Hello, part two of Brave New World coming up, aswell as a insightful speech Huxley held march 62, in which he further explores the Brave New World scenario.. followed by a 10 min video about the ongoing application of chemicals to control and dumb down the populace...
Huxley was a humanist and pacifist, but was also latterly interested in spiritual subjects such as parapsychology and philosophical mysticism. By the end of his life Huxley was considered, in some academic circles, a leader of modern thought and an intellectual of the highest rank.He was also well known for advocating and taking hallucinogens.
Aldous Huxley was born in Godalming, Surrey, England on 26 July 1894. He was the third son of the writer and professional herbalist Leonard Huxley and first wife, Julia Arnold who founded Prior's Field School. He was grandson of Thomas Henry Huxley, one of the most prominent English naturalists of the 19th century, a man known as "Darwin's Bulldog." Following his education at Oxford, Huxley was financially indebted to his father and had to earn a living. He taught French for a year at Eton, where Eric Blair (later known by the pen name George Orwell) was among his pupils, but was remembered by another as an incompetent and hopeless teacher who couldn’t keep discipline.
Huxley completed his first (unpublished) novel at the age of seventeen and began writing seriously in his early twenties. His earlier work includes important novels on the dehumanizing aspects of scientific progress, most famously Brave New World, and on pacifist themes (for example, Eyeless in Gaza). During World War I, Huxley spent much of his time at Garsington Manor, home of Lady Ottoline Morrell, working as a farm labourer. Here he met several Bloomsbury figures including D. H. Lawrence, Bertrand Russell and Clive Bell. Later, in Crome Yellow (1921 age 27) he caricatured the Garsington lifestyle. In 1919 he married Maria Nys, a Belgian woman he had met at Garsington. They had one child, Matthew Huxley (1920 – 2005)
In 1937, Huxley moved to Hollywood, California with his wife Maria, son Matthew, and friend Gerald Heard. He lived in the U.S., mainly in southern California, till his death, but also for a time in Taos, New Mexico, where he wrote Ends and Means (published in 1937). In this work he examines the fact that although most people in modern civilization agree that they want a world of 'liberty, peace, justice, and brotherly love', they have not been able to agree on how to achieve it. Heard introduced Huxley to Vedanta, meditation, and vegetarianism through the principle of ahimsa. In 1938 Huxley befriended J. Krishnamurti, whose teachings he greatly admired. Not long after, Huxley wrote his book on widely held spiritual values and ideas, The Perennial Philosophy, which discussed the teachings of renowned mystics of the world.
Huxley spent much time at the Occidental college, it appears as "Tarzana College" in his prized satirical novel After Many a Summer Dies the Swan (1939). For most of his life, since the illness in his teens which left Huxley nearly blind, his eyesight was poor . On 21 October 1949 Huxley wrote to George Orwell, author of Nineteen Eighty-Four, congratulating Orwell on "how fine and how profoundly important the book is." In his letter to Orwell, he predicted that "Within the next generation I believe that the world's leaders will discover that infant conditioning and narco-hypnosis are more efficient, as instruments of government, than clubs and prisons, and that the lust for power can be just as completely satisfied by suggesting people into loving their servitude as by flogging them and kicking them into obedience.
During the 1950s Huxley's interest in the field of psychical research grew keener, and his later works are strongly influenced by both mysticism and his experiences with the psychedelic drugs. He was introduced to mescaline by the psychiatrist Humphry Osmond in 1953. On 24 December 1955 Huxley took his first dose of LSD. Indeed, Huxley was a pioneer of self-directed psychedelic drug use "in a search for enlightenment", famously taking 100 micrograms of LSD as he lay dying. His psychedelic drug experiences are described in the essays The Doors of Perception, and Heaven and Hell. Some of his writings on psychedelics became frequent reading among early hippies.
In 1955 Huxley's wife, Maria, died of breast cancer. In 1956 he married Laura Archera (1911-2007), also an author, she wrote a biography of Huxley. In 1960 Huxley himself was diagnosed with cancer, and in the years that followed, with his health deteriorating, he wrote the Utopian novel Island, and gave lectures on "Human Potentialities" at the Esalen institute, which were fundamental to the forming of the Human Potential Movement. On his deathbed, unable to speak, Huxley made a written request to his wife for "LSD, 100 µg, intramuscular.". According to her account of his death (in her book This Timeless Moment), she obliged with an injection at 11:45 am and another a couple of hours later. He died at 5:21 pm on 22 November 1963, aged 69. Media coverage of his death was overshadowed by the assassination of President John F. Kennedy, on the same day, as was the death of the Irish author C. S. Lewis.
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Aldous Huxley - Brave New World pt 2 23mb
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Aldous Huxley - 'The Ultimate Revolution' 39mb
"Today we are faced, I think, with the approach of what may be called the ultimate revolution, the final revolution, where man can act directly on the mind-body of his fellows. We are in process of developing a whole series of techniques which will enable the controlling oligarchy, who have always existed and presumably will always exist, to get people to love their servitude. This is the, it seems to me, the ultimate in malevolent revolutions."
