana, Junior received his first saxophone from an uncle. Inspired by the jump blues, jazz, and rhythm and blues bands of the 1950s and the playing style of Earl Bostie, who straddled the line between jazz and R&B, Walker took to the instrument right away, apprenticing with his high school band and various Midwest groups. While in his mid-teens, Junior formed his first instrumental band, the Jumping Jacks, adopting the moniker "Junior Walker" after a childhood nickname. Before long, Walker achieved a prominent reputation by playing gigs at local jazz and R&B clubs. Hoping to broaden his name throughout the Midwest, he subsequently moved to St. Louis, Missouri, then in the late-1950s to Battle Creek, Michigan.

Upon relocating to Battle Creek, Walker assembled the All Stars: James Graves on drums, Willie Woods on guitar, and Vic Thomas on keyboards. According to Woods, the group earned their confident name when an enthusiastic fan jumped to his feet during a show and shouted, "Junior Walker played until he dropped, a tireless performer. The All-Stars continued to play around the area, and took up a residency in Battle Creek's El Grotto club. There they were discovered by singer Johnny Bristol, who recommended them to his friend, ex-Moonglow Harvey Fuqua. Fuqua signed the group to his Harvey label in 1961; they made their first recordings in 1962, In 1963, Fuqua sold his Harvey and Tri-Phi labels to Berry Gordy's Detroit-based Motown Records. As a result, Walker found himself under contract with Motown subsidiary Soul Records, where he would perfect a blend of raunchy R&B and Detroit soul. Although the All Stars didn't quite fit in with the sound of young America and Motown's smooth, studio-bound instrumentation, after Walker told the label he had just written a song to go along with the shotgun, a new dance popular in Michigan, Motown sent him to the studio. But when the assigned vocalist failed to show up for the session, Walker, who had never before sung on record, was forced to sing as well as play saxophone for the single, he was somewhat flabbergasted by the label's decision to leave his vocal intact. Berry Gordy's instincts proved right, however, when "Shotgun" topped the R&B charts and hit the pop Top Five. A steady stream of mostly instrumental R&B chart hits followed, including "Do the Boomerang," "Shake and Fingerpop," and "How Sweet It Is (To Be Loved by You)"

In 1966, Graves left and was replaced by old cohort Billy "Stix" Nicks, and Walker's hits continued apace with tunes like "I'm a Road Runner" and "Pucker Up Buttercup." Meanwhile, the group's revue-like dynamic—an all-singing, all-playing, all-dancing package—made them a star live attraction across the board, from theaters and clubs to television shows and Motown package tours. And from the 1966 album Soul Session onwards, Junior Walker and the All Stars were a top albumselling act for Motown.

Toward the end of the '60s, seeking to diversify their approach, the All-Stars began recording more ballad material, complete with string arrangements and Walker vocals. That approach resulted in the group's second Top Five pop hit, the R&B number one "What Does It Take (To Win Your Love)," which helped refuel Walker's career. Albums such as 1971's Rainbow Funk and 1973's Peace and Understanding, as well as popularity among the college crowd and R&B fans, carried Junior Walker and the All Stars throughout the decade.

Walker resurfaced as a solo artist during the disco era, working with producer Brian Holland beginning in 1976 with the single "Hot Shot"; a pair of albums followed. In 1979, Walker joined up with another former Motown mainstay in 1979, signing with producer Norman Whitfield's Whitfield label, though without much success. Walker returned to the spotlight in 1981 with a well-publicized (and well-executed) guest solo on Foreigner's Top Five hit "Urgent." Two years later, he re-signed with Motown and recorded Blow the House Down; by that time, his melodic style was being absorbed into a new generation of R&B-flavored jazz instrumentalists. Walker continued to tour through the '80s and '90s, sometimes with his son Autry DeWalt III playing drums.

Unfortunately, in 1993 his activities were severely curtailed by cancer, and on November 23, 1995, Walker, at the age of 64, passed away after a two-year battle with cancer at his home in Battle Creek. He was survived by his mother, Marie Walker, nine sons, four daughters, and two stepdaughters. Not long before his death, Walter had recently returned from a tour with the Temptations, the Four Tops, and other Motown stars.

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Jr. Walker And The All Stars - Shotgun ( 65 ^ 83mb)

Junior Walker's debut remains highly explosive decades after it first detonated. The seductive "Cleo's Mood" and the syncopated "Cleo's Back" reveal a musical, funky fascination with a fickle chick name Cleo. On "Shotgun" an opening gun blast grabs your attention. Junior's gritty vocal alternates leads with his torrid tenor sax play. He kicks it up another notch on "Shake and Fingerpop." The screeching sax and the opening lyrics are hookers: put on your wig, woman; we're going out to shake and fingerpop. The swaying "Do the Boomerang" finds Walker relaxed and shadowed by All Star Willie Woods on vocals. An uncredited baritone sax player plays soulful low riffs countering Junior's sharper, more emphatic sax squeals. With so much going on, "Shoot Your Shot" got overlooked by many, and that's too bad; it's a dancer, with instructions, featuring Walker's tenor blowing on top an organ flavored rhythm bed. Only his greatest-hits compilations and Road Runner reign supreme over this scorcher.



01 - Cleo's Mood (2:44)
02 - Do The Boomerang (2:22)
03 - Shotgun (3:03)
04 - Shake And Fingerpop (2:46)
05 - Shoot Your Shot (3:01)
06 - Tune Up (3:14)
07 - Hot Cha (3:08)
08 - Monkey Jump (2:09)
09 - Tally Ho! (4:44)
10 - Cleo's Back (2:33)
11 - Ain't That The Truth (3:04)

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Junior Walker & The All Stars - Road Runner (66 ^ 86mb)

Junior Walker's Shotgun LP failed to crack Billboard's Top 100 albums, despite being one of Motown's finest releases. This does better, but still failed to obtain the lofty rungs it should have. The three rockers: "Road Runner," and exciting updates of Marvin Gaye's "How Sweet It Is," and Barrett Strong's "Money" should have punted this sucker into the Top 20, but for some reason Walker didn't get the type of promotion accorded other Motown artists. Four hits exploded from this LP, the three mentioned, and "Pucker Up Buttercup." On the softer side, Ame Cherie (Soul Darling) is one of Junior's sweetest instrumentals. But, if you like the All Stars' harder sound, a remake of Harvey Fuqua's "Anyway You Wanna," "Last Call," and "Baby You Know It Ain't Right" are full of Junior's earthy vocals and sax assaults.



01 - (I'm A) Road Runner (2:48)
02 - How Sweet It Is (To Be Loved By You) (3:03)
03 - Pucker Up Buttercup (3:15)
04 - Money (That's What I Want) (4:33)
05 - Last Call (2:22)
06 - Anyway You Wannta' (2:40)
07 - Baby You Know You Ain't Right (2:32)
08 - Ame' Cherie (Soul Darling) (4:10)
09 - Twist Lackawanna (2:18)
10 - San-Ho-Zay (3:00)
11 - Mutiny (3:49)

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Junior Walker - Blow the House Down ( 83 ^ 88mb)

Junior Walker's signifying sax cries are showcased on eight explosive tracks. Walker's songs are usually about dancing or romance, but these deal with sex and lust. Titles like "Sexpot," "Ball Baby," and "In and Out" are self-explanatory. Urgent is a cover from Foreigner where he played the sax on the original. It was to be his last album.



01 - Sexpot (3:55)
02 - Rise and Shine (3:34)
03 - Closer Than Close (4:32)
04 - Ball Baby (7:20)

05 - T O O (5:43)
06 - Urgent (4:39)
07 - In and Out (3:40)
08 - Blow the House Down (3:55)

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

Alphabet Soup II (A)

Hello, guess i'm good for another bowl of Alphabet Soup. Tripple A Ayers, Kevin's the name, everybody's unemposing darling, relaxt being his middle name Seriously he scored big points in the sixties, early seventies with the Soft Machine and later with his solo albums..ive posted Confessions of Dr Dream 11/11/06. One of my favourite albums of his wasnt even one..formally that is . It's a collection of tracks that didnt fit..too far out or just for the fun of it and some b sides. However, the whole is very entertaining with some hilarious tracks such as Stranger In Blue Suede Shoes and Fake Mexican Tourist Blues, carnaval under a Caribean Moon and a track like Puis Je, which i think is an hommage to Serge Gainsbourg......A Certain Ratio has passed my posts aswell, their first album To Each ..is at wavetrain 777 This one is a greatest hits of sorts, Creation released it when they got hold of their back catalogue and i think the idea of having the tracks remixed is original for a compilation at that time 1994..... Finally, Archive their moody first album didnt get the acclaim/sales it deserved, still they moved on and these days have evolved into a more psychedelic prog band from their dark trip hop beginnings, big in France and Poland and i'm sure they do well in the country inbetween, Germany, aswell...some great tracks here on Londinium which btw is latin for London...

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Kevin Ayers - ODD Ditties ( 76 ^ 99mb)

John Peel wrote in his autobiography that "Kevin Ayers' talent is so acute you could perform major eye surgery with it."
Kevin Ayers was a founding member of the pioneering psychedelic band Soft Machine in the late 1960s. After an exhausting and extensive tour of the United States, a weary Ayers retreated to the beaches of Ibiza to recuperate. While there, Ayers went on a songwriting binge that resulted in the songs that would make up his first album, Joy of a Toy. The album was one of the first released on the new Harvest label, along with Pink Floyd's releases. Joy of a Toy established Ayers as a unique talent with music that varied from the circus march of the title cut to the pastoral "Girl on a Swing," and the ominous "Oleh Oleh Bandu Bandong", based on a Malaysian folksong. One interesting product of the sessions was the single, "Religious Experience (Singing a Song in the Morning)", early recordings of which featured Ayers' close friend Syd Barrett on guitar and backing vocals.

A second album, Shooting at the Moon, soon followed. For this, Ayers assembled a band that he called The Whole World, including a young Mike Oldfield on bass and occasionally lead guitar, and avant-garde composer David Bedford on keyboards.
The Whole World was reportedly an erratic band live, and Ayers was not cut out for life on the road touring. The band broke up after a short tour, with no hard feelings, as most of the musicians guested on Ayers' next album, Whatevershebringswesing, featuring the mellifluous eight-minute title track that would became Ayers' signature sound for the '70s. The Confessions of Dr. Dream and Other Stories marked Ayers’ move to the more commercial Island record label and is considered by many to be the most cohesive example of Ayersian philosophy. The production was expensive, with Ayers quoting the recording costs in a 1974 NME interview as exceeding £32,000 (a vast figure at the time). On this LP Mike Oldfield returned to the fold and guitarist Ollie Halsall from progressive rock band Patto began a twenty-year partnership with Ayers.

In 1976 Ayers returned to his original label Harvest and released Yes We Have No Mañanas (So Get Your Mañanas Today). The album was a more commercial affair and secured Ayers a new American contract with ABC Records. The LP featured contributions from B.J. Cole and Zoot Money. That same year Harvest released a collection entitled Odd Ditties, that assembled a colourful and lively group of songs that Ayers had consigned to single B-Sides or left unreleased. it shows his songwriting skills and humor and is a great listening and there's even stuff to dance to. Meanwhile most tracks have found their place as bonusmaterial on the remastered issues of his albums.

The late '70’s and '80’s saw Ayers as a self-imposed exile in warmer climes, a fugitive from changing musical fashions, and a hostage to chemical addictions. The road back was marked with 1988’s prophetically titled Falling Up, that received his first unanimously positive press notices in years. Despite the critical acclaim Falling Up received, Ayers by this point had almost completely withdrawn from any public stage, a state further compounded by the sudden death, by a drugs overdose, of his musical partner Ollie Halsall. An acoustic album Still Life with Guitar recorded with Fairground Attraction surfaced in France on the FNAC label and was subsequently released throughout Europe. In the late '90's, Ayers was living the life of a recluse in the South of France. At a local art gallery he met American artist Tim Shepard who had studio space in the area, and the two became friends. Ayers started to show up with a guitar, and by 2005, passed some new recordings onto Shepard. It brought him back into the middle of his old scene but a new generation of musicians/fans aswell...the endresult The Unfairground was released in September 2007.



01 - Soon Soon Soon (3:20)
02 - Singing A Song In The Morning (Single Version) (2:46)
03 - Gemini Child (3:13)
04 - Puis Je? (3:36)
05 - Butterfly Dance (3:43)
06 - Stars ( 3:27)
07 - Stranger In Blue Suede Shoes (3:23)

08 - Jolie Madame (2:21)
09 - The Lady Rachel (Single Version) (4:45)
10 - Connie On A Rubber Band (2:51)
11 - Fake Mexican Tourist Blues (4:34)
12 - Don't Sing No More Sad Songs (3:43)
13 - Take Me To Tahiti (3:32)
14 - Caribbean Moon (2:58)

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A Certain Ratio - Looking For A Certain Ratio ( 94 ^ 148mb)

Intense and diverse, and originally drummerless, ACR released their debut single in 1979 - "All Night Party/The Thin Boys" through Factory Records. Donald Johnson joined as drummer after its release, completing the original line up with Simon Topping, Jez Kerr, Pete Terrell and Martin Moscrop. The band returned to the studio and completed a series of gigs around the country with labelmates Joy Division during late '79 and early 1980. Factory released the debut album "The Graveyard and the Ballroom", a limited edition cassette-only release that contained both studio demos and live tracks. In late 1980, the story switches from post-punk Manchester to the hustle-bustle of the Big Apple, New York City. The band checked into EARS studio, New Jersey, with legendary producer Martin Hannett at the controls. The fruits of these sessions formed ACR's debut studio album, "To Each...", an album on which the impact was single-handedly destroyed by "that idiot hippie" - an in-house engineer at the studio who decided to zero all of Hannett's mix settings before he'd had chance to get the album to tape. The album was eventually remixed and released in January 1981, proceeded by the single, Flight.

Immediately after the release of "To Each...", the band headed back into the studio to record its follow-up, "Sextet". This time the choice of studio was less geographically glamorous - Revolution Studios, in Cheadle Hulme. The album was self-produced, and featured vocals from Martha Tilson, as Simon Topping retreated to the background in the band. By the time of its release in January 1982, "Sextet" was receiving ecstatic reviews from the press. ACR's subsequent album release "I'd Like To See You Again" was based upon stripped down funk and influenced by a more electronic brand of dance music. The emerging club influence is apparent throughout the album It got mixed reviews, this adds to the argument that the band often were ahead of themselves - maybe they were just 'too early'. Pete Terrell, apparently disillusioned by the music industry, left shortly after the albums release. A second US tour beckoned during December 1982, and on the band's return they received another bombshell - Simon 'Dream' Topping departed, and this was the beginning a dark period for the band.

June 85 , they set off to tour the States again, with New Order, and the tapes of these gigs provided the mesmerising "ACR Live In America" album . Then ACR disappeared into the studio to record their fourth and final Factory studio LP - "Force". The album was undeniably their finest recording yet, all the elements had combined perfectly - the ferociously funky rhythm section was tighter and bolder than ever, the effected guitars soared ever higher, Tony's sax cut like a knife through butter.

In 1987, the band signed to a major label - A&M Records, and headed into the studio to record , "Good Together", it ended up a bit too polished. In the year that followed ACR built their own studio, The Soundstation, using the money from the advance paid to them by A&M. The single "I Won't Stop Loving You" was given the remix treatment by both Bernard Sumner and Norman Cook, it was played heavily by Radio 1. Unfortunately, it only skimmed the top forty. It was followed by the distinctly un-commercial, but ultimately fantastic, "ACR:MCR" album. The album was mainly instrumental, crossing from electro to dub to latin. Relations with A&M were beginning to wear thin, the label was disappointed with the bands lack of commercial success, and the band were disappointed with the way the label were trying to shape their sound. The band had one last card up their sleeve. They re-recorded their cover of the Banbarras hit, "Shack-Up", and backed it up with a plethora of remixes, again from Norman Cook. The promo of the single was rushed out to radio stations across the country, then - nothing. ACR and A&M were no longer an item.

During 1994, the band signed a deal with Creation Records who subsequently re-issued the entire ACR Factory back catalogue along with a remix album, "Looking For A Certain Ratio". The remix album featured brand new mixes from the likes of SubSub and New Order's Other Two, plus another re-recording of "Shack-Up". 1996 saw the release "Change The Station"
The turning of a new millennium saw a rush of interest in A Certain Ratio - their influence on a plethora of DJs and musicians across the globe found them constantly referenced through the media. As Punk-Funk once again became the sound of the other city that never sleeps. Since 2003, bands such as The Rapture, LCD Soundsystem, Radio 4 have all drawn heavily on the legacy of A Certain Ratio.



01 - Shack Up (Remix - Electronic) (4:19)
02 - Flight (Massey Mix) (5:36)
03 - The Fox (MacSilva Mix) (6:17)
04 - There's Only This (Sub Sub' Rainy City Mix) (5:36)
05 - Mickey Way (Johnny Jay Manchester City Mix) (5:59)
06 - Touch (Primetime Mix) (5:30)
07 - Wild Party (Way Out West Mix) (5:36)
08 - Life's A Scream (Emergency Ward 10 Mix) (7:14)
09 - Blown Away (Mark Brydon's Puffin' Stuff Mix) (7:19)
10 - Bootsy (The Other Two Swingfire Mix) (4:14)
11 - Si Firmir O Grido (Tim Oliver's Bandini Bimba Mix) (6:10)

A Certain Ratio - Looking For A Certain Ratio ( 94 * 99mb)

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Archive - Londinium (96 ^ 129mb)

Archive were formed by Darius Keeler and Danny Griffiths in 1994 from the ashes of UK breakbeat act Genaside II. Together with female singer Roya Arab and young rapper Rosko John, the band released their first album "Londinium" on Island Records in 1996, a mix of dark trip-hop, rap and prog rock. The album received critical acclaim, but due to internal dispute the band split up later that year. In 1997 Keeler and Griffiths reformed Archive with another female singer (Suzanne Wooder) and in 1999 released their second album "Take My Head", a mix of pop and symphonic trip-hop far more melodic than its predecessor. Due to some dispute among themselves, the band broke up in 1996.

Between 2002 and 2005 the band released three albums with Craig Walker, formerly of Power of Dreams, as singer, to growing popularity and critical acclaim, including a large following in France and Poland. These albums have seen Archive gradually turn away from their roots and leaning towards more psychedelic and progressive style of bands. They also composed the soundtrack to the French film Michel Vaillant, released in November 2003.

In autumn of 2004, Archive announced that Dave Pen (Birdpen) would be replacing Walker on the Noise tour - due to the continuing personal problems between Walker and the rest of the band. During this same tour, Keeler and Griffiths met the singer Pollard Berrier at one of their shows in Vienna, Austria. The three began writing and rehearsing together.
Finally, in 2006, they release "Lights", their latest disc, including most of the previous line up (with Darius Keeler, Danny Griffiths, Maria Q, Dave Penney, and Pollard Berrier). They have been touring in Europe since 2006, the "Lights" tour response has been excellent, and they recorded a live DVD in Paris in January 2007.



01 - Old Artist (4:03)
02 - All Time (3:51)
03 - So Few Words (6:13)
04 - Headspace (4:13)
05 - Darkroom (4:31)
06 - Londinium (5:19)
07 - Man-Made (4:38)
08 - Nothing Else (4:37)
09 - Skyscraper (4:26)
10 - Parvaneh (Butterfly) (3:50)
11 - Beautiful World (6:36)
12 - Organ Song (2:22)
13 - Last Five (5:49)

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

Eight-X (27)

Hello, Generation Eight-X still manifesting here, makes me wonder how enormous the output would have been, had the cheap/easy recording facilities been available as is now. Oh well today we have to do with, Bill Nelson's Red Noise, a band that rose from the ashes of Be Bop De Luxe, EMI their label thought nothing of it..(now there 's a endorsement..wink) and their second album never materilised as such..after Nelson finally got those tapes back he reworked some and released it as his soloalbum, Quit Dreaming And Get On The Beam, which landed in the UK top ten...(those know nothing record execs again). ...Now, Tears For Fears need little introduction getting their name from a Primal therapy treatment , the cover and title of the album revealed what was to become the successful launch of their career with a serious concept pop album...Finallly Prefab Sprout their classic Steve McQueen album produced by Thomas Dolby put them on the map, since they've released a limited number of quality albums, unfortunately main man Paddy McAloon has to cope with serious dissabilities..visual and aural impairments..well im sure some have pointed him to Beethoven who wrote a lot of his best work under the same impairments...

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Bill Nelson's Red Noise - Sound On Sound (79 ^ 99mb)

After the breakup of Be Bop Deluxe, Nelson immediately formed a new band, 'Bill Nelson's Red Noise', retaining Andy Clark on keyboards, and adding Nelson's brother Ian, who had previously contributed to Be Bop Deluxe albums, on saxophone. The only album to emerge from this lineup, Sound on Sound (1979) can be seen as the last Be Bop Deluxe album, as it amplified and extended the trends on 'Drastic Plastic', and was the last rock band album Bill Nelson made before moving into the introspective solo projects that were to dominate his subsequent career. Sound on Sound was a fluid, expert document that demonstrated Nelson's ability to experiment, though at the cost of jarring both the audience and the record company -- EMI, looking for moneymakers and easy understanding, dropped Nelson. A second Red Noise album had been finished, but was never released in its original form. After Nelson finally got these tapes he reworked the album and released Quit Dreaming and Get On the Beam via Mercury Records.

Nelson eventually settled into a career as a solo musician, recording iconoclastic albums in the early electropop vein such as The Love That Whirls and Quit Dreaming and Get On the Beam (both recently remastered and reissued). Many of these albums also shipped with bonus records featuring experimental ambient instrumentals, and this was a genre of music Nelson would embrace more fully in the future.

Nelson had his share of troubles with major labels in the 1980s. A deal with CBS Records went sour, leaving one admired album, unreleased, Getting the Holy Ghost Across . Nelson and his manager Mark Rye formed the Cocteau Records label in 1981, and for many years this label handled the majority of Nelson's output, which often included multiple albums per year. Among the more ambitious Cocteau releases were the four-record boxed set of experimental electronic music, Trial by Intimacy (The Book of Splendours), and the later ambient collection, Chance Encounters in the Garden of Lights, which contained music informed by Nelson's Gnostic beliefs. As the 1980s ended, Nelson suffered a tremendous series of personal setbacks, including a divorce, tax problems, and a nasty falling-out with his manager over his back catalogue rights.
Nelson channelled his troubles into his music, with the result that the 1990s proved an even more prolific period for him he released multiple cd-box sets. Check the link at the bottom for an extensive expose of his work.



01 - Don't Touch Me, (I'm Electric) (1:49)
02 - For Young Moderns (4:23)
03 - Stop - Go - Stop (3:08)
04 - Furniture Music (3:30)
05 - Radar In My Heart (1:35)
06 - Stay Young (3:08)

07 - Out Of Touch (3:27)
08 - A Better Home In The Phantom Zone (4:24)
09 - Substitute Flesh (3:26)
10 - The Atom Age (3:00)
11 - Art - Empire - Industry (2:42)
12 - Revolt Into Style (3:20)

Holyground label

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Tears For Fears - The Hurting ( 83 ^ 90mb)

Orzabal and Smith met as children in Bath, England. Both boys came from broken homes, and Smith was leaning toward juvenile delinquency. Orzabal, however, turned toward books, eventually discovering Arthur Janov's primal scream therapy, a way of confronting childhood fears. Orzabal turned Smith on to Janov, but before the duo explored this theory further, they formed the ska revival band Graduate in the late '70s. After releasing a handful of singles, including "Elvis Should Play Ska," Graduate dissolved in the early '80s, and the duo went on to form Tears for Fears, the name is derived from the Primal therapy treatment of the same name developed by Arthur Janov, which was made famous after John Lennon became Janov's patient.

Riding in on the tail end of new wave and new romantic, Tears for Fears landed a record contract with Polygram in 1982. The following year, the band released its debut, The Hurting, which became a major hit in Britain, generating no less than three Top Five hit singles. The album, produced by Chris Hughes and Ross Cullum, showcased synthesizer-based songs with lyrics reflecting Orzabal's bitter childhood and upbringing. The Hurting can be considered Tears for Fears' only true concept album, as references to emotional distress and primal therapy are found in nearly every song. The album itself was a big success and had a lengthy chart run (65 weeks) in the UK. Two years later, the group released Songs From the Big Chair, which demonstrated a more streamlined and soul-influenced sound. Songs From the Big Chair became a huge hit in America, rocketing to the top of the charts on the strength of the singles "Everybody Wants to Rule the World" and "Shout," which both hit number one, and the number three "Head Over Heels," which were all supported by clever, stylish videos that received heavy MTV airplay.

Instead of quickly following Songs From the Big Chair with a new record, Tears for Fears labored over their new record, eventually delivering the layered, Beatlesque The Seeds of Love in 1989. Featuring soulful vocals from Oleta Adams, who dominated the hit "Woman in Chains," the album became a hit, while the single "Sowing the Seeds of Love" reached number two in the U.S. Again, Tears for Fears spent several years working on the follow-up to Seeds of Love, during which time they released the collection Tears Roll Down: Greatest Hits 82-92. Smith and Orzabal began to quarrel heavily, and Smith left the group in 1992, making Tears for Fears' 1993 comeback Elemental essentially a solo record from Orzabal. On the strength of the adult contemporary hit "Break It Down Again," Elemental became a modest hit, yet was hardly up to the group's previous levels. Smith, meanwhile, released a solo album in 1993, Soul on Board, which went ignored. Orzabal returned with another Tears for Fears album, Raoul and the Kings of Spain, in 1995, which failed to make much of an impact. In late 1996, the group released a rarities collection. In 2004, Orzabal reunited with Smith for the colorful and Beatlesque Everybody Loves a Happy Ending, their first collaboration in over a decade, and a natural successor to The Seeds of Love, featuring vibrant Beatles-esque melodies, solid songwriting, and turns of phrase.



01 - The Hurting (4:15)
02 - Mad World (3:30)
03 - Pale Shelter (5:24)
04 - Ideas As Opiates (3:46)
05 - Memories Fade (5:04)

06 - Suffer The Children (3:49)
07 - Watch Me Bleed (4:14)
08 - Change (4:10)
09 - The Prisoner (2:54)
10 - Start Of The Breakdown (4:56)

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Prefab Sprout - Steve McQueen (85 ^ 99mb)

Prefab Sprout was formed in Newcastle, England, in 1977 by McAloon (who sings and plays guitar and piano) and his bass-playing younger brother Martin. In the group's early days, McAloon spun several fanciful tales about the origin of their odd name (one favorite was that the young McAloon had misheard the line "hotter than a pepper sprout" in Nancy Sinatra and Lee Hazlewood's "Jackson"), but the prosaic truth is that an adolescent McAloon had devised the meaningless name in homage to the longwinded and equally silly band names of his late-'60s/early-'70s youth. Drafting an early fan, Wendy Smith, into the lineup to sing helium-register backing vocals, the trio released their first single, "Lions in My Own Garden (Exit Someone)," on their own Candle label in July 1982.

Prefab Sprout's first album, Swoon, was released in March 1984. Containing neither of the first two singles (but leading off with the delightful "Don't Sing," their third), Swoon is in retrospect a surprisingly brittle record, full of difficult songs that take unexpected left turns and have all but impenetrable lyrics. Shortly after Swoon's release, drummer Neil Conti joined the group, and in a rather brilliant move, Thomas Dolby was tapped to produce the second Prefab Sprout album, 1985's Steve McQueen (retitled Two Wheels Good in the U.S. due to litigation from the late actor's estate). Dolby smoothes out the kinks a bit, and his keyboards help enrich the album's sound; it also helps that the songs are much better, lyrically opaque but not impenetrable and melodically satisfying.

Prefab Sprout returned to the studio without Dolby in the summer of 1985 and quickly recorded an album's worth of material that was initially meant to be released in a limited edition as a tour souvenir. However, several months after Steve McQueen was released, its song "When Love Breaks Down" became a hit, and CBS feared a new album would hurt its predecessor's sales, so the project was shelved. The "proper" follow-up to Steve McQueen was 1988's From Langley Park to Memphis. Although it was their biggest hit, thanks to the massive U.K. chart success of "The King of Rock and Roll". In 1990, Jordan: The Comeback, again produced by Thomas Dolby, was nominated for a BRIT Award. Though the music was more accessible than their earlier material, the lyrics and subject matter remained characteristically oblique and suggestive.

Early in the nineties McAloon alluded in interviews to several albums-worth of songs that he had written, amongst others, concept albums based on the life of Michael Jackson (Behind the Veil), the history of the world (Earth: The Story So Far) and Zorro the Fox about a fictional superhero. Their greatest hits, Life of Surprises: The Best of Prefab Sprout, gave them their biggest U.S. hit, "If You Don't Love Me" (92) Prefab Sprout released Andromeda Heights in the UK in 1997, while a short UK tour followed in 2000. This tour, and the subsequent album, did not feature Wendy Smith, who by this time had reportedly left the band, to focus on her motherhood. By now Prefab Sprout consisted of the McAloon Brothers they released The Gunman and Other Stories a concept album themed on the American West in 2001. After being diagnosed with a medical disorder which impaired his vision Paddy McAloon released the album I Trawl The Megahertz under his own name in 2003 on the EMI Liberty label. As of 2006, McAloon had suffered another setback: his hearing had deteriorated, reportedly due to Ménière's disease. In early 2007 a remastered Steve McQueen was released in a 2 CD package, containing new versions of eight of the songs from the original album, in radically different arrangements performed by McAloon on acoustic guitar.



01 - Faron Young (3:42)
02 - Bonny (3:46)
03 - Appetite (3:59)
04 - When Love Breaks Down (4:05)
05 - Goodbye Lucille #1 (4:29)
06 - Hallelujah (4:18)
07 - Moving The River (3:56)
08 - Horsin' Around (4:40)
09 - Desire As (5:19)
10 - Blueberry Pies (2:25)
11 - When The Angels (4:26)

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Around The World (27)

Hello, Around the Worldmusic is still in classic mode and today the focus is on Mozart a megastar from the past, seriously his life was short and not that sweet , but he worked till he dropped dead, a drive that fitted his genius...

Wolfgang Amadeus Mozart was born 27 jan 1756, to Leopold and Anna Maria Pertl Mozart in Salzburg, in what is now Austria, then part of the Holy Roman Empire. His only sibling who survived past birth was his sister Maria Anna (Nannerl). Mozart's father Leopold Mozart (1719–1787) was deputy Kapellmeister to the court orchestra of the Archbishop of Salzburg and an experienced teacher. When Nannerl was seven, Leopold began giving her keyboard lessons. The three-year old Mozart looked on, evidently with fascination at fourt his father, playfully, began to teach him a few minuets and pieces at the clavier. ... Wolfgang could play it faultlessly and with the greatest delicacy, and keeping exactly in time. ... At the age of five he was already composing little pieces, which he played to his father who wrote them down." Among them were the Andante (K. 1a) and Allegro in C (K. 1b).
Leopold was a very devoted teacher to his children, he taught them languages and academic subjects as well as music. During Mozart's formative years, his family made several European journeys in which the children were exhibited as child prodigies. A long concert tour spanning three and a half years followed, taking the family to the courts of Munich, Mannheim, Paris, London, The Hague, again to Paris, and back home via Zürich, Donaueschingen, and Munich. During this trip Mozart met a great number of musicians and acquainted himself with the works of other composers. A particularly important influence was Johann Christian Bach, who met Mozart in London in 1764–65.

Following his final return with his father from his third successful trip to Italy (13 March 1773), Mozart was employed as a court musician by the ruler of Salzburg Prince-Archbishop Hieronymus Colloredo. Mozart was a "favorite son" in Salzburg, where he had a great number of friends and admirers,[13] and he had the opportunity to compose in many genres, including symphonies, sonatas, string quartets, serenades, and the occasional opera. Despite these artistic successes, Mozart gradually grew more discontented with Salzburg and made increasingly strenuous efforts to find a position elsewhere. The reason seems to be in part his low salary, 150 florins per year. In addition, Mozart longed to compose operas, and Salzburg provided at best rare occasions for opera productions.September 1777, Mozart began yet another job-hunting tour, this time accompanied by his mother Anna Maria. The visit included Munich, Mannheim, and Paris.In Mannheim he fell in love with Aloysia Weber, one of four daughters in a musical family. Mozart moved on to Paris and attempted to build his career there, but was unsuccessful. To make matters worse his mother became ill and died in Paris june 78, on his way back his Aloysia told him to forget it and so a disillusioned Mozart returned to Salzburg.

The question arises why Mozart, despite his talent, was unable to find a job on this trip. The answer likly lies in the fact that his father demanded a fully paid steady job, not something 21 year old Mozart heart aspired, he preferred a freelance relationship, having people come to him with commisions. Meanwhile he was still under contract by the archbisshop of which he was finally released in 1781 which caused a deep rift with his father. Being a free man again Mozart made his way to Vienna, his new career in Vienna began very well. He performed often as a pianist, he soon "had established himself as the finest keyboard player in Vienna. Mozart also prospered as a composer: during 1781–1782 he wrote the opera Die Entführung aus dem Serail, which premiered 16 July 1782 and achieved a huge success. The work was soon being performed "throughout German-speaking Europe", and fully established Mozart's reputation as a composer.

In 1782 , he still hadnt lost interest in the Weber family that had moved to Vienna aswell, and he became a lodger at their home, as his first choice Aloysia was married by now, his eye fell on her younger sister Constanze , whom he married that year and had 6 children with, 2 of which survived infancy. During 1782–1783, Mozart became closely acquainted with the work of J. S. Bach and G.F. Handel as a result of the influence of Baron Gottfried van Swieten, who owned many manuscripts of works by the Baroque masters. Mozart's study of these works led first to a number of works imitating Baroque style and later had a powerful influence on his own personal musical language Mozart met Joseph Haydn and the two composers became good friends, when Haydn visited Vienna, they sometimes played together in an impromptu string quartet.

During the years 1782–1785, Mozart put on a series of concerts in which he appeared as soloist in his own piano concertos. He wrote three or four concertos for each concert season, and since space in the theaters was scarce, he booked unconventional venues. The concerts were very popular, and the concertos Mozart composed for them are considered among his finest works. Mozart created a harmonious connection between an eager composer-performer and a delighted audience. With the substantial money Mozart earned with his concerts and elsewhere, he and Constanze adopted a rather plush lifestyle. They moved to an expensive apartment, Mozart also bought a fine fortepiano, and a billiards table. The Mozarts also sent their son Karl Thomas to an expensive boarding school and kept servants. These choices inhibited saving, and were the partial cause of a stressful financial situation for the Mozart family a few years later.

Around the end of 1785, Mozart reshifted his focus again. He ceased to write piano concertos on a regular basis,[40] and began his famous operatic collaboration with the librettist Lorenzo da Ponte. 1786 saw the Vienna premiere of The Marriage of Figaro, which was quite successful in Vienna and even more so in a Prague production later the same year. The Prague success led to a commission for a second Mozart-Da Ponte opera, Don Giovanni, which premiered 1787 to acclaim in Prague and was also produced, with some success, in Vienna in 1788. Both operas are considered among Mozart's most important works and are mainstays of the operatic repertoire today. In December 1787 Mozart finally obtained a steady post under aristocratic patronage. Emperor Joseph II appointed him as his "chamber composer", it didnt pay that much but then he was only expected to compose dances for the annual balls. Toward the end of the decade, Mozart's career declined. Around 1786 he had ceased to appear frequently in public concerts, and his income dropped. This was in general a difficult time for musicians in Vienna because Austria was at war .

By mid-1788, Mozart and his family moved from central Vienna to cheaper lodgings in the suburb, Mozart began to borrow money, most often from his friend and fellow Mason Michael Puchberg. During this time Mozart made long journeys hoping to improve his fortunes: a visit in spring of 1789 to Leipzig, Dresden, and Berlin and a 1790 visit to Frankfurt, Mannheim, and other German cities. The trips produced only isolated success and did not solve Mozart's financial problems. Mozart's last year was, until his final illness struck, one of great productivity and (in the view of Maynard Solomon) personal recovery.[47] During this time Mozart wrote a great deal of music, including some of his most admired works: the opera The Magic Flute, the final piano concerto (K. 595 in B flat), and the unfinished Requiem

Mozart's financial situation, which in 1790 was the source of extreme anxiety to him, also began to improve. It appears that admiring wealthy patrons in Hungary and in Amsterdam pledged annuities to Mozart, in return for the occasional composition. Mozart also probably made considerable money from the sale of dance music that he wrote for his job as Imperial chamber composer. He ceased to borrow large sums from Puchberg and made a start on paying off his debts. Lastly, Mozart experienced great satisfaction in the public success of some his works, notably The Magic Flute (performed many times even during the short period between its premiere and Mozart's death). Mozart fell ill while in Prague, for the 6 September premiere of his opera La clemenza di Tito, written in 1791 on commission for the coronation festivities of the Emperor. He was able to continue his professional functions for some time, for instance conducting the premiere of The Magic Flute on September 30. The illness intensified on 20 November, at which point Mozart became bedridden, suffering from swelling, pain, and vomiting.