A talk about psychological conditioning, the development of new behavioural controls which operate directly upon the psycho/fysicals organisms of man, replacing external constraint.
Aldous Huxley presentation March 62- 'The Ultimate Revolution' (44:08)
Aldous Huxley presentation March 62- 'The Ultimate Revolution' Q & A (28:50)
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In the light od the talk by Aldous Huxley you may find it rewarding to view the following 10 min video and then do a little thinking about what is really going on in the U.S. today...
Chemical Dumbing Down of America
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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 30, 2008
Jun 29, 2008
Sundaze (38)
Hello, Sundaze continues featuring Bill Laswell, i guess i could go on for months if i had all his work (more than 400 records) , thats not the case, still there''s plenty for me to choose from. Some essential Sundaze space music to start with, his first of five Psychonavigations, a trippy collaboration with Pete Namlook.... another man with a bassmission joined Bill on Radioaxiom-A Dub Transmission, Jah Wobble, in his wake from Norway Niels Petter Molvaer (trumpet) and the Ethiopian singer Gigi (later Mrs. Laswell) ..indeed a trippy and classy worldgroove album...Finally one of the bands Laswell has been part of, The Golden Palominos, i gather this title has become rather hard to come by, so here i make it easy to get Drunk With Passion.....
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Laswell's artistic and commercial breakthrough came via jazz icon Herbie Hancock's Future Shock album (1983); Laswell produced the album, played bass on all the songs, and co-wrote most of the material. Its track "Rockit" has frequently been regarded as a pivotal moment in the influence of hip hop and turntablism (via Grand Mixer D.ST). The track was the first hit song to feature turntable scratching. The remainder of the 80’s saw Laswell produce albums for people like Sly & Robbie (who Laswell continues to work with) Mick Jagger, PiL, The Ramones, Iggy Pop and Yoko Ono. Many of these projects afforded Laswell the opportunity to bring in some of his normal working crew to record on more mainstream records.
The later part of the ‘80s also saw Laswell completely sever ties with the Celluloid label, which has since been sold several times. 1990 marked a watershed year in Laswell’s control and ability to produce high-quality recordings controlled by himself. In addition to purchasing his own studio (the famed Greenpoint Studio in Brooklyn), Chris Blackwell, founder of Island Records and longtime Laswell booster, gave Laswell the opportunity to begin a new label with the backing of Island Records. Thus, Axiom Records was born. Axiom played the ‘Nothing Is True, Everything Is Permitted’ credo to its fullest. With a sizable budget and minimal interference from Island executives, Laswell had the means to make arguably some of the most important music of his career. In addition to albums by Material that featured players ranging from Sly & Robbie, William S. Burroughs, Wayne Shorter, Bootsy Collins and Bernie Worrell, he produced and released albums by drummer and Ornette Coleman acolyte Ronald Shannon Jackson, Sonny Sharrock (featuring Pharoah Sanders and Elvin Jones), Laswell main-stay Nicky Skopelitis, Last Poet Umar Bin Hassan and Ginger Baker.
The most successful project and one of the few still in print on Axiom – where the first release was produced, was Praxis. Originally the moniker that an experimental Celluloid 12” by Laswell was released under in 1984, Praxis now became a full-fledged band, The release, ‘Transmutations (Mutadis Mutandis)’ featured the enigmatic guitarist Buckethead, drummer Brain, Bernie Worrell and Bootsy Collins. The project has spawned other releases, never with the same line-up twice, generally consisting of the core trio of Buckethead, Brain and Laswell supplimented by others. 1994/1995 saw a bit of a slow-down in Axiom’s output, but a number of genre-shattering 2CD compilation sets were released. Axiom Funk’s ‘Funkronomicon’ saw previously released tracks by Praxis and Nicky Skopelitis paired with a host of tracks mainly featuring various members of the Parliament/Funkadelic crew. Axiom Dub was another compilation, Laswell also remixed the whole of the Axiom catalog into a 2 disc ambient mix called Axiom Ambient
The ‘90s also saw a number of other labels associated with Laswell, most prolific of these was Subharmonic. Though not owned by Laswell, the label was essentially a release house for his projects, most of which fell into the ambient or ambient-dub catagories, notably Psychonavigation (with Pete Namlook) and Cymatic Scan (with Tetsu Inoue). The label also released albums from Praxis and Laswell’s new project, Divination, an ambient dub project (umbrella moniker for releases of ambient compilations).
Laswell released two albums of remixes from dead artists – Bob Marley’s Dreams of Freedom on Axiom and Miles Davis’ Panthalassa. The first contained airy, ambient dub translations of some of Marley’s Island catalog, largely sans Marley’s voice