Mozart died at 1 in the morning on December 5 1791, 35 years old. He was buried in a common grave, in accordance with contemporary Viennese custom, at the St Marx cemetery outside the city on 7 December. The cause of Mozart's death cannot be determined with certainty. His death record listed "hitziges Frieselfieber" ("severe miliary fever", referring to a rash that looks like millet seeds), a description that does not suffice to identify the cause as it would be diagnosed in modern medicine. Dozens of theories have been proposed, however, the most widely accepted version is that he died of acute rheumatic fever; he had had three or even four known attacks of it since his childhood, and this particular disease has a tendency to recur, leaving increasingly serious consequences each time, such as rampant infection and heart valve damage. Mozart's spare funeral did not reflect his standing with the public as a composer, memorial services and concerts in Vienna and Prague were well attended.

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Millenium Classics - Mozart Magic (99 ^ 92mb)

01 - W.A.Mozart - Serenata No.13 in G major, K.525 'Eine kleine Nachtmusic'-I Allegro (5:44)
02 - W.A.Mozart - Serenata No.13 in G major, K.525 'Eine kleine Nachtmusic'-II Romanze (Andante) (5:53)
03 - W.A.Mozart - Piano Concerto No.21 04 - W.A.Mozart - Symphony No.40 in G minor, K.550-Molto allegro (7:45)
04 - W.A.Mozart - Symphony No.40 in G minor, K.550-Molto allegro (7:48)
05 - W.A.Mozart - Horn Concerto No.4 in E flat major, K.495-III Rondo (Allegro vivace) (3:33)
06 - W.A.Mozart - Concerto for Flute and Harp-Andantino (8:14)

Millenium Classics - Mozart Magic II (99 ^ 91mb)

07 - W.A.Mozart - Piano Concerto No.23 in A, K.488-I Allegro (10:47)
08 - W.A.Mozart - Clarinet Concerto in A major, K.622-II Adagio (7:35)
09 - F.J.Haydn - Trumpet Concerto in E flat major-I Allegro (6:27)
10 - F.Schubert - Piano Quintet, D.667 'The Trout'-Theme and Variatons (8:05)
11 - F.Schubert - Impromptu in As, Op.90 No.4 D.889 (7:26)

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Don't Panic ! (27)

Hello, as promised last week an encore for the Hitchhikers Guide To The Galaxy adepts , the 2005 movie soundtrack. The Hollywood movie may have gotten a mixed reception, the soundtrack , however, was an entirely British affair.

Born in Wimbledon, London, Joby Talbot initially studied composition at Royal Holloway and Bedford New College under Robert Saxton. In 1993 Talbot first met Neil Hannon and began arranging and performing with his group The Divine Comedy. One of their tracks, "In Pursuit of Happiness", was used as the theme music for BBC TV's Tomorrow's World.

Other works for television written by Talbot include the theme music for Young Musician of the Year, and the music for the highly successful BBC 2 comedy series The League of Gentlemen, which was awarded the Golden Rose at the Montreux International TV Festival. During 2004, Talbot was Classic FM's first resident composer. Talbot wrote a new piece of music, scored for up to five instruments, each month for the year of his residence. These pieces have also been premiered and playlisted on Classic FM. The twelve compositions form part of a larger piece, released on a CD entitled Once Around the Sun on May 23, 2005.

Talbot wrote the original music for the film version of The Hitchhiker's Guide to the Galaxy, as well as music for the film The League of Gentlemen's Apocalypse. Other screen credits include the television comedy series The League of Gentlemen, and two silent films for the British Film Institute: Alfred Hitchcock's The Lodger and Evgeny Bauer's The Dying Swan. Talbot has recently completed the original music for Garth Jennings' new film Son of Rambow.


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O.S.T - The Hitchhiker's Guide To The Galaxy (Joby Talbot) ( ^ 144mb)



01 - Joby Talbot - The Dolphins
02 - Hilary Summers, Kemi Ominiyi & R'SVP Voices - So Long & Thanks For All The Fish
03 - Joby Talbot - Arthur Wakes Up
04 - Betty Wright - Shoo-Rah! Shoo-Rah!
05 - Al Green - Here I Am (Come And Take Me)
06 - Joby Talbot - Destruction Of Earth
07 - Joby Talbot - Journey Of The Sorcerer
08 - Joby Talbot - The Hitchhiker's Guide To The Galaxy
09 - Joby Talbot - Inside The Vogon Ship
10 - Joby Talbot - Vogon Poetry
11 - Joby Talbot - Space
12 - Joby Talbot - Vogon Command Centre
13 - Joby Talbot - Trillian And Arthur Reunited
14 - Joby Talbot - Pan Galactic Gargle Blaster
15 - Joby Talbot - Tea In Space
16 - Joby Talbot - Deep Thought
17 - Joby Talbot - Infinite Improbability Drive
18 - Joby Talbot - Viltvodle Street Music
19 - Gabriel Crouch - Huma's Hymn
20 - Joby Talbot - Capture Of Trillian
21 - Joby Talbot - Vogcity
22 - Joby Talbot - Love
23 - Joby Talbot - The Whale
24 - Joby Talbot - Planet Factory Floor
25 - Joby Talbot - Earth Mark II
26 - Perry Como - Magic Moments
27 - Joby Talbot - Shootout
28 - Joby Talbot - Finale
29 - Joby Talbot - Blast Off
30 - Neil Hannon - So Long And Thanks For All The Fish (Reprise)
31 - Joby Talbot - Careless Talk
32 - N. Hannon, D. Payne, A. Dunlop, M. Baradas, C. Norman, H. Thomas, F. Balke - Vote Beeblebrox
33 - Stephen Fry - Reasons To Be Miserable (His Name Is Marvin)


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Sundaze (27)

Hello, just the one band today at Sundaze, Plaid..

Plaid is a British electronic music duo comprising Andy Turner and Ed Handley, taking their name from the Welsh word 'Plaid' [pronounced 'Ply-ed'] meaning 'Party'. Although Plaid pre-existed the association, the duo's Ed Handley and Andy Turner spent most of their early recording years with Ken Downie as the dancefloor-confounding Black Dog Productions. Meshing well with Downie's vision of heavily hybridized post-techno and obscurantist thematics, the pair brought several nascent Plaid tracks to the Black Dog table on the group's debut, Bytes, a collection of tracks recorded by various iterations of the three members. The group recorded several albums and EPs throughout the early and mid-'90s, helping to forge a style of dance music one step removed from the 12" considerations of the average faceless techno act; Handley and Turner's mutual love for early hip-hop contributed BDP's more bawdy, street-level grit.

The pair split from Downie in 1995, and began rechanneling their efforts full-time with an EP on the neo-electro Clear label before signing to Warp. (The pair also recorded an album with European techno figure Mark Broom under the pseudonym Repeat, two tracks of which also made it onto the South of Market EP, released on Jonah Sharp's similarly located Reflective imprint.) Both of Plaid's first two full-lengths, 1998's Not for Threes and the following year's Rest Proof Clockwork, were issued in the U.S. through Nothing. Once Warp set up a home on American shores, however, Plaid made the natural switch with the long-awaited collection Trainer, a retrospective including much of their early, pre-BDP work. The proper third album, Double Figure, followed in spring 2001, and the handy Plaid remix collection Parts in the Post was issued in 2003 by Peacefrog. The end of the year brought the duo's fourth proper LP, Spokes. Plaid was quiet on the recording front for several years, returning finally in mid-2006 with a mini-album that found the pair co-billed with visual artist Bob Jaroc, whose animations often accompanied the music during live performances. They developed a DVD consisting of new material and video artwork to accompany the music, entitled Greedy Baby. The project was completed on July 20 2005, and was first shown at the Queen Elizabeth Hall in the South Bank Centre, and subsequently at the BFI Imax cinema in Waterloo, London. Greedy Baby was released on DVD from Warp Records on June 26, 2006.

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Plaid - Rest Proof Clockwork (99 * 99mb)

Plaid's second full-length displays the same intriguing mix of old-school flow and electronic programming clout, plus an odd tendency to play with certain synth presets that would make most electronica technicians cringe. When it comes down to it, the technical differences between Rest Proof Clockwork and Plaid's debut Not for Threes are minimal. In fact, two of the most beautiful tracks of Plaid's long career are right here. The first is "Buddy," a yearning downtempo track with echoing effects; the second is "Dead Sea," a beatless piece of glorious synth-strings. So, in sum, Rest Proof Clockwork is yet another production masterpiece to file on the shelf with the rest of Plaid's work. The element that puts them far, far ahead of every other beatminer out there is a growing sense of spirit that lets the machines do the singing.



01 - Shackbu (5:26)
02 - Ralome (4:28)
03 - Little People (4:06)
04 - 3 Recurring (0:44)
05 - Buddy (6:33)
06 - Dead Sea (4:19)
07 - Gel Lab (4:14)
08 - Tearisci (0:56)
09 - Dang Spots (3:57)
10 - Pino Pomo (5:07)
11 - Last Remembered Thing (4:19)
12 - Lambs Eye (1:18)
13 - New Bass Hippo (5:42)
14 - Churn Maiden (1:14)
15 - Air Locked (4:23)
16 - Face Me (4:18)

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Plaid - Double Figure (01 * 99mb)

After the release of the Trainer retrospective, Plaid returned in 2001 with an LP of tough machine music, closer to the melancholy beatbox style of their mid-'90s singles than the rangy, dynamic sound of 1999's Rest Proof Clockwork. Except for the cycling guitar-like lines on the opener "Eyen," there aren't many traditional-sounding instruments on Double Figure. Instead, the duo balances precise, simple-yet-subtle percussion programs and heavily evocative techno . As always, Handley and Turner take great care with their productions, using a continually building style of electronic composition that gradually adds new effects, then even more gradually tweaks those effects for maximum subtlety. By stretching techno into new territory thru working in traditional sounds, Plaid recorded one of their most intricate, rewarding, best albums.



01 - Eyen (4:20)
02 - Squance (5:01)
03 - Assault On Precinct Zero (4:28)
04 - Zamami (4:05)
05 - Silversum (4:15)
06 - Ooh Be Do (4:27)
07 - Light Rain (3:49)
08 - Tak 1 (1:01)
09 - New Family (5:17)
10 - Zala (4:45)
11 - Twin Home (5:11)
12 - Tak 2 (1:08)
13 - Sincetta (4:56)
14 - Tak 3 (0:50)
15 - Porn Coconut Co. (4:52)
16 - Tak 4 (0:59)
17 - Ti Bom (4:52)
18 - Tak 5 (0:50)
19 - Manyme (4:48)

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Plaid Remixes - Parts In The Post I & II (03, 112min * 198mb)

Parts in the Post takes nearly all of Plaid's remixing work following their 1995 split with Ken Downie (Black Dog), though the styles heard range far into the past, back to the ghostly electro of early-'90s classics like "Choke and Fly" ( Funki Porcini's "King Ashabanapal" or Studio Pressure's "Relics"). Like all the great electronic remixers, Plaid can go both ways with their work, either remaking a track with little relation to the original or essentially re-producing the artist by integrating their style into the framework of the song. Here, the original of Nicolette's "Wholesome," is integrated perfectly into the Plaid sound, with close attention paid to even her vocal pauses. Handley and Turner also have no trouble creating productions with more relation to the subject than the artist had even attempted; another Nicolette original, the surprisingly utopian "No Government," is taken into an anarchic direction with stark beats, dental-drill effects, and an amelodic tune. Ironically enough, Plaid's more obscure jobs, including tracks heard here like Dropshadow's "Disease Fototienda" and Jung Collective's "Street Preacher," are some of their most intriguing and distinctive productions. The lone new track, a Plaid original named "Wrong Ways," is a charmer as well, with a tippling, squelchy bassline.



Plaid Remixes - Parts In The Post I (03 * 99mb)

01 - Björk - All Is Full Of Love (4:18)
02 - Tao - Riot In Lagos (5:08)
03 - EBZ - Malawi Gold (6:02)
04 - Sieg Über Die Sonne - You'll Never Come Back (5:41)
05 - Reflection - Spiral Bits (4:08)
06 - Koolaking - One Latin (4:53)
07 - Gregory Fleckner Quartet - Juicy Jazz Girls (7:42)
08 - Studio Pressure - Relics (7:10)
09 - Grandmaster Flash & The Furious Five - Scorpio (4:57)
10 - Nicolette - No Government (6:34)

Plaid Remixes - Parts In The Post II (03 * 99mb)

11 - Plaid - Wrong Ways (5:48)
12 - UNKLE - Coffehouse Conversation (5:22)
13 - Nicolette - Wholesome (4:40)
14 - Goldfrapp - Utopia (4:42)
15 - Funki Porcini - King Ashabanapal (7:00)
16 - Dropshadow Disease - Fototienda (6:32)
17 - Sensorama - Zone 30 (6:58)
18 - Herbert - Foreign Bodies (5:14)
19 - Jung Collective - Street Preacher (5:11)
20 - Coba - After Dinner (4:58)

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

Into The Groove (26)

Hello, Into The Groove continues with another big soul man, Isaac Hayes. He's been thru some highs and lows (declared bankrupt), fathered his 12 th child recently and became a scientologist..consider that a low..Scientology is a sekt for easy programmable airheads, pretentious rich people in need of legitimizing their status. Which in turn are being used to lure the groupie minded. Btw they are close to becoming an outlawed organsation in the EU, lots of nasty and dark things going on...Well this here is about music Isaac Hayes recorded when the dark shadow of scientology hadn't caught him....

Hayes was born on August 20, 1942, in Covington, TN; his parents died during his infancy, and he was raised by his grandparents. After making his public debut singing in church at the age of five, he taught himself piano, organ and saxophone before moving to Memphis to perform on the city's club circuit in a series of short-lived groups like Sir Isaac and the Doo-Dads, the Teen Tones, and Sir Calvin and His Swinging Cats. In 1962, he began his recording career, cutting sides for a variety of local labels. Two years later, Hayes began playing sax with the Mar-Keys, which resulted in the beginning of his long association with Stax Records. After playing on several sessions for Otis Redding, Hayes was tapped to play keyboards in the Stax house band, and eventually established a partnership with songwriter David Porter. Under the name the Soul Children, the Hayes-Porter duo composed some 200 songs, reeling off a string of hits for Stax luminaries like Sam & Dave , Carla Thomas and Johnnie Taylor .

In 1967, Hayes issued his debut solo LP Presenting Isaac Hayes, a loose, jazz-flavored effort recorded in the early-morning hours following a raucous Stax party. With the release of 1969's landmark Hot Buttered Soul, he made his commercial breakthrough; the record's adventuresome structure (comprising four lengthy songs), ornate arrangements, and sensual grooves -- combined with the imposing figure cut by his shaven head, omnipresent sunglasses, and fondness for gold jewelry -- made Hayes one of the most distinctive figures in music. After a pair of 1970 releases, The Isaac Hayes Movement and To Be Continued, he reached his commercial zenith in 1971 with the release of Shaft, the score from the Gordon Parks film of the same name. Not only did the album win Hayes an Academy Award for Best Score (the first African-American composer to garner such an honor), but the single "Theme From 'Shaft,'" a masterful blend of prime funk and pre-rap monologues, became a number one hit.

After 1971's superb Black Moses and 1973's Joy, Hayes composed two 1974 soundtracks, Tough Guys and Truck Turner (in which he also starred). By 1975, relations with Stax had disintegrated following a battle over royalties, and soon he severed his ties with the label to form his own Hot Buttered Soul imprint. Although both 1975's Chocolate Chip and 1976's Groove-a-Thon went gold, his records of the period attracted considerably less attention than prior efforts; combined with poor management and business associations, Hayes had no choice but to file for bankruptcy in 1976, as they owed over $6 million. By the end of the bankruptcy proceedings in 1977, Hayes had lost his home, much of his personal property, and the rights to all future royalties earned from the music he'd written, performed, and produced.

With the 1977 double-LP A Man and a Woman, recorded with Dionne Warwick, Hayes began a comeback on the strength of the hit singles "Zeke the Freak," "Don't Let Go" and "Do You Wanna Make Love." Following the success of his 1979 collection of duets with Millie Jackson titled Royal Rappins, he issued a pair of solo records, 1980's And Once Again and 1981's Lifetime Thing before retiring from music for five years. After returning in 1986 with the LP U Turn and the Top Ten R&B hit "Ike's Rap," Hayes surfaced two years later with Love Attack before again dropping out of music to focus on acting. In 1995, fully enshrined as one of the forefathers of hip-hop and newly converted to Scientology, Hayes emerged with two concurrent releases, the vocal Branded and instrumental Raw and Refined. Under the official name Nene Katey Ocansey I, he also served as a member of the royal family of the African nation of Ghana while continuing simultaneous careers as an actor, composer, and humanitarian.

In 1997, Hayes provided the voice of what was slated to be a one-time character on the animated series South Park -- Jerome "Chef" McElroy, the main characters' favorite school cafeteria worker. Hayes was an instant hit, and Chef became a regular character on the show, lending advice and, oftentimes, breaking into songs that gently sent up Hayes' image as one of R&B's ultimate love men. South Park made Hayes more visible than ever and cemented his status as an icon with a whole new generation. He contributed the infamous "Chocolate Salty Balls" to the South Park tie-in album Chef Aid, and naturally appeared in the film South Park: Bigger, Longer, Uncut. In 2000, Hayes revisited his biggest triumph of the past by appearing in the remake of Shaft starring Samuel L. Jackson. The following year, he supported Alicia Keys as a musician and arranger on her acclaimed debut Songs in A Minor.

In the South Park episode "Trapped in the Closet"( see yesterday's Joe's Garage act 2), a satire and expose of Scientology which aired on November 16, 2005, Hayes did not appear in his role as Chef. On March 13, 2006, a statement was issued in Hayes' name, indicating that he was asking to be released from his contract with Comedy Central, citing recent episodes which satirized religious beliefs as being intolerant. "There is a place in this world for satire, but there is a time when satire ends and intolerance and bigotry towards religious beliefs of others begins," he was quoted in a press statement. The statement, however, did not directly mention Scientology.

A response from Stone said that Hayes' complaints stemmed from the show's criticism of Scientology and that he "has no problem – and he’s cashed plenty of checks – with our show making fun of Christians, Muslims, Mormons or Jews." Stone adds, " never heard a peep out of Isaac in any way until we did Scientology. He wants a different standard for religions other than his own, and to me, that is where intolerance and bigotry begin." Stone and Parker agreed to release Hayes from his contract per his request.

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O.S.T. - Shaft ( Isaac Hayes) (71 ^ 170mb)

Shaft is one of the most lasting , aswell as most successful blaxpoitation soundtracks . Isaac Hayes was undoubtedly one of the era's most accomplished soul artists, having helped elevate Stax to its esteemed status; therefore, his being chosen to score such a high-profile major-studio film shouldn't seem like a surprise. And with "Theme From Shaft," he delivered an anthem just as ambitious and revered as the film itself, a song that has only grown more treasured over the years, after having been an enormously popular hit at the time of its release. Besides this song, though, there aren't too many more radio-targeted moments here. "Soulsville" operates effectively as the sort of down-tempo ballad Hayes was most known for, just as the almost 20-minute "Do Your Thing" showcased just how impressive the Bar-Kays had become, stretching the song to unseen limits with their inventive, funky jamming. For the most part, though, this double-LP features nothing but cinematic moments of instrumentation, composed and produced by Hayes while being performed by the Bar-Kays -- some down-tempo, others quite jazzy, nothing too funky, though. Even if it's not quite as enjoyable as Curtis Mayfield's Superfly due to its emphasis on instrumentals, Shaft still remains a powerful record; one of Hayes' pinnacle moments for sure.



01 - Theme From Shaft (Vocal) (4:39)
02 - Bumpy's Lament (1:52)
03 - Walk From Regio's (2:24)
04 - Ellie's Love Theme (3:18)
05 - Shaft's Cab Ride (1:09)
06 - Cafe Regio's (5:59)
07 - Early Sunday Morning (3:49)
08 - Be Yourself (4:30)
09 - A Friend's Place (3:22)
10 - Soulsville (Vocal) (3:48)
11 - No Name Bar (6:11)
12 - Bumpy's Blues (4:04)
13 - Shaft Strikes Again (3:04)
14 - Do Your Thing (Vocal) (19:30)
15 - The End Theme (1:55)

Isaac Hayes - Shaft (71 * 99mb)

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Isaac Hayes - Groove-A-Thon (76 ^ 99mb)

The title track employs "Shaft"-like guitar licks, but the similarity ends there: It's a lame attempt at disco done in by Ike's lazy singing and irritatingly banal lyrics. But it's the LP's only sore point. Ike returns to his roots on "Your Loving Is Much Too Strong," a slow, romantic ballad that he and his girls, Hot Buttered Soul Unlimited, make you feel. "Rock Me Easy Baby," a slinky, syncopated shuffle, has more groove appeal than the vaunted "Groove-A-Thon," mainly because Ike constructs it for maximum soul appeal by running it for more than eight exquisite minutes. The uptempo happy-in-love ditty "We've Got a Whole Lot of Love" showcases HBS' sterling voices. Ike shows a different side on the soft, longing "Wish You Were Here," whose horn arrangements and backing vocals are simultaneously enticing and titillating. After a weak opening, the album settles into a comfortable groove, ending splendidly with "Make a Little Love to Me."



01 - Groove-A-Thon (9:43)
02 - Your Loving Is Much Too Strong (5:35)
03 - Rock Me Easy Baby (8:07)

04 - We've Got A Whole Lot Of Love (5:35)
05 - Wish You Were Here (You Ought To Be Here) (5:47)
06 - Make A Little Love To Me (6:03)

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Isaac Hayes - Hot ( ^ 98mb)

"Walk on By," is an epic 12-minute moment of true perfection, its trademark string-laden intro just dripping with syrupy sentiment, and the thumping mid-tempo drum beat and accompanying bassline instilling a complementary sense of nasty funk to the song; if that isn't enough to make it an amazing song, Hayes' almost painful performance brings yet more feeling to the song, with the guitar's heavy vibrato and the female background singers taking the song to even further heights. "Hyperbolicsyllabicsequedalymistic" trades in sappy sentiment for straight-ahead funk, highlighted by a stomping piano halfway through the song



From Hot Buttered Soul (69)
01 - Walk On By (11:55)
02 - Hyperbolicsyllabicsesquedalmistic (9:26)

From Hotbed (78)
03 - Feel Like Makin' Love (13:22)
04 - Use Me (5:42)

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Isaac Hayes - The Best of Vol. 2 ( 86 * 99mb)

Dont miss this one, late night...making love




01 - Never Can Say Goodbye (3:39)
02 - Look Of Love (11:13)
03 - Theme From The Men (4:04)
04 - Joy (15:57)
05 - Let's Stay Together (3:35)
06 - Ike's Mood (5:49)
07 - By The Time I Get To Phoenix (18:41)

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

Alphabet Soup (Z)

Hello, Alphabet Soup has reached the bottom of the bowl, where we find Z, the last in the line. Z that means Zappa in my cabinet , i post here his notorious and satirical 'rock opera' Joe's Garage..all three acts of it...the men has been a prolific genius, he had no time for drugs and would still be at work now at 68, alas cancer took him from us....Moondog had to change their name to Zita Swoon, the first work they released under that name stemmed from a silent-film - Sunrise by FW Murnau music project, they toured thru the benelux countries with this set up accompanying the images with their largely instrumental live music. check out the result here.....finally The Zutons, i saw them years ago perform live and i have to say they did well , however at the time (04) i didnt expect them to become as big as they have...

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Frank Zappa - Joe's Garage Act I,II & III (79, 114min ^ 272mb)

In a career spanning more than 30 years, Zappa established himself as a prolific and highly distinctive composer, electric guitar player and band leader. He worked in various different musical genres and wrote music for rock bands, jazz ensembles, synthesizers and symphony orchestra, as well as musique concrète works constructed from pre-recorded, synthesized or sampled sources. In addition to his music recordings, he created feature-length and short films, music videos, and album covers. Zappa self-produced almost every one of the more than sixty albums he released with the Mothers of Invention or as a solo artist.

Zappa grew up influenced in equal measures by avant-garde composers such as Varèse, Igor Stravinsky and Anton Webern, R&B and doo-wop groups (particularly local pachuco groups), as well as modern jazz. His own heterogeneous ethnic background and the diverse cultural and social mix that existed in and around greater Los Angeles at the time were also crucial in situating Zappa as a practitioner and fan of "outsider art". Zappa began his career as a musician on drums, and while attending Mission Bay High School in San Diego, he joined his first band, The Ramblers. Although he performed as a singer and guitarist for most of his later career, Zappa's original influence by classical percussion compositions made him retain a strong interest in rhythm and percussion. In 1956 Zappa met Don Van Vliet ( "Captain Beefheart") while playing drums in a local band, The Blackouts, a racially-mixed outfit, included Euclid James "Motorhead" Sherwood (who later became a member of the Mothers of Invention). Zappa and Van Vliet became close friends, influencing each other musically, and collaborating in the Sixties and mid-Seventies.

In 1957 Zappa was given his first guitar. Among his early influences were Johnny "Guitar" Watson, and Howlin' Wolf. Zappa considered soloing as the equivalent of forming "air sculptures," and developed an eclectic, innovative and personal style. He eventually became one of the most highly regarded electric guitarists of his time. Early in the sixties Zappa attempted to earn a living as a musician and composer, and played a variety of night-club gigs, some with a new version of The Blackouts.Financially more important, however, were Zappa's earliest professional recordings, two soundtracks for the low-budget films The World's Greatest Sinner (1962) and Run Home Slow (1965). Zappa bought the financially strained Pal Studio and renamed it "Studio Z.", he moved into the studio in late 1963 and began routinely working 12 hours or more per day recording and experimenting with overdubbing. This set a pattern that would endure for almost all of his life. As Studio Z was rarely booked for recordings by other musicians, Zappa accepted in March 1965 an offer of $100 to produce a suggestive audio tape for a customer's stag party. Zappa and a female friend jokingly faked an "erotic" recording. The customer, however, was an undercover member of the Vice Squad and Zappa was jailed for ten days on charges of supplying pornography. His entrapment and brief imprisonment left a permanent mark, and was a key event in the formation of his anti-authoritarian stance.
In 1964, he had joined a local band called the Soul Giants, which, over the course of the next two years, evolved into the Mothers, who played songs written by Zappa. In 1966 and they recorded their first album, a two-LP set called Freak Out!, which introduced Zappa's interests in both serious music and pop as well as his scathing wit. Subsequent albums extended the musical and lyrical themes of the debut, and they came frequently. Three albums, for example, hit the charts in 1968: We're Only in It for the Money, a Mothers album that made fun of hippies and Sgt. Pepper; Lumpy Gravy, a Zappa solo album recorded with an orchestra; and Cruising With Ruben & the Jets, on which the Mothers played neo-doo wop. Toward the end of the '60s, Zappa expanded the Mothers lineup, turning more toward instrumental jazz-rock, much of which displayed his technically accomplished guitar playing. But by the end of the decade, he had broken up the band.

In late 1970, Zappa put together a new version of The Mothers, this new lineup debuted on Zappa's next solo album Chunga's Revenge (1970), which was followed by the double-album soundtrack to the movie 200 Motels (1971), featuring The Mothers, The Royal Philharmonic Orchestra, and, among others, Ringo Starr, Theodore Bikel, and Keith Moon. The film, co-directed by Zappa and Tony Palmer, was shot in a week on a large sound stage outside London. The film dealt loosely with life on the road as a rock musician. In December 1971, there were two serious setbacks. While performing at Casino de Montreux in Switzerland, the Mothers' equipment was destroyed when a flare set off by an audience member started a fire that burned down the casino. ( Smoke on the water) . After a week’s break, The Mothers went to play at the Rainbow Theatre, London with rented gear. During an encore, an audience member pushed Zappa off the stage and into the concrete-floored orchestra pit. The band thought Zappa had been killed, but he had suffered serious fractures, head trauma and injuries to his back, leg, and neck, as well as a crushed larynx, this left him wheelchair bound for a time, forcing him off the road for over half a year.

While he recovered, Zappa released several albums, then he re-formed the Mothers with himself as lead singer and made pop/rock albums such as Over-nite Sensation that were among his best-selling records ever. By the end of the '70s, Zappa was recording on his own labels, distributed in some cases by the majors, and he had attracted a consistent cult following for both his humor and his complex music. In fact Zappa ended the 1970s period “stronger than ever, by releasing two of his most successful albums in 1979. His best selling album ever, Sheik Yerbouti, and the “bona fide masterpiece, Joe's Garage. In the '80s, Zappa gained the rights to his old albums and began to reissue them, at first on his own and then through the pioneering Rykodisc CD label. He wrote his autobiography and embarked on a world tour in 1988. That was the end of his live performing, except for such isolated appearances as one in Czechoslovakia at the invitation of its post-Communist president, Zappa fan Vaclav Havel. In late 1991, it was confirmed that Zappa was seriously ill with cancer. Nevertheless, his schedule of album releases continued to be rapid. Zappa died in December of 1993, with a number of posthumous releases to follow.

Frank Zappa - Joe's Garage Act I (79 ^ 96mb)

The Act begins with the Central Scrutinizer's introduction. He explains that his job is to enforce laws which will be passed in the future--including the coming total illegalization of music . He then introduces the opera's protagonist, Joe. Joe used to be a nice boy who would cut his neighbors' grass until he discovered rock music, then he would spend all his time playing loud music in his garage. A "friendly counselor" at the police department tells Joe he should "stick closer to church-oriented social activities." Joe finds a new girlfriend named Mary, with whom he would "hold hands and think pure thoughts." However, Mary, a Roman Catholic girl, abandons Joe in order to get a pass to see a band called "Toad-O" with whom she goes on the road, sleeping with the band's roadies. Mary enters a wet t-shirt contest to try to make enough money to get back home. Joe hears of her exploits, becomes depressed, falls in with a fast crowd, and has sex with a girl who works at the Jack-In-The-Box named Lucille, who gives him an "unpronounceable disease"



01 - The Central Scrutinizer (3:26)
02 - Joe's Garage (6:06)
03 - Catholic Girls (4:21)
04 - Crew Slut (5:49)

05 - Wet T-Shirt Nite (5:23)
06 - Toad-O Line (4:29)
07 - Why Does It Hurt When I Pee? (2:22)
08 - Lucille Has Messed My Mind Up (7:11)

Frank Zappa - Joe's Garage Act II (79 ^ 90mb)

Joe turns to religion for help, and "pays a lot of money to L. Ron Hoover at the First Church of Appliantology ( satire Scientology)." Hoover identifies Joe as a "latent appliance fetishist". When Joe asks if he should "come out of the closet" he is instead instructed to "go into the closet" to achieve "sexual gratification through the use of machines". In the next song, we learn "The Closet" is the name of a club where humans can copulate with appliances. Joe locates a machine he likes, named Sy Borg, and they return to Sy's apartment. Joe ends up destroying Sy, (whom the Central Scrutinizer calls a "XQJ-37 Nuclear-Powered Pansexual Roto-Plooker") with a golden shower. Joe is thrown in prison after being unable to pay for the damage (having given up all his money to the Church of Appliantology). In jail, Joe is repeatedly gang raped ("plooked") by former musicians and record executives when they're not snorting lines of detergent pretending it's cocaine.



09 - A Token Of My Extreme (5:27)
10 - Stick It Out (4:31)
11 - Sy Borg (8:48)

12 - Dong Work For Yuda (5:00)
13 - Keep It Greasy (8:16)
14 - Outside Now (5:39)

Frank Zappa - Joe's Garage Act III ( 79 ^ 86mb)

When Joe is released from prison, music has become illegal. He loses his sanity, and begins imagining all the guitar notes he cannot play and a journalist documenting his thoughts. Eventually, he comes to terms with the fact that music is gone, and gets a job at the Utility Muffin Research Kitchen, frosting muffins.This last act is a direct reference to Zappas own experience of incarceration, when he was imprisoned for ten days during his youth for producing audio "pornography".While incarcerated he was unable to play his guitar so passed the time by imagining lead solos and guitar licks he would like to play.

15 - He Used To Cut The Grass (8:34)
16 - Packard Goose (11:17)

17 - Watermelon In Easter Hay (10:09)
18 - A Little Green Rosetta (6:59)

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Zita Swoon - Music Inspired By SUNRISE  (97 * 99mb)

Zita Swoon is a Belgian indie rock group. They entered the music scene of Antwerp in 1993, still under the name A Beatband with the EP "Jintro Travels The Word In A Skirt". The group is typical of the music scene in Antwerp, with members playing in numerous other groups. Best known member is singer Stef Kamil Carlens, who founded the group and also played in dEUS. The initial group also included Tom Pintens and Aarich Jespers. The same group released "Everyday I Wear A Greasy Black Feather On My Hat" under the name Moondog Jr. in 1995. The success of this album was awarded with invitations to the Lowlands, Pinkpop and Rock Werchter festivals. Belonging to two increasingly popular bands became impossible and just before the release of their second album, Stef made his announcement that he would be leaving dEUS.

This did not spell an end to their collaboration with dEUS, Klaas Janzoons along with percussionist, Piet Jorens, was to work on their 1996 score for FW Murnau black and white classic, 'Sunrise, a song of two humans.' By this time, they had drawn the eye of Louis 'Moondog' Hardin, a blind American blues musician, who objected to their use of his name. As a result of this, Zita Swoon were born - in time for the release of their live album, 'Music for Sunrise - a 1996 score' on independent label 'Play It Again Sam (PIAS)'. A mainly instrumental recording, two songs with vocals are released as singles 'Couldn't She Get Drowned?' and 'Giving Up the Hero.' The live show is played alongside the projected movie, and toured around the Benelux countries. By this time, the band are receiving generous attention and awards. Their first appearance in the US was at the South by Southwest festival in 1998. Zita Swoon has played at numerous places, from New York to the Belgian Rock Werchter festival, the Holland Festival, as well as in Germany.

Eventually, Zita Swoon receive the financial security of a major label, signing with Warners Benelux. It is through this label that they release 'I Paint Pictures on a Wedding Dress'(1998). In early 1999 their work was recognized by the Flemish government with a grant of 1.5 million Francs(40,000 euro) and the title Cultural Ambassador of Flanders (a title previously awarded to DAAU and dEUS).The band take a break to write new material and spend some time on side projects. Hot, Hotter, Hottest is released shortly before the Long Player, 'Life = A Sexy Sanctuary", a distinctly poppier array of songs. The group are more active than ever, with promotional events, instore concerts and touring as well as further side projects. The band release a live recording 'Live at the Jet Studios', a limited edition of 10,000 and get back to their roots with a series of semi-acoustic retrospective shows in old baroque theatres.

A Song about a Girls (2005) is the most introspective and melancholic work of Zita Swoon so far. Violins make an important contribution to the calmer sound of the album. Itcontains songs in both English and French. One of these French songs, "De Quoi a Besoin l'Amour", is a duet with the Belgian singer Axelle Red. In 207 they released Big City and earlier this year their latest album Big Blueville.



01 - Titles: A Song Of Two Humans (2:50)
02 - Woman Of The City (2:11)
03 - The Waiting (2:22)
04 - Meeting By The Swamp (3:00)
05 - Come To The City (2:10)
06 - The Skeem (1:10)
07 - Couldn't She Get Drowned (7:49)
08 - Trip To The City (1:39)
09 - The City (2:16)
10 - Where's My Love? (2:14)
11 - At The Barbers' (3:49)
12 - At The Photographers' (3:32)
13 - Casino Swing (0:44)
14 - Pig Chase (1:48)
15 - Peasant Dance (2:36)
16 - 3 Angels Song (1:33)
17 - A New Moon (0:43)
18 - The Storm (4:34)
19 - The Gathering Of The Men (1:49)
20 - The Search (5:24)
21 - The Return (0:49)
22 - Sunrise (0:38)
23 - Coda: A Song Of Two Humans (0:28)
24 - Giving Up The Hero (4:48)
25 - Couldn't She Get Drowned ( hidden, single version) (3:20)

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The Zutons - Who Killed The Zutons ? (04 ^ 95mb)

The Zutons formed in Liverpool in 2001, taking their name from The Magic Band guitarist Bill Harkleroad, better known as Zoot Horn (or "Zuton") Rollo. They are singer/guitarist David McCabe, lead guitarist Boyan Chowdhury, bassist Russell Pritchard, and drummer Sean Payne. Originally a four-piece, Sean's girlfriend Abi Harding began joining The Zutons on stage for a couple of songs mid-set, playing simple saxophone lines. She was very popular with the crowd. The other band members liked the way her saxophone enhanced their sound. Abi became a full member, contributing vocals and sax.

The first record the band put out was the 3-track CD Devil's Deal, released in September 2002. The following spring they released Creepin' An' A Crawlin', and then the download-only single Haunts Me in November 2003. The Zutons' debut album, Who Killed...... The Zutons? was released in April 2004, nearly a year later, it managed to re-enter and move up to #9 in early 2005. The LP had a specially printed 3-D cover and came with Zutons 3-D viewing glasses, which many fans then wore to their concerts. The album was a nominee for the 2004 Mercury Music Prize. The band themselves were nominated for the British Breakthrough Act award at the 2005 BRIT Awards.

The new album Tired of Hanging Around was released on April 17, 2006 and reached #2 in the UK album charts. The first single from the album "Why won't you give me your love" and the second single "Valerie" both peaked at 9 in the charts.The band toured the UK in May 2006 following the release of this album. They played at the Jersey Live Festival on September 2, 2006 before their second UK tour which began in November 2006. In October 2006, they performed at the The Secret Policeman's Ball. Currently The Zutons have gone into Sunset Sound Studios in LA with producer George Drakoulias to record their third album which is due for release in the Spring.



01 - Zuton Fever... (3:08)
02 - Pressure Point... (3:16)
03 - You Will You Won't... (2:54)
04 - Confusion... (3:32)
05 - Havana Gang Brawl... (4:30)
06 - Railroad... (3:39)
07 - Long Time Coming... (2:20)
08 - Nightmare Part II... (3:00)
09 - Not A Lot To Do... (3:47)
10 - Remember Me... (3:20)
11 - Dirty Dancehall... (4:09)
12 - Moons And Horror Shows... (2:38)
13 - Don't Ever Think (Too Much)... (2:44)

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

Eight-X (26)

Hello, Eight-X keep coming up with more blasts from the past. Remember in comments there's a round up of what passed the Eight-X posts. Today we kick off with The Au Pairs, their postpunkfunk right away hit it off in the alternative scene..the intensity of their music in the end burned them out, fueled by another malafide recordlabel. Playing with a different sex is a classic available in 2 rates....Howard Jones career went smoothly from the start, big commercial success, but then after his third album in 86 he ended up in the musical doldrums where he remains to this date. No need to pity he's happilly married runs a vegan restaurant , directs a buddist choir and obviously treats his fans with the occasional appearance or albumrelease. Here's the album that set him on the road to nowhere, Human's Lib.......Finally congrats to that big Liverpool fan Pete Wylie, the Reds came back twice and won tonight and can look forward to a semi-final bout with Chelsea in the Champions League. Wylie's Wah ! was much appreciated by John Peel and others but commercially they never took off. Their music remains hard to classify and was thus wrongly produced in my opinion, pity they should have had a Wall of Wah ! produced by Phil Spector....well judge for yourself.

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Au Pairs - Playing With A Different Sex (81 ^ 168mb)

The Au Pairs are one of those bands that aren’t imprinted on the mainstream but are regularly hailed by artists as an influence. They split in 1982 but have been name-dropped by a number of scenes - riot grrrl, US alt. rock (starting with The Pixies) gay and lesbian punks and more recently by punk funk revivalists - Chicks on Speed, DFA, Rapture, etc.

The Au Pairs formed in Birmingham in 1979. They are one of those bands that found their own sound - something that shifts between forms - from reggae (upbeat dance rather than experimental dub) to punk and funk. They are often close to ESG, the rhythm section was tight and funky with tough, bare drums and raw, physical bass. Another reason The Au Pairs sound distinctive is that singer Lesley Woods had a unique and astonishing voice, besides being an outspoken feminist and lesbian.

Their first album Playing with a Different Sex is considered a post-punk classic, an uncompromising, defiant record that asks no quarter; gender roles are turned upside down, hetero- and homosexual relationships put under a microscope, and theories about sex and sexuality turned upside down, an unfliching look at the world. Strong, sarcastic songs like "It's Obvious" and "We're so cool" taking a dry look at gender relations. Other songs, such as "Armagh" with its refrain,"we don't torture" took a pro-republican look at the then ongoing "Troubles" in Northern Ireland, which caused some controversy at the time.

The band's second album, Sense and Sensuality, showed an even greater influence of jazz, soul, funk and disco on the band's sound, but was less well received. The band fell apart on a European tour - It had been an impossible year – they’d already played 280 live shows in 1982. There were other difficulties - they were ripped off by their record label - which was ironic as they’d chosen a small label because it seemed more ‘ethical’ than a major. Woods formed an all woman band called the Darlings in the late '80s, but then left the music industry. She now works as a lawyer. Guitarist, Paul Foad remains an active musician, playing with Andy Hamilton and the Blue Notes, a Jamaican Jazz band and teaching guitar in and around Birmingham. He has also published a guitar technique book, co-written with Stuart Ritchie, titled The Caged Guitarist (2000). Bass player Jane Munro works as an alternative therapist in Birmingham.Pete Hammond also remains an active musician and teaches percussion in Birmingham.



01 - We're So Cool (3:29)
02 - Love Song (2:51)
03 - Set-Up (3:21)
04 - Repetition (3:34)
05 - Headache (For Michelle) (6:39)
06 - Come Again (3:54)
07 - Armagh (3:37)
08 - Unfinished Business (3:29)
09 - Dear John (2:57)
10 - It's Obvious (6:19)

11 - You (2:52)
12 - Domestic Departure (2:22)
13 - Kerb Crawler (2:47)
14 - Diet (4:19)
15 - It's Obvious (Single Version) (5:47)
16 - Inconvenience (12" Version) (2:56)
17 - Pretty Boys (3:40)
18 - Headache (For Michelle) (Remix) (6:38)

'condom version'

Au Pairs - Playing With A Different Sex ( 81 * 99mb)

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Howard Jones - Human's Lib ( 84 ^ 99mb)

Jones took piano lessons from the age of 7 and joined his first band at 15. When he was young, he used to give piano lessons. One of his clients was a girl named Jan Smith, whom he later married. Whilst working with her, a vehicle crashed into their van, injuring Smith. She claimed compensation and used the money to buy Howard a synthesiser, a Moog Prodigy. He was sent two synthesizers by accident, and he liked the combination of the two so much that he paid for the extra one. He appeared as a solo artist in local venues in High Wycombe, before inviting a mime artist called Jed Hoile, who used to do improvised choreography while doused in white paint as Jones played behind him. Jones combined synthesizer music with comment on animal rights and life's excesses. Philosophy, spirituality and humanistic ideals were all lyrical themes. After a well-received John Peel session he obtained support slots with China Crisis and OMD before signing to WEA in the summer of 1983.

After a promotional frenzy, his first single called "New Song" was released in September 1983 and reached the UK top five and U.S. top 30. He subsequently had four more hits over the next twelve months and a UK Number 1 album, Human's Lib. This album went gold and platinum in a number of countries and established a hardcore fanbase for Jones. In the summer of 1984, he released a single called "Like To Get To Know You Well", which he said was 'dedicated to the original spirit of the Olympic Games', it caught on and was a huge worldwide hit. When he released his second studio album, Dream Into Action, in 1985 he introduced his own backing band, including female backing vocal trio Afrodiziak. Afrodiziak featured Caron Wheeler (who went on to greater success with Soul II Soul) and Claudia Fontaine (who became a renowned backing singer). Playing bass guitar, meanwhile, was Jones' own brother Martin. In July 1985, Jones performed at Wembley Stadium as part of the Live Aid concert, subsequently he embarked on a major world tour-hitting countries such as Japan, Australia and the US where Jones was selling out huge arenas. Jones had his last UK Top 40 hit in 1986 with 'All I Want' but continued to have a degree of success in the US. He concentrated on production, songwriting and running a successful vegetarian restaurant called Nowhere.

In 2001, Jones played keyboards for Beatles legend Ringo Starr for Ringo's All Starr Band tour. The 2001 All Starr Band line-up consisted of ex-Supertramp frontman Roger Hodgson, dance-music percussionist Sheila E., former Mott the Hoople singer Ian Hunter and King Crimson/Emerson, Lake and Palmer singer-bassist Greg Lake. Jones fulfilled two life-long ambitions on this tour: to play live in a band with a member of the Beatles and to play Karn Evil 9 live. Keith Emerson’s classic keyboard arrangement is regarded as one of the most difficult keyboard pieces ever written. See/DL E.L.P. - Karn Evil . Jones has been busy in the past few years touring the world - playing gigs in the United States, Italy, Germany, Sweden and other countries. He has been putting the finishing touches to a new acoustic album, a second album of piano solos and remixing some tracks from his last album. His latest a ten track retro electronic album, 'Revolution of the heart', was released in 2005. It didn't achieve chart success and was aimed more at the loyal fan base Howard still has in the UK and the U.S.



01 - Conditioning (4:30)
02 - What Is Love? (3:41)
03 - Pearl in the Shell (3:56)
04 - Hide and Seek (5:27)
05 - Hunt the Self (3:38)

06 - New Song (4:15)
07 - Don't Always Look at the Rain (4:03)
08 - Equality (4:23)
09 - Natural (4:17)
10 - Human's Lib (3:59)

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The Mighty Wah! - A Word To The Wise Guy (84 ^ 97mb)

Pete Wylie (born 22 March 1958, Liverpool), formed the band The Crucial Three with Ian McCulloch and Julian Cope who also went on to fame with Echo and the Bunnymen and The Teardrop Explodes respectively. but Wylie is best known as the leader of the band known as various incarnations of Wah !. Active from 1979, they garnered critical acclaim for the singles "Better Scream" and "Seven Minutes to Midnight" (both as Wah! Heat), and the album Nah = Poo! - The Art of Bluff (as Wah!). Their biggest hit single was "The Story of the Blues", which was released in late 1982, and ultimately reached Number 3 in the UK Singles Chart. The Mighty Wah! also had a Top 20 hit with the song "Come Back" in 1984. Both tracks were chosen by the late BBC Radio 1 Radio DJ John Peel, as his 'single of the year'. The album, A word to the Wise Guy, was critically acclaimed but sold poorly and the band were dropped by WEA.

By 1986, Pete Wylie had a solo hit with "Sinful!", it became the title track of his 1987 solo album. In 1990 a single called “Imperfect List” was released under the name of “Big Hard Excellent Fish”. The spoken-word track is a list of 64 least favourite people and things read by Josie Jones. The list was written by Wylie and the track was recorded by Robin Guthrie of the Cocteau Twins. On 11 November 1991, Wylie suffered a near fatal fall when a railing gave way in Upper Parliament Street, Liverpool. He fractured both his spine and his sternum. A long period of rehabilitation ensued. At some point, Wylie began to write songs again and eventually sent demos to David Balfe (ex The Teardrop Explodes), head of A&R of the Sony's Columbia label. Balfe was impressed he signed Wylie to record the songs which he duly did (in London and Memphis), delivering Songs of Strength and Heartbreak in 1998. Despite the album being finished up to the point where artwork was finalised and discs even sent out for review, Sony did not release it. It left Wylie in artistic limbo, eventually, however, he was given the master tapes and Castle records released the album 3 years later, but without much commercial success.

Wylie then joined Dead Men Walking, featuring Mike Peters of The Alarm, Kirk Brandon of Spear of Destiny and Glen Matlock of the Sex Pistols. They toured extensively, performing old songs as well as new, including Wylie's "Your Mother Must Be Very Proud." Wylie's latest project is a twin album release with the working titles Pete Sounds and SLiME, both puns on mid-60s Beach Boys projects. Although he has sold demos of some of the new songs at gigs in 2004, he remains without a recording contract. Over the last couple of years Wylie has written the soundtracks for two films; Alex Cox's I'm A Juvenile Delinquent - Jail Me! and Under the Mud .



01 - Yuh Learn I (2:10)
02 - Weekends (3:39)
03 - Everwanna (3:40)
04 - The Lost Generation (3:16)
05 - Yuh Learn II (1:39)
06 - I Know There Was Something...(7:49)

07 - Yuh Learn III (1:05)
08 - In The Bleak - Body 'N' Soul - Midwinter ( 3::31)
09 - Papa Crack (God's Lonely Man) (6:42)
10 - What's Happening Here (3:07)
11 - Yuh Learn IV (1:14)
12 - Come Back (The Story Of The Reds) (4:15)

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

Around The World ( 26)

Hello today the second installment from the EMI vaults, Sacred Treasures, and that means harmonies, choirs and soloists singing (Pavaroti ) praise.

During the Renaissance, sacred choral music was the principal type of (formal or 'serious') music in Western Europe. Throughout the era, hundreds of masses and motets (as well as various other forms) were composed for a cappella choir. The interaction of sung voices in Renaissance polyphony influenced Western music for centuries. Madrigals continued to be written for the first few decades of the 17th century. Contrapuntal motets continued to be written for the Catholic church in the Renaissance style well into the 18th century.

Independent instrumental accompaniment opened up new possibilities for choral music. Verse anthems alternated accompanied solos with choral sections separated these sections into separate movements. Oratorios extended this concept into concert-length works, usually loosely based on Biblical stories. George Frideric Handel is the best-known composer of Baroque oratorios, most notably Messiah and Israel in Egypt. Lutheran composers wrote instrumentally-accompanied cantatas, often based on chorales (hymns). Johann Sebastian Bach (1685-1750) made the most prominent mark in this style, writing cantatas, motets, passions and other music. While Bach was little-known as a composer in his time, and for almost a century after his death, composers such as Mozart and Mendelssohn assiduously studied and learned from his contrapuntal and harmonic techniques.

Besides the technicalities, what is expressed to the listener is harmony, obviously in those days , harmony was strongly associated with heaven. After centuries of strive, witch hunts and pests, death had been omnipresent and thus heaven needed some expression, the harmony of choirs. The church lutheran and catholic were not only important sponsors to the composers, the churchbuilding was it's podium. There people could connect to a better place.
These days there are still many choirs, and even when they rarely get any press, many millions sing in choirs, the reportoire is much more mondain these days but the essential part remains, and that is harmony. From the perspective of the chaos merchants, those powers that be, it's terrorism of a kind they cant attack, only corner and ignore.

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Millenium Classics - Sacrad Treasures ( 99 ^ 165mb)



01 - Johann Sebastian Bach - Mattheus Passion, BWV 244 - Kommt, Ihr Tochter, helft mir klagen (9:05)
02 - Johann Sebastian Bach - Mattheus Passion, BWV 244 - Wir Setzen uns mit Tranen nieder (7:19)
03 - Giovanni Battista Pergolesi - Stabat Mater - I-Stabat mater dolorosa (3:42)
04 - Wolfgang Amadeus Mozart - Ave Verum Corpus, K.618 3.26 (3:26)
05 - Charles Francois Gounod - Ave Maria (3:11)
06 - Wolfgang Amadeus Mozart - Requiem, K.626 - I-Introitus 'Requiem Aeternam' (5:12)
07 - Wolfgang Amadeus Mozart - Requiem, K.626 - Confutatis maledictis (2:27)
08 - Wolfgang Amadeus Mozart - Requiem, K.626 - Lacrimosa dies illa (3:06)
09 - Franz Schubert - Ave Maria, D.839 (5:39)
10 - Gabriel Faure - Requiem, Op.48 - Pie Jesu (3:19)
11 - Gabriel Faure - Cantique de Jean Racine - Verbe egal et tres Haut (5:46)
12 - Giuseppe Verdi - Messa de Requiem - Requiem Aeternam (5:15)
13 - Giuseppe Verdi - Messa de Requiem - Dies irae (2:09)
14 - Guiseppe Verdi - Requiem - Ingemisco (3:41)
15 - Johann Sebastian Bach - Johannes Passion, BWV 245 - Ruht Wohl (7:55)
16 - George Friedrich Handel - Messiah - Hallelujah (3:59)

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

Don't Panic ! (26)

Hello , all things come to an end, and so today after 6 months, The Hitchhikers Guide To The Galaxy sees it final Fit. I hope those who followed the trail and withstood the agony of waiting for a week, understand that this way you get to listening to it, instead of download of 550mb and thinking right 13 hours to listen..when do i have the time ? Well as i resume Rhotation this week, you'll find a link to every phase in the comments..just in case.

Next week there's an encore before moving to another story...

What happened on the penultimate Fit ?

Arthur Dent has, since the last episode, settled on the planet his ship crash-landed on, Lamuella, which is partly in a "plural zone". He is occupied as The Sandwich Maker, making sandwiches for the inhabitants of a village from the meat of the Perfectly Normal Beast. Perfectly Normal Beasts are rather like bison, and migrate.

A messenger brings news to the Sandwich Maker that a spaceship has landed on the planet. When Arthur approaches it, he is surprised to see Trillian disembark. Trillian explains that the crash was known about, but nobody has been to able to rescue him for insurance reasons. She explains that she had a daughter, named Random, using sperm sold by Arthur, and has come to drop off her daughter (of indeterminate age due to time travel, but probably around 16), whilst she is off covering a war.

At the Hitchhiker's Guide building, Ford saves himself by using Colin's antigravity systems to get to a ledge on the 13th floor of the building. He bypasses the rocket-proof glass by unlatching the window. Colin notes that the rocket-proof glass was installed after the Frogstar attack on the building (in Fit the Seventh), which Ford knows nothing about.

Meanwhile, on Lamuella, Random is not settling in well. Born on a spaceship going from one place to another place, she doesn't consider anywhere home, and Earth, the world both her parents are from, has been destroyed. A robot courier arrives with a package, for Ford Prefect care of Arthur Dent, which Arthur decides to keep safely closed on the basis that anything that involves Ford Prefect is dangerous. Distraught at her lack of place in the universe, Random runs off with the package into the forest, which is considered haunted by the natives of Lamuella.

Random discovers that the holo-entertainment system from the rocket ship that Arthur Dent crash landed in, which is still functional, as the source of the "hauntings." She opens the package, revealing the Guide Mark II, in the form of a black bird. The Bird explains the nature of probability and that some alternative Earths do exist, and persuades Random to go to one of them. Random challenges the Bird to get her a spaceship there, and just at that moment, one lands. She downs the pilot with a well-thrown rock, and leaves Lamuella.

The alternate Tricia McMillan has been taken to Rupert and meets the Grebulon leader, who explains their problem of having forgotten everything, and their reasoning in trying to gain purpose through astrology. Meanwhile, Arthur has been looking for Random and has seen the spaceship. Searching the forest he stumbles onto the pilot of the ship, Ford Prefect.

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THHGTTG - Fit 26 (25mb)


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

Sundaze (26)

Hello Sundazers, its been a busy day, time for some introspective Future Sound Of London , Lifeforms really established them. Not as fluffy as the Orb, definetly stranger, weirder more complex , bubbling primevil soup meets astral thoughtform, Lifeforms indeed....Funki Porcini took his name from Funghi Porcini one of God's great gifts to Humanity, a mushroom delicate enough to flavor a sauce, yet vigorous enough to stand up to a grilled steak..makes sense that Funki spent a lot of time in Italy-10 years in fact, before returning to the UK and record and release Hed Phone Sex.......Remember in the comments you'll find the Sundaze Rhotation overview.

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The Future Sound Of London - Lifeforms (94, 92min ^ 197mb)

FSOL was formed in Manchester, England, in the mid 1980s. Dougans had already been making electronic music for some time when they first began working in various local clubs. In 1988, Dougans embarked on a project for the Stakker graphics company. The result was Stakker Humanoid. Cobain contributed to the accompanying album. In the following three years the pair produced music under a variety of aliases. Stakker Humanoid re-entered the UK chart in 1992, followed by the breakthrough ambient dub track "Papua New Guinea" featuring a looping Lisa Gerrard vocal sample, which was their first official release. Virgin Records looking for electronic bands and quickly signed them. With their newfound contract they immediately began to experiment, resulting in the Tales of Ephidrina album, released in 93 under the Amorphous Androgynous moniker. Thus preceding FSOL 's first album release Lifeforms (94)

Lifeforms followed in 1994 to critical acclaim. The new work featured unconventional use of percussion interspersed with truly ambient segments. The eponymous single from the album featured Elizabeth Fraser of the Cocteau Twins on vocals. The album was a top 10 hit on the UK album chart. 1994 also saw the release of ISDN, which was as close to a live album as most electronic acts get - it featured live broadcasts FSOL had made over ISDN lines to various radio stations worldwide and to The Kitchen, an avant-garde performance space in New York. Its tone was darker and more rhythmic than Lifeforms.
In 1996, FSOL released Dead Cities. The new material was a curious mix of ambient textures and hard, gritty dance music. This album also featured a collaboration with the composer Max Richter. However, critics suggested that the duo's musical output seemed to dry up following this release, save for a few 12" singles and remixes.

After a long hiatus, and rumors of mental illness, Cobain and Dougans returned in 2002 with The Isness, a record heavily influenced by 1960s and 1970s psychedelia and released under their alias Amorphous Androgynous. It was preceded by Papua New Guinea Translations, a mini album which contained a mixture of remixes of FSOL's seminal track as well as new material from The Isness sessions. Three years on, Dougans and Cobain followed the album with a continuation of the Amorphous Androgynous project, Alice in Ultraland. Rumoured to be accompanied by a film of the same title, the album took The Isness' psychedelic experimentation and toned it down, giving the album a singular theme and sound, and replacing the more bizarre moments with funk and ambient interludes. The album was ignored by the press, but more favourable among fans than its predecessor. Unlike The Isness, which featured almost a hundred musicians over the course of it and the various alternative versions and remix albums, Alice in Ultraland featured a fairly solid band lineup throughout. In 2006 FSOL released a best of album, Teachings From The Electronic Brain, then a year later they released 4 Archives albums.



Future Sound Of London - Lifeforms (94 ^ 98mb)

01 - Cascade (6:00)
02 - Ill Flower (3:25)
03 - Flak (4:53)
04 - Bird Wings (1:30)
05 - Dead Skin Cells (6:51)
06 - Lifeforms (5:18)
07 - Eggshell (6:46)
08 - Among Myselves (5:53)

Future Sound Of London - Lifeforms II ( 94 ^ 99mb)

09 - Domain (2:48)
10 - Spineless Jelly (4:42)
11 - Interstat (0:55)
12 - Vertical Pig (6:45)
13 - Cerebral (3:31)
14 - Life Form Ends (5:03)
15 - Vit (6:48)
16 - Omnipresence (6:39)
17 - Room 208 (6:13)
18 - Elaborate Burn (3:15)
19 - Little Brother (5:13))

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Funki Porcini - Hed Phone Sex ( 95 ^156mb)

Funki Porcini is musician and DJ, James Braddell, he left England at 19 to escape from a squat in Kings Cross being savaged by violent Scots stranded in London after a football game. Arriving in Los Angeles with three hundred dollars that disappeared in a week on cocktails and hamburgers he was forced into menial labour, stacking shelves in a Westwood department store before earning enough money to hitch-hike to San Francisco. Here he bought a saxophone and moved into the Residents old apartment where Snakefinger was still living. San Fran was alive with a post punk arty fart scene of radical experimentation and Porcini started his weird shit days of music. Although there were some true luminaries on the scene such as Mark Pauline and his Survival Research Laboratories, Monte Cazzaza, Factrix and a host of underground bands, nothing of what Porcini did in this period was, or ever shall be released, owing to the fact that on the whole it was ghastly to listen to.

Leaving San Francisco for New York with new found Australian friends SPK he eventually came back to England and hated it. After a brief trial of Berlin he settled in Italy and remained there for 10 years making music for film and television before getting back to music for music's sake. After establishing connections with Ninja Tune from Italy Porcini eventually came back to the mother ship and immersed himself in his studio 'The Uterus Goldmine' to produce the first album 'Hed Phone Sex,' a heady record openly made more for the pillows than for the dance floor. This was followed by Love Pussycats and Carwrecks, Let’s See What Carmen Can Do, The Ultimately Empty Million Pounds and his latest work Fast Asleep, where Porcini together with Team Alcohol aka Rupert Small have produced stunning visual interpretations of the music which is released on DVD sold in conjunction with the CD.

Funki Porcini is artist and DJ James Braddell, whose swirling mixtures of downtempo breaks, smooth ambiance, and disjointed drum'n'bass helped put the Coldcut-owned, South London-based Ninja Tune label on the map. The first single from his 1995 Ninja debut, Hed Phone Sex, "Long Road" (with a B-side, "Poseathon," littered with Bongwater samples) was featured on a number of compilations cashing in on the fashionability of "trip-hop," but Porcini's brand of laidback, atmospheric breakbeat is less gimmicky than that connection suggests. His follow-up to Hed Phone Sex, Love, Pussycats, and Carwrecks, is filled with jittery, jazz-laden drum'n'bass with a good dose of usually quite twisted humor. Braddell played North America with the Coldcut conglomerate DJ Food as part of the 1996 Unexploded Bomb tour, and has grown increasingly in-demand as a remixer, disorganizing tracks by everyone from Journeyman to the Mike Flowers Pops. His third album in total, Ultimately Empty Million Pounds, launched in 1999 and was soon followed by an EP, Zombie. Fans waited several years for more material from Braddell, though Fast Asleep finally appeared (after a lengthy delay) in late 2002.



01 - A Word Of Vice (0:45)
02 - B Monkey (7:21)
03 - Dubble (6:36)
04 - King Ashabanapal Pt1 (7:25)
05 - The Deep (9:01)
06 - King Ashabanapal Pt2 (4:33)
07 - Michael's Little Friend (0:32)
08 - White Slave (2:45)
09 - Poseathon (5:39)
10 - Wicked, Cruel Nasty And Bad (5:16)
11 - Pork Albumen (2:31)
12 - The Softest Thing In The World (Motorway Accident) (6:09)
13 - Something Wonderfull (7:21)
14 - Tiny Kangaroo Dolphin (From Hell) (1:14)
15 - Long Road (8:03)

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

Rhotation (26) Into BPM

Hello, Rhotation 26, and that marks the halfway mark of a year long of Rhotation, time for a lttle round up, the coming week i will post a daily overview of what was posted at each theme thusfar in the comment section.

Into BPM tonight goes in 2 trance. There's a big array of subgenres for that relatively young genre, but then maybe thats because it's become so popular, it's broad appeal. Tonight i present some classic trance by Jam & Spoon, some time ago i posted the superb ambient followup album to todays Tripomatic Fairytales, these guys were in a flow back then. Jam had previously worked with DJ Dag as Dance 2 Trance, in fact their album here came about in roughly the same timeframe as the Tripomatics, however Revival is much more straight dance trance whilst Jam & Spoon are more seeking, risktaking, creative...from some cd singles i compiled 7 instrumental trax some remixed, all rather fast.... From the start of trance to what is undoubtely its biggest star currently, Tiësto. On the album here he still carried the DJ prefix, the first In Search Of Sunshine series gave have a lot of positive respons and started him on a tour that never stops... 

The trance sound beyond this acid-era genesis is said to have begun as an off-shoot of techno in German clubs during the very early 1990s. Frankfurt is often cited as a birthplace of trance. Some of the earliest pioneers of the genre included Jam El Mar, Oliver Lieb, Sven Väth, and Torsten Stenzel, who all produced numerous tracks under multiple aliases. Trance labels like Eye Q, Harthouse, and MFS Records were Frankfurt based. Arguably a fusion of techno and house music, early trance shared much with techno in terms of the tempo and rhythmic structures but also added more melodic overtones which were appropriated from the style of house popular in Europe's club scene at that time. However, the melodies in trance differed from euro/club house in that although they tended to be emotional and uplifting, they did not "bounce around" in the same way that house did. Trance records are often heavily loaded with reverb and delay effects on the synthesizer sounds, vocals and often parts of the percussion section. This provides the tracks with the sense of vast space that trance producers tend to look for in order to achieve the genre's epic quality. Flangers, phasers and other effects are also commonly used at extreme settings - in trance there is no need for sounds to resemble any real-world instrument, and so producers have free rein.


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Jam & Spoon - Tripomatic Fairytales 2001 ( 93 , 74min ^ 164mb)

Jam & Spoon (Rolf Ellmer, classically trained composer) and Markus Löffel ( aka DJ Mark Spoon) are a duo from Frankfurt, Germany. They also worked under the pseudonyms Tokyo Ghetto Pussy, Storm and Big Room. Their first album, BreaksUnit1, was released in 1991. They had their first hit with the 1992 song "Stella," considered to be a trance classic. It was widely played, remixed and bootlegged in the dance club community for many years after its release. Their first international and commercial success was in 1994 with the singles "Right In the Night" "Find Me" and "Angel". These tracks featured vocals by singer Plavka Lonich. The first of Jam & Spoon's separately released but thematically linked Tripomatic Fairytales focuses on uptempo eco-techno and trance. The albums Tripomatic Fairytales 2001 and Tripomatic Fairytales 2002 , a landmark in tech-ambient, were released in 1994, followed by Disco 2001 (1995) as Tokyo Ghetto Pussy, Kaleidoscope (1997), Stormjunkie (2000) as Storm, and finally Tripomatic Fairytales 3003 (2005). In 2000 they remixed "The Chase," a 1979 Giorgio Moroder track. Credited to "Giorgio Moroder vs. Jam & Spoon", the song hit number 1 on the U.S. Hot Dance Music/Club Play chart. In June 2002 "Be.Angeled" hit number 4 on this chart. Markus Löffel died of a heart attack in his Berlin flat on 11 January 2006 at the age of 39. September, 2006, a two compact disc set titled Remixes & Club Classics was released to celebrate Mark Spoon. It is the first compilation of the duo's collected works, and features an exclusive track Be.Angeled - Tribute to Mark Spoon, performed live at the 2006 Love Parade in Berlin.



01 - Heart Of Africa (6:49)
02 - Odyssey To Anyoona (9:59)
03 - Two Spys In The House Of Love (0:32)
04 - Stella (6:19)
05 - Neurotrance Adventure (5:42)
06 - Operating Spaceship Earth (1:28)
07 - Zen Flash Zen Bones (6:10)
08 - Who Opened The Door To Nowhere (2:44)
09 - Right In The Night (Fall In Love With Music) (Single Version) (6:05)
10 - Muffeled Drums (0:40)
11 - Path Of Harmony (7:02)
12 - Paradise Garage (6:30)
13 - Earth Spirit (6:28)
14 - Stellas Cry (7:25)

Jam & Spoon - Tripomatic Fairytales 2001 ( 93, 74min * 99mb)

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Jam & Spoon - BeatTrax ( * 99mb)

Sourced from 2 different Angel cd singles aswell as the Find Me cdsingle a compilation of the harder, faster side of Jam & Spoon..with some great remixes..Love Parade here we go



01 - Can You Feel It (9:48)
02 - Angel (DJ Misjah) (9:53)
03 - Die Kraft Der Vier Kerzen (8:04)
04 - Acid Angel (Awex Mix) (5:54)
05 - Ladadi O-Heyo (El Magnifico Mix) (8:27)
06 - Techno Angel (Carl Cox Mix) (6:26)
07 - The Tribe (6:46)

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Dance 2 Trance - Revival (95, 75min ^160mb)

Dance 2 Trance (comprised of Rolf Ellmer [aka Jam El Mar], a classically trained composer; and Dag Lerner, a DJ) is believed by many to be one of the first trance music acts. The promotional vinyl release of their song "We Came In Peace", from 1990, is one of the first pieces of music in history to fall into the "trance" genre. Many of their lyrics are about Native Americans and the way we believe they have lived. Culminating in their first album Moonspirits (93) Late 94 they released Revival. When Jam (Ellmer) left in 1995 to focus on composing for his main project, Jam & Spoon Dance 2 Trance came to an end, a year later a compilation album Works was their epitaph.



01 - Surrealistic Pillow (8:03)
02 - Purple Onions (6:15)
03 - Neil's Aurora (7:46)
04 - Land Of Oz (7:00)
05 - Enuf Eko? (7:58)
06 - Christopher, Who? (8:02)
07 - Mrs. Cannabis (7:46)
08 - Morning Star (7:30)
09 - Fly, Fly, Dragonfly (7:15)
10 - Warrior (7:51)

Dance 2 Trance - Revival (95, 75min * 99mb)

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DJ Tiësto - In Search Of Sunrise I (99, 71min ^ 151mb)

Tiësto (Tijs Verwest) began DJing professionally at school parties and then moved on to become a resident DJ between 1985 and 1994 at several clubs in the Netherlands. During these years, he produced hardcore/gabber tracks under aliases such as Da Joker and DJ Limited. However, it was at The Spock, a small club in Breda, where he was able to fine-tune his own style by playing in a separate room from 10 pm until 4 am on weekends. In the mid-1990s, he started to produce trance, and in 1997 he and Arny Bink co-founded Black Hole Recordings to support his work releasing a series of singles under various aliases. Black Hole Recordings and its sub-label Magik Muzik continue to sign Tiësto's vision of trance – producing musicians and DJs. During this period, DJ Tiësto had been releasing the Magik series, which has had seven installments starting in 1997 and ending in 2001, after this Tiësto began releasing the In Search of Sunrise series, that is a compilation of Tiësto's mixes with tracks from other DJ's.

Tiësto's fame started to rise in the late 1990s after his set at the first ID&T Innercity party, and it continued to skyrocket in the early 2000s following his six-hour "Tiësto Solo" sets. This idea, of one DJ playing alone to a large crowd, was brought to its pinnacle when Tiësto was the first DJ to hold a solo concert in a stadium; on May 10, 2003, he performed for over 25,000 people in Arnhem's Gelredome. This concert was later called "Tiësto in Concert", the event was an enormous success. Due to these concerts and the release of In My Memory, his first solo album released in 2001 which contained 10 singles he was crowned as "No. 1. DJ in the World" by DJ Magazine (UK) in 2002, 2003, and 2004. In 2004 he released his second artist album Just Be, which featured the instrumental hitsingle Traffic .

The Athens Organizing Committee for the Olympic Games asked Tiësto to perform at the Olympic Games, making him the first DJ to play live on stage at the 2004 Summer Olympics Opening Ceremony in Athens for 90 minutes. A condensed studio-recorded album of the songs played on the Olympic set was later released, including new songs especially composed for the occasion, entitled Parade of the Athletes in October 2004. In 2005 Verwest took "Tiësto in Concert" to the United States when he played to thousands of fans.. For the second year in a row he performed live at a New Year's Eve/New Year's concert in Las Vegas, Nevada at the Orleans Arena to a sell-out crowd. Fall of 2005 he went on a very successful tour across Central and Eastern Europe Ukraine, Slovakia, Serbia, Macedonia, Romania, Hungary, the Czech Republic, Turkey, Croatia, and Poland . Tiësto also performed at the UNITY festival in South Africa . At Sensation White in 2006 he performed to over 45,000 people in the world's biggest dance event in Amsterdam, a huge number that was surpassed later that year when some 250,000 people danced on Ipanema Beach, Brazil.

In April 2006 Tiësto was named the official worldwide ambassador for the Dance4Life foundation promoting awareness of HIV/AIDS. DJ Tiësto, as the foundation's ambassador has helped the organization with fundraising along with recording the track "Dance4life", which marks the beginning of "Elements of Life", the fourth solo CD, released on April 16, 2007. The album contains collaborations with Jes, Julie Thompson, Charlotte Martin, Christian Burns, BT, and Maxi Jazz of Faithless featuring on Dance4Life. In December 2007 it was announced that the album was nominated for a Grammy Award. Earleir this year The Elements of Life World Tour DVD was released , a result of a year globetrotting for Elements of Life..The 39 year old has recently announced that he''s found time to fall in love and plans 10-10-08 to marry Stacey, a girl have his age....can you feel it !



01 - York - The Reachers Of Civilization (5:31)
02 - Libra Presents Taylor - Anomaly (Ferry Corsten Remix) (4:04)
03 - Billie Ray Martin - Honey (Chicane Club Mix) (6:42)
04 - Marc Vision - Time Gate (Update) (3:20)
05 - BT Mercury & Solace - (BT 12" Mastermix) (6:49)
06 - Cabala - Dark Blue (5:48)
07 - Gypsy - I Trance You (Pappa & Gilbey Mix) (5:06)
08 - Yahel & DJ Miss T - Going Up (4:03)
09 - Technique - Sun Is Shining (Mash Up Matt Remix) (5:22)
10 - Gouryella - Walhalla (3:31)
11 - Kamaya Painters - Far From Over (3:43)
12 - Lange - I Believe (DJ Tandu Remix) (7:38)
13 - Morrighan, The - Remember (To The Millennium) (Lange Remix) (5:34)
14 - DJ Tiësto - Sparkles (Magikal Remake) (4:19)

DJ Tiësto - In Search Of Sunrise (99, 71 min * 99mb)

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

Into The Groove (25)

Hello, Into The Groove stays with great soulmen , today it's Marvin Gaye who's career has been described as one that "spanned the entire history of rhythm and blues from fifties doo-wop to eighties contemporary soul".

Marvin Gaye's real name was Marvin Pentz Gay Jr.. He was born on April 2nd, 1939, & died on Arpril 1st, 1984.
This man was a master of soul but with a very troubled background. After graduating from high school, Gaye enlisted in the U.S. Air Force; upon his discharge, he returned to Washington and began singing in a number of street-corner doo wop groups, eventually joining the Rainbows,in 1958 they became the Moonglows. After relocating to Chicago, the Moonglows recorded a series of singles for Chess, after a performance in Detroit, Gaye's graceful tenor and three-octave vocal range won the interest of Berry Gordy, Jr., who signed him to the Motown label in 1961.

After starting his recording career as a drummer at Motown, he changed his name from Marvin Gay to Marvin Gaye, adding the 'e' to separate himself from his father's name, to stop gossiping about his sexuality and also did it in earnest of his idol, Sam Cooke, who also added an 'e' to his last name. Gaye quickly became Motown's top solo male artist and scored numerous hits during the 1960s. With his successful 1971 album What's Going On and subsequent releases including Trouble Man and Let's Get It On, Gaye, who was a part-time songwriter for Motown artists during his early years with the label, proved that he could write and produce his own singles without having to rely on the Motown system. He released several other notable albums, including Let's Get It On and I Want You, and had hits with singles such as "Let's Get It On", "Got to Give It Up", and, in the early 1980s, "Sexual Healing".

Throughout his life he was torn between the Bible and the bedroom. Heavily into drugs, involved in a failing marriage and so Gaye's career took a dive in the late 70's but then in 1982 he had a smash hit with Sexual Healing. That year, he returned to live with his parents until that fateful day, when he was shot by his father (a preacher) after a heated argument on a Sunday morning. A truly great soul singer.

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Marvin Gaye - I Heard It Through The Grapevine ( 69 ^ 78mb)




01 - You (2:25)
02 - Tear It On Down (2:54)
03 - Chained (2:36)
04 - I Heard It Through The Grapevine (2:59)
05 - At Last (I Found A Love) (2:36)
06 - Some Kind Of Wonderful (2:18)
07 - Loving You Is Sweeter Than Never (2:44)
08 - Change What You Can (2:38)
09 - It's Love I Need (2:54)
10 - Every Now And Then (2:58)
11 - You're What's Happening (In The World Today) (2:20)
12 - There Goes My Baby (2:23)

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Marvin Gaye - I Want You (76 ^ 88mb)

While the sexual tone of "Let's Get It On" was more explicit, "I Want You"'s romanticism was steeped in a kind of updated lovey-dovey-ness that hearkened backed to such ' 60s Gaye side as "Forever." Co-written by Ware and T-Boy Ross ( Diana's brother), "I Want You" glided to number one R&B and number 15 pop in the spring of 1976.The feel of the album was one of late-night parties in basements and small clubs, and the intimacy of the music evokes the image of people getting closer as every hour of a steamy night wears on. But the most astonishing things about I Want You are its intimacy (it was dedicated to and recorded in front of Gaye's future second wife, Jan), silky elegance, and seamless textures. Gaye worked with producer Leon Ware, who wrote all of the original songs on the album and worked with Gaye to revise them, thus lending Gaye a co-writing credit. I Want You is an early disco concept album,about intimacy, sensuality, and commitment, and decades later they still reverberate with class, sincerity, grace, intense focus, and astonishingly good taste.



01 - I Want You (Vocal) (4:35)
02 - Come Live With Me Angel (6:28)
03 - After The Dance (Instrumental) (4:21)
04 - Feel All My Love Inside (3:23)
05 - I Wanna Be Where You Are (1:17)
06 - I Want You (Intro Jam) (0:20)
07 - All The Way Around (3:50)
08 - Since I Had You (4:05)
09 - Soon I'll Be Loving You Again (3:14)
10 - I Want You (1:41)
11 - After The Dance (Vocal) (4:40)

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Marvin Gaye - Here, My Dear ( 78, 72min ^ 169mb)

During the amazing success of I Want You and his stellar Live at the London Palladium album, Marvin Gaye was served with divorce papers from his then-wife Anna Gordy Gaye (sister of Motown Records founder Berry Gordy). One of the conditions of the settlement was that Gordy Gaye would receive an extensive percentage of royalties as well as a portion of the advance for his next album. Initially, Gaye was contemplating giving less than his best effort, as he wouldn't stand to receive any money, but then reconsidered at the last moment. Gaye uses the album, right down to its packaging, to exorcise his personal demons with subtle visual digs and less-than-subtle lyrical attacks. Here, My Dear, bitterly explored the couple's relationship in such intimate detail that Anna Gordy briefly considered suing Gaye for invasion of privacy. Musically the album retains the high standards Gaye set in the early '70s, but you can hear the agonizing strain of recent events in his voice, to the point where even several vocal overdubs can't save his delivery. Stripped to its bare essence, Here, My Dear is no less than brilliantly unsettling and a perfect cauterization to a decade filled with personal turmoil.



01 - Here, My Dear (2:47)
02 - I Met A Little Girl (5:00)
03 - When Did You Stop Loving Me, When Did I Stop Loving You (6:13)
04 - Anger (3:57)

05 - Is That Enough (7:41)
06 - Everybody Needs Love (5:43)
07 - Time To Get It Together (3:51)

08 - Sparrow (6:10)
09 - Anna's Song (5:50)
10 - When Did You Stop Loving Me, When Did I Stop Loving You (5:57)

11 - A Funky Space Reincarnation (8:14)
12 - You Can Leave, But It's Going To Cost You (5:27)
13 - Falling In Love Again (4:34)
14 - When Did You Stop Loving Me, When Did I Stop Loving You (Reprise) (0:40)


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

Alphabet Soup (25)

Hello Alphabet Soup is nearing the end of the line, Y . Thankfully much more choice there as with X, so no trouble having 3 wide ranging artists. Neil Young 's career spans 40 years now, here i limit myself to his first decade, when Young released his career retrospective , a triple album no less, I followed the vinyl format with 3 seperate downloads. The Young Gods came into the picture 10 years later, 87 and released Melody makers album of the year. They will release their 14th album, Knock on Wood, later this month, again a side step/surprise like the album Plays Kurt Weill was too. But The Young Gods like a challenge and draw the best from themselves...My last artist hadn't been born when Decade was released and when his debut album saw the light in 2000, the 20 year old from Hungary surprised the music world with his lo-fi, Shallow and Profound..

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Neil Young - Decade ( 77, 142min ^ 297mb)

Neil Percival Young (born November 12, 1945, Toronto). Neil spent his early years in the small country town in southern Ontario, he was diagnosed with diabetes as a child and a bout of polio at the age of 6 left him with a weakened left side; he still walks with a slight limp. His parents divorced when Young was 12, and he moved with his mother back to the family home of Winnipeg, Manitoba, where his music career began. While attending Kelvin High School in Winnipeg, he played in several instrumental rock bands. Young's first stable band was called the Squires, and they had a local hit called "The Sultan." Young dropped out of high school and also played in Fort William, where they recorded a series of demos and he first encountered Stephen Stills. Young toured solo as a folk artist and by 66 he reached Los Angeles, Young met up with Stephen Stills, Richie Furay, Dewey Martin and Palmer to form Buffalo Springfield. A mixture of folk, country, psychedelia, and rock lent a hard edge by the twin lead guitars of Stills and Young made Buffalo Springfield a critical success, and their first record Buffalo Springfield (1967) sold well . A second album, Buffalo Springfield Again, was released in late 1967, but two of Young’s three contributions were actually solo tracks recorded apart from the rest of the group. In May 1968, the band split up for good, but in order to fulfill a contractual obligation, a final album, Last Time Around, was recorded, primarily from recordings made earlier that year.

After the breakup, Young signed a solo deal with Reprise Records, home of his colleague and friend Joni Mitchell, with whom he shared a manager, Elliot Roberts. Young and Nitzsche immediately began work on Young's first solo record, Neil Young (November 1968), which received mixed reviews. For his next album, Everybody Knows This Is Nowhere, Young recruited three musicians Danny Whitten on guitar, Billy Talbot on bass guitar, and Ralph Molina on drums, they took the name Crazy Horse. Recorded in just two weeks, the album opens with one of Young's most familiar songs, "Cinnamon Girl," and is dominated by two more, "Cowgirl in the Sand" and "Down by the River," that feature lengthy jams showcasing Young's idiosyncratic guitar soloing accompanied sympathetically by Crazy Horse. Shortly after the release Young reunited with Stephen Stills by joining Crosby, Stills, & Nash. The quartet debuted in Chicago on August 16, 1969, and later performed at the famous Woodstock Festival. During the making of their first album, Déjà Vu, the musicians frequently argued, particularly Young and Stills, who both fought for control. Also that year, Young released his third solo album, After the Gold Rush (1970), which featured, among others, a young Nils Lofgren, Stephen Stills, and CSNY bassist Greg Reeves. The album was a commercial breakthrough for Young and contains some of his best known work.

With CSNY splitting up and Crazy Horse having signed their own record deal, Young began the year 1971 with a solo tour. Later, he recruited a new group of country-music session musicians, to record much of the new material that had been premiered on tour for the album Harvest (1972). Harvest was a massive hit and "Heart of Gold" became a US number one single. Another notable song was "The Needle and the Damage Done," a lament for talented artists who died because of heroin addiction; inspired in part by the heroin use of Crazy Horse member Danny Whitten, who would eventually die of an overdose. The album's success, however, caught Young off guard, and his first instinct was to back away from stardom. In the handwritten liner notes to the Decade compilation, Young described 'Heart of Gold' as the song that "put me in the middle of the road. Travelling there soon became a bore, so I headed for the ditch. A rougher ride but I saw more interesting people there."

The follow up album Time Fades Away occupies a unique position in Young’s discography as the first of three albums known collectively as the "Ditch Trilogy" In the second half of 1973, deeply affected by the drug-induced deaths of Whitten and roadie Bruce Berry, Young recorded Tonight's the Night. The album's dark tone and rawness caused Reprise to delay the release until two years later and only after being pressured by Young to do so. The album received mixed reviews at the time, but is now regarded by some as a precursor to punk rock. While his record company delayed the release of Tonight's the Night, Young recorded On the Beach (1974), which dealt with themes such as the downside of fame and the Californian lifestyle. Like Time Fades Away and Tonight's the Night, it sold poorly but would eventually become a critical favourite, presenting some of Young's most original work.

Compiled by Young himself, with his hand-written notes about each track, representing every album from his career and various affiliations through 1977 with the exception of Four Way Street and Time Fades Away. Of the previously unreleased songs, "Down to the Wire" features the New Orleans pianist Dr. John with Buffalo Springfield on an item from their shelved Stampede album; "Love Is a Rose" was a minor hit for Linda Ronstadt in 1975; "Winterlong" received a cover by Pixies on the Neil Young tribute album from 1989, The Bridge; and "Campaigner" is yet another Young song critical of Richard Nixon. The track "Long May You Run" is a different mix to that found on the album of the same name, featuring the harmonies of the full CSNY before Crosby & Nash left the recording sessions.The album has been lauded in many quarters as one of the best examples of a career retrospective for a rock and roll artist, and as a template for the box set collections that would follow in the 1980s and beyond.



Neil Young - Decade I (77 ^ 99mb)

01 - Buffalo Springfield - Down To The Wire (2:26)
02 - Buffalo Springfield - Burned (2:15)
03 - Buffalo Springfield - Mr. Soul (2:46)
04 - Buffalo Springfield - Broken Arrow (6:08)
05 - Buffalo Springfield - Expecting To Fly (3:40)
06 - Neil Young - Sugar Mountain (5:36)

07 - Neil Young - I Am A Child (2:16)
08 - Neil Young - The Loner (3:48)
09 - Neil Young - The Old Laughing Lady (5:53)
10 - Neil Young & Crazy Horse - Cinnamon Girl (2:57)
11 - Neil Young & Crazy Horse - Down By The River (8:52)

Neil Young - Decade II ( ^ 99mb)

12 - Neil Young & Crazy Horse - Cowgirl In The Sand (9:54)
13 - Neil Young & Crazy Horse - I Believe In You (3:24)
14 - Neil Young & Crazy Horse - After The Gold Rush (3:42)
15 - Neil Young & Crazy Horse - Southern Man (5:23)
16 - Crosby, Stills, Nash & Young - Helpless (3:27)

17 - Crosby, Stills, Nash & Young - Ohio (2:56)
18 - Neil Young - Soldier (2:28)
19 - Neil Young - Old Man (3:18)
20 - Neil Young - A Man Needs A Maid (3:55)
21 - Neil Young - Harvest (3:06)
22 - Neil Young - Heart of Gold (3:03)
23 - Neil Young - Star Of Bethlehem (2:36)

Neil Young - Decade III ( ^ 99mb)

24 - Neil Young - The Needle And The Damage Done (2:01)
25 - Neil Young & Crazy Horse - Tonight's The Night (Part 1) (4:35)
26 - Neil Young & Crazy Horse - Tired Eyes (4:27)
27 - Neil Young - Walk On (2:37)
28 - Neil Young - For The Turnstiles (2:56)
29 - Neil Young - Winterlong (3:03)
30 - Neil Young - Deep Forbidden Lake (3:37)

31 - Neil Young & Crazy Horse - Like A Hurricane (8:12)
32 - Neil Young - Love Is A Rose (2:16)
33 - Neil Young & Crazy Horse - Cortez The Killer (7:20)
34 - Stills Young Band - Campaigner (3:24)
35 - Stills Young Band - Long May You Run (3:41)

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Young Gods, The - The Young Gods Play Kurt Weill ( 91 ^ 82mb)

Swiss electro-noise terrorists the Young Gods traced their origins back to 1982, when Geneva-based frontman Franz Treichler, increasingly bored with his then-current new wave band, began experimenting with a small sampler. Influenced as well by the visceral power of punk and the grand drama of classical music, he began creating abrasive guitar and drum loops, and with sampler Cesare Pizzi and percussionist Frank Bagnoud, founded the Young Gods in 1985. The trio debuted a year later with the sigle "Envoyé !" Produced by Swan Roli Mosimann, their self-titled debut LP followed in 1987, and was named Album of the Year by Melody Maker; by the time of the follow-up, 1989's L'Eau Rouge, drummer Use Heistand had replaced Bagnoud, and with the release of 1991's The Young Gods Play Kurt Weill, Pizzi was gone in favor of sampler Alain Monod. T.V. Sky followed in 1992, while 1995's Only Heaven flirted with ambient textures; a year later, the Young Gods (minus Heistand and with new drummer Bernard Trontin) returned with Heaven Deconstruction. Their ninth album, Second Nature (99), is perhaps their most techno-oriented to date, yet it still features the wide array of styles that have made them consistently appealing to underground fans. 2001 they released a live album, Noumatrouff 1997. Music for Artificial Clouds (2004) and XXY: Twenty Years 1985-2005 a best of and remixes album. A year ago, they released , the electric and entrancing “Super Ready /Fragmenté ”. The Young Gods’s new album has nothing to do with southern soul music, yet their “Knock on Wood ” has soul, and stands apart in the group’s exciting discography. The approach was psychedelic blues folk combined with electronic minimalism.

Besides introducing keyboardist Al Comet and thus stabilizing the band line-up for the next decade, Play Kurt Weill is an intriguing curiosity few other bands could easily pull off. As part of an annual Swiss musical festival celebrating specific musicians each year, the Gods were invited to perform renditions of numbers by the noted German composer, writer of theatrical musical standards from The Threepenny Opera to "September Song." The subsequent album is a revelation; while rockers from Bobby Darin to Lou Reed and on had tried their hand at the Weill songbook, the Gods embraced the avant-garde bent of Weill's music with a passion. "Prologue" reworks the sly opening narration to Threepenny Opera in the context of a rock concert, audience screams and all, and from there on in it's Weill as you've not quite heard him before, ditching solo cabaret revivalism for sample-based reinvention. Treichler sounds throughout like he's having the time of his life; on "Alabama Song," memories of the Doors' fair enough take are erased by his sinuous whisper and the band's switch between calm and noise. As for the amazing album-ender "September Song," delivered by Treichler with restrained passion over a stripped-down wash of ocean waves and ghostly samples floating in and out of the mix.





1 - Prologue (1:47)
2 - Salomon Song (4:07)
3 - Mackie Messer (4:13)
4 - Speak Low (5:13)
5 - Alabama Song (5:51)
6 - Seeräuber Jenny (5:52)
7 - Ouverture (2:50)
8 - September Song (2:47)

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Yonderboi - Shallow And Profound (00 * 99mb)

Real name Laszlo Fogarasi (1980) , Yonderboi grew up in the small, silent village of Mernye in South West Hungary, his earliest love was art. He took to drawing, painting and even sewing, desiring simply to create in whichever way he was capable. At secondary school he was enticed by the classical guitar, and began taking lessons until his interest in music led to him obtaining his first computer. In spite of the restrictions of the mono soundboard that came with it, he set about making his own musical creations, uninspired by the traditional musical education he’d been provided with. He saw music as a blank canvas with which to conjure up his own style, exercising his artistic freedom by concentrating on the emotions within

Laszlo spent his youth investigating a variety of different musical genres. Citing the Eastern European cartoon music of his childhood as his earliest influence, he soon discovered his dad’s record collection introducing seminal artists like T-Rex and John Lennon. Other influences include the unique Polish and Hungarian jazz sounds of Studio 11 and Rudolf Tomsits, the early pioneering electronic works of Herbie Hancock, The KLF, the seminal hip-hop sounds of De La Soul and The Beastie Boys, and the 90’s ‘trip-hop’ sounds of the Ninja Tune label and DJ Shadow.Taking his moniker from a character in the William Gibson novel “Neuromancer”. His mind a melting pot of musical taste, Laszlo set about making his first demo. Once complete, he sent it to Juice Records in Budapest where it made a lasting impression, ultimately leading to the release of the internationally recognised “PinkSolidism”. He graduated from High School in the summer of 1999, and moved to Budapest. He recorded the material for his album before even finding a place to live, living out of a suitcase in the building of his Hungarian record label, UGAR. The vocals and live instrumentation were recorded professionally over a mere two-day period due to money constraints.

The resulting album – ultimately pieced together on a cheap PC with free software – was astonishing. Released on the German label Mole Listening Pearls in January of 2000, “Shallow and Profound” made a lasting impression worldwide, selling 60,000 copies. With its delectable concoction of down tempo, trip-hop, lounge and 60s jazz, it was lauded by artists as reputable as The Herbaliser, Peter Kruder, Laurent Garnier, Hooverphonic, Gotan Project, and Gilles Peterson, who’s listeners made it number 9 on his “All Winners 2000” chart. It was voted number 1 in the Top 50 best Hungarian albums ever in WAN2 magazine.

Touring followed: packing up his MPC2000 XL, he set up a live band and formed The Yonderboi Quintet, featuring in many jazz and electronic festivals across Europe (Sonar, Lowlands, The Big Chill). The touring period proved intensive, and Yonderboi decided to take two years out to catch breath and work on some new material. The time he spent between albums was used wisely, experimenting with unknown territories, both in music and life. He practised his compositional skills and developed musical sketches, culminating in a collection of songs that would eventually make up his sophomore album “Splendid Isolation”. After the demo was ready he employed the help of friend and musician Tom Holkenborg (otherwise known as Junkie XL), who leant his experience and technical expertise to help give shape to Yonderboi’s creative ideas. More urban and mature than “Shallow and Profound”, “Splendid Isolation” provides the perfect musical backdrop to Laszlo’s time spent in Budapest. He cites his main influences for the album as coming from a keen interest in art-house flicks. Like a movie, “Splendid Isolation” tells a multi-layered story that climaxes in a mind-bending ending, using the cinematic methods of structure, build up and suspense.



01 - Intro (1:03)
02 - Milonga Del Mar (8:44)
03 - Chase And Chaser (3:41)
04 - Cantaloupe Island (Interlude) (1:09)*
05 - Ohne Chanteuse (3:41)
06 - No Answer From Petrograd (4:32)
07 - 100% Trevira (2:52)
08 - Pabadam (3:59)
09 - The Severance (0:23)
10 - Sinking Slowly (4:52)
11 - Body Surf (4:04)
12 - Riders On The Storm - Pink Solidism (4:19)
13 - Road Movie (6:50)
14 - Thousand Bells (4:46)
15 - Fairy Of The Lake (5:08)
16 - Another Geometry (5:13)
17 - Outro (1:19)

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

Eight-X (25)

Hello, Eight-X time again, the weeks seem to fly by..Well last week i presented Modern English, General Public and Fingerprintz i announced then i'd get back to the latter two, so why not this week. From the ashes of the Fingerprintz a new band was born, The Silencers, after a good start their populairity back home waned to cult, whilst on mainland europe they remained popular. I present here their 2nd album Blues for Buddah..such a great title...General Public was formed from the ashes of The Beat, and amazingly, there arose another band from these ashes that would become the most successful of all, The Fine Young Cannibals, they scored a number of big hits, specially from the album i present here, just 35 min long but one of the most exciting albums of the decade , The Raw and The Cooked. I added some extensive remix exercises by masterchef Arthur Baker.... As it happens my third offering today was involved-productionwise with that album. Back in 81 he was a Talking Head with time on his hands when Byrne was busy with Eno recording Bush of Ghost and The Catherine Wheel-see last Sundaze. Jerry Harrison is the man im talking about here and his first soloalbum The Red And The Black, certainly has it moments sounding like Talking Heads without the manic singing of Byrne......

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Jerry Harrison - The Red And The Black ( 81 ^99 mb)

Born in 1949 in Milwaukee, Jerry Harrison began playing with bands while in high school, and continued his work after graduation, while studying architecture at Harvard during the late '60s. By the beginning of the decade, Harrison and bandmate Ernie Brooks were encouraged to form a band by local Boston friend Jonathan Richman. Named the Modern Lovers, the group moved quickly and recorded demos in 1972 with John Cale. Finally released in 1976, the songs proved to be a major influence on underground bands in New York; the Modern Lovers had broken up by that time, though, with Harrison going back to Harvard to teach. In April of 1976, however, he attended a Talking Heads show in Boston and convinced them to let him join. The band signed to Sire just one year later, and became one of the most intelligent alternative bands of the 1980s, recording an astounding variety of material and even earning several pop hits.

Harrison's second full solo album, appeared in 84, Casual Gods had a similar fell to his debut, with loose funk-rock grooves and an open-ended song structure (which suited Harrison's vocals well) but boasted more tuneful songs. Talking Heads was effectively disbanded by that time, and Harrison had already begun producing in 1986, with the Bodeans and Violent Femmes. During the 1990s, Harrison became an important and respected producer, working on popular albums by Live, Crash Test Dummies, and the Verve Pipe. In 1996, he played with Talking Heads alumni Tina Weymouth and Chris Frantz as the Heads.

During an extended Talking Heads vacation during 1981, whilst Byrne and Eno were losing themselves in the bush of ghosts, Harrison recorded his first solo album, The Red and the Black. The album was recorded with Bernie Worrell, Nona Hendryx and Adrian Belew -- all of whom had appeared on Talking Heads' Remain in Light. While the myth has been widely propagated that David Byrne was the sole creative presence of any consequence among his Talking Heads cohorts, The Red and the Black makes perhaps the strongest case against such a claim. Jerry Harrison, proves his formidable talent as a multi-instrumentalist and songwriter for the first time in this close-up. There's little doubt that Harrison's debut is informed most directly by the last few Talking Heads albums, particularly the genre-defining Remain in Light. The polyrhythmic exercises, spoken word interludes, and Enoesque knob twiddling are standard parts of Harrison's palette. Besides the relentless attack of fired-up synthesizers and frenzied rhythms, Harrison incorporates a cast of soulful female background vocalists, many of whom would end up on the next Talking Heads record and following tour. The Red and the Black holds its own against the rest of Talking Heads' oeuvre, and shows where the band could have gone, had they not opted for a more minimalistic approach later in their career.The album's complex and funky musical style has aged impressively, as have Harrison's observations on the modern condition.



01 - Things Fall Apart (4:58)
02 - Slink (4:15)
03 - The New Adventure (4:59)
04 - Magic Hymie (4:44)

05 - Fast Karma - No Questions (3:54)
06 - Worlds In Collision (5:06)
07 - The Red Nights (3:57)
08 - No More Reruns (4:17)
09 - No Warning, No Alarm (3:28)

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Silencers - Blues For Buddah ( ^130 mb)

Before forming The Silencers, vocalist Jimme O'Neill and guitarist Cha Burns were active in London's new wave music scene.
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. The group split in 1985.

Soon 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. They demoed three new songs: "Painted Moon," "I See Red," and "I Can't Cry." The demos earned them a contract with RCA, and their song "Painted Moon," about O'Neill's personal reaction to the Falklands War, was included on the soundtrack to the film The Home Front, and then released as their first single in April 1987. Their first album A Letter from St. Paul included re-recorded versions of all three demos. The Pretenders invited the band to support them on their European tour, and then the success of Painted Moon across the pond induced a tour of America on their own, and later with Squeeze.

In 1988 The Silencers toured Europe with The Alarm , the band moved back to Scotland and recorded second album A Blues for Buddha at CaVa Studios in Glasgow, with Flood producing. The standout tracks were "Scottish Rain," about love and fallout from Chernobyl, and the fan favourite, the optimistic, horn-driven "The Real McCoy" (the "be do, do be do do, be do do" is infectious) and the surging, pop-savvy "Razorblades of Love". Even though they had a minor radio hit with "Scottish Rain.", A Blues for Buddha didnt do aswell as their debut. The band then toured Europe with Simple Minds for four months.

After the tour, the band began work on third album Dance to the Holy Man, but personal conflict derailed the process. Joseph Donnelly and Martin Hanlin left the band, and were replaced by Tony Soave on drums and Lewis Rankine on bass. The album, a departure from the band's "guitar-based atmosphere pop," was recorded during the summer of 1990. It included funk, blues, and Celtic strains. Single "Bulletproof Heart" became a big hit in Spain and France, where the band had a huge success at that time, but album sales lagged back in the United Kingdom. Coatbridge-born jj gilmour joined the band as a second male vocalist before another tour of Europe, and Stevie Kane joined the band, replacing Rankine during the tour .

Deeply in debt to RCA and not having the expected success in England, The Silencers were in danger of being dropped by their label despite their success throughout Europe. However, after label representatives saw an impressive live show they allowed the band to begin work on fourth album Seconds of Pleasure. Single "I Can Feel It" was, true to form, a hit in Europe and ignored in England. In 1994 The Silencers signed to new labels: Permanent for Britain and BMG for France. That summer they recorded the song "Wild Mountain Thyme," featuring O'Neill's daughter Aura on vocals. It became a hit in Scotland after featuring in a tourism board advertising campaign. Soon after, they completed fifth album So Be It.

After a mid-1996 tour of Europe, Gilmour and Soave left the band. Jim McDermott joined on drums and Aura McNeill became a permanent member of the band. The year 1996 brought the release of singles compilation Blood & Rain, and The Silencers took several years off from recording. In 1999 the band worked on seventh album Receiving, which was financed by money from festival appearances in Europe. Speaking of the new record, O'Neill said, "Some of the new tracks were recorded as if this was a different band. I wanted to forget about everything we'd done before and some of what came out reminded me of Fingerprintz - new wave for the nineties!"

In 2001 the band released their first live album, A Night of Electric Silence, recorded in Glasgow in 2000, with McDermott on drums, Kane on bass, Phil Kane on keyboards, O'Neill on guitar and vocals, Milla on violin and Aura O'Neill on vocals. In November 2004 Come was released, featuring standout tracks "Siddharta," "Let It Happen" and "Head." Today, most of the band's albums are out of print and available only at inflated prices. Charles Burns died on March 26th 2007, in Prestatyn, Wales [UK], following a battle with lung cancer. He was 50.



01 - Answer Me (4:56)
02 - Scottish Rain (5:19)
03 - The Real McCoy (6:03)
04 - A Blues For Buddha (3:00)
05 - Walk With The Night (5:00)
06 - Razor Blades Of Love (4:49)
07 - Skin Game (5:48)
08 - Wayfaring Stranger (3:10)
09 - Sacred Child (7:32)
10 - My Love Is Like A Wave / Razor Blade Reprise (6:09)
11 - Sand And Stars (1:30)

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Fine Young Cannibals - The Raw & The Cooked ( 88 * 99mb)

When the Beat split in 1983, it came as a surprise to guitarist Dave Cox and bassist David Steele. The first time they realized that the group's vocalists, Ranking Roger and Dave Wakelin, had gone off to form General Public without them, was when their accountant phoned to finalize the divorce. Cox and Steele set about creating something new of their own. Apart from a vague notion of adding both jazz and soul to the Beat's ska roots, they also decided to feature a strong vocalist. However finding one proved to be difficult, then they remembered a singer whose band had once supported the Beat. They found Roland Gift singing with a barroom R&B band named the Bones. He was everything they had remembered; he was their man. Gift had spent his teenage years in youth theatre, until the advent of punk made music his main passion. As punk gave way to the two-tone ska which gave rise to groups like Madness and, ultimately, the Beat, Gift took up saxophone and singing in a local band.

The Fine Young Cannibals signed to London Records in early 1985, their name came from an obscure 1960 film starring Robert Wagner and Natalie Wood. the Fine Young Cannibals released a demo version of "Johnny Come Home" as their first single. Its instant success allowed them to team up with a compatible producer, Robin Miller, for the first Fine Young Cannibals album, also containing the group's trademark overstated version of Elvis Presley's "Suspicious Minds." For the Johnathan Demme film Something Wild, they reached back into Gift's punk past with a version of the Buzzcocks' classic "Ever Fallen in Love." Five years later, a second album emerged, The Raw and the Cooked, the raw side made up mostly of songs the group had contributed to Barry Levinson's film Tin Men, in a mere ten songs and 35 minutes the Fine Young Cannibals created a masterpiece. Remaining true to the FYC's vision of tying past and present musical styles together into artful new pop packages, The Raw & the Cooked features a shopping list of genres. Mod, funk, Motown, British beat, R&B, punk, rock, and even disco are embedded within the songs, while the rhythms, many synthetically created, are equally diverse. In less delicate hands this would be nothing more than an everything including the kitchen sink motley mess, but FYC manage this mix with subtly and elan. Every one of Raw's tracks simmers with creativity, as the hooks, sharp melodies, and irrepressible beats are caressed by nuanced arrangements and sparkling production.

Since then, the Fine Young Cannibals have remained elusive. Cox and Steele continue to work together under various names, while Roland Gift's hoped-for film career never quite took off. Fine Young Cannibals briefly returned to the studio in 1996 to record a new single The Flame which would complement their greatest hits compilation The Finest released that year. Gift reactivated the band name and toured in the 2000s as Roland Gift and the Fine Young Cannibals, releasing his debut self-titled solo album in 2002.



01 - She Drives Me Crazy (3:35)
02 - Good Thing (3:22)
03 - I'm Not The Man I Used To Be (4:20)
04 - I'm Not Satisfied (3:46)
05 - Tell Me What (2:45)
06 - Don't Look Back (3:36)
07 - It's Ok (It's Alright) (3:29)
08 - Don't Let It Get You Down (3:20)
09 - As Hard As It Is (3:10)
10 - Ever Fallen In Love (3:52)
---Xs---
11 - Ever Fallen In Love (Arthur Baker Senseless mix) (9:22)
12 - Fallen In Love (Rare Groove Bootleg mix) (11:13)
13 - Couldn' t Care More (3:26)


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

Around The World (25)

Hello Around the Worldmusic left the medievil spheres but were not stepping back to the future. A few weeks ago i found myself in a second hand cd shop again..hadn't seen one in months. i love to browse thru the leftovers, the discarded and disillusions, and naturally with my 'knowledge' pick up a buy or two, with a price of 50 c there's not much to loose anyway. First cd that caught my eye , Silverfish, had been requested here just a week before..odd synchronicity, but it got me going. Meanwhile i had scored about 5 and come across several cd's called millenium series, they were numbered and yes before i was ready i scored all 10 of them. Now the light there was very bad, i even mentioned it to an employee who reacted irritated, customers such a pain in the ass.. Anyway for 5 euros i decided to buy the lot, when i came home i was surprised to see what i bought. It was remastered music from the EMI classical catalogue , music played/arranged by the worlds greatest classical symphony orchestras and top soloists, the highest of the hi-brow, rubbing shoulders with the derelict in a sec.hand shop..life's little ironies.

As the series started in the early 17th century with Vivaldi's four seasons the idea came to mind to post the series here, as a follow up of my medievil series. I haven't posted any classical thusfar probably because my collection of classical music is rather small, and i'm certainly not a connaisseur. However the main reason i decided to do it now was simple, i liked what i heared. Obviously the series has a greatest hits element to it, most will recognise this or that..I will recode in the highest quality and as the cds are all close to the 80 min cd limit, downloadsizes will be around 180-200 mb range. I'm not sure what you(visitor) prefer 1 big download or broken in 2 , let me know.... I will include the inside info on what and who is playing where in a 300 dpi-readable format jpeg.


Antonio Lucio Vivaldi (March 4, 1678 – July 28, 1741) was born in Venice (that day an earthquake struck the city !). His father, Giovanni Battista, a barber before becoming a professional violinist, taught him to play violin and then toured Venice playing the violin with his young son. At the age of 15 (1693), he began studying to become a priest, 10 years later he was ordained a priest, and soon nicknamed il Prete Rosso, "The Red Priest", probably because of his red hair. Vivaldi suffered ill health because of asthma. Vivaldi became maestro di violino (master of violin) at an orphanage called the Pio Ospedale della Pietà . It was during these years that Vivaldi wrote much of his music, including many operas and concerti. Has fame grew and by 1725 he was a busy man producing opera's, playing violin for the pope and what have you.

It is also in this period that he wrote the Four Seasons, four violin concertos depicting natural scenes in music.The inspiration for them was probably the countryside around Mantua. They were a revolution in musical conception: in them Vivaldi represented flowing creeks, singing birds (of different species, each specifically characterised), barking dogs, buzzing mosquitoes, crying shepherds, storms, drunken dancers, silent nights, hunting parties (both from the hunter's and the prey's point of view), frozen landscapes, children ice-skating, and burning fires. Each concerto was associated with a sonnet of Vivaldi's hand, describing the scenes depicted in the music. They were published as the first four of a collection of twelve, Il cimento dell'armonia e dell'inventione, his Opus 8, published in Amsterdam by Le Cène in 1725.

Johann Sebastian Bach (March 21, 1685 – July 28, 1750) was born in Eisenach, Germany. He was the youngest child of Johann Ambrosius Bach, an organist at St. George's Church, his father taught him to play violin and harpsichord. His uncles were all professional musicians, whose posts ranged from church organists and court chamber musicians to composers. One uncle, Johann Christoph Bach (1645–93), was especially famous and introduced him to the art of organ playing. His parents died when he was 10 and so he moved in with his oldest brother, Johann Christoph Bach (1671–1721), the organist at nearby Ohrdruf. There, he copied, studied and performed music, and apparently received valuable teaching from his brother, who instructed him on the clavichord.

Bach was a prodigous composer and performer, after his death his reputation as a composer declined; Bach's work was regarded as old-fashioned compared to the emerging classical style. But then several notable composers such as Mozart, Beethoven, Schumann and Mendelssohn payed hommage to him and began writing in a more contrapuntal style after being introduced to Bach's music. Chopin, before performing a concert, used to lock himself away and play Bach's music and so a hundred years after his death he'd become one of the greats.. His contributions to music, his "musical science", are frequently bracketed with those by William Shakespeare in English literature and Isaac Newton in physics.

George Frideric Handel (Friday 23 February 1685 – Saturday 14 April 1759) was born in Halle Germany. Handel displayed considerable musical talent at an early age; by the age of seven he was a skilful performer on the harpsichord and pipe organ, and at nine he began to compose music. However, his father, a distinguished citizen of Halle, was opposed to his son's wish to pursue a musical career, preferring him to study law. In 1702, following his father's wishes, Handel began the study of law at the University of Halle, but after his father's death the following year, he abandoned law for music, becoming the organist at the Protestant Cathedral. In 1704, he moved to Hamburg, accepting a position as violinist and harpsichordist in the orchestra of the opera house.

In 1710, Handel became Kapellmeister to George, Elector of Hanover, the man who in his lifetime amassed/enherited a lot of land and in the end as King George I even Great Britain. His heirs still rule (they renamed themselves Windsor) . Anyway Handel came in the wake of this family that amassed ever more power. He settled in London permanently in 1712, receiving a yearly income of £200 from Queen Anne., he spent most of his adult life in England, becoming a subject of the British crown on 22 January 1727. His most famous works are Messiah, an oratorio set to texts from the King James Bible, Water Music and Music for the Royal Fireworks. Handel never married, and kept his personal life very private. Unlike many composers, he left a sizable estate at his death, worth £20,000 (an enormous amount for the day), he was buried in Westminster Abbey.


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Millenium Classics - Baroque Treasures ( 99, 79min ^ 187mb)

So here's the first in a series of ten, add some contrast..




01 - A.Vivaldi - The Four Seasons-Concieto No.1 in E major 'Spring', RV 269-I Allegro (3:22)
02 - A.Vivaldi - The Four Seasons-Concieto No.1 in E major 'Spring', RV 269-II Largo (2:24)
03 - A.Vivaldi - The Four Seasons-Concieto No.1 in E major 'Spring', RV 269-III Allegro (4:24)
04 - J.PAchelebl - Canon a 3 on ground in D (4:57)
05 - J.S.Bach - Orchestral Suite No.3 in D major, BWV 1068-II Air (4:22)
06 - T.Albinoni - Adagio (7:45)
07 - G.R.Handel - Arrival of the Queen of Sheba (Sinfonia)(Solomon) (2:48)
08 - J.S.Bach - Concerto for Two Violins in D minor BWV 1043-II Largo ma non troppo (7:41)
09 - L.Boccerini - String Quintet in E major, Op.13, No.5-Minuet (3:55)
10 - G.F.Handel - Organ Concerto No.13 in F major 'Cuckoo and Nightingale'-I Larghetto (2:12)
11 - G.F.Handel - Organ Concerto No.13 in F major 'Cuckoo and Nightingale'-II Allegro-Kadenz-Tempo (3:46)
12 - G.F.Handel - Organ Concerto No.13 in F major 'Cuckoo and Nightingale'-III Larghetto (2:54)
13 - G.F.Handel - Organ Concerto No.13 in F major 'Cuckoo and Nightingale'-IV Allegro (3:15)
14 - J.S.Bach - Brandenburg Concerto No.2 in F major, BWV 1047-I Allegro (5:27)
15 - J.S.Bach - Brandenburg Concerto No.2 in F major, BWV 1047-II Andante (4:14)
16 - J.S.Bach - Brandenburg Concerto No.2 in F major, BWV 1047-III Allegro assai (3:04)
17 - G.F.Handel - Water Music-I Allegro (2:38)
18 - G.F.Handel - Water Music-II Air (5:18)
19 - G.F.Handel - Water Music-III Bourree (0:46)
20 - G.F.Handel - Water Music-IV Hornpipe (0:51)
21 - J.S.Bach - Suite for Violoncello No.1 in G major, BWV 1007-Sarabande (3:11)


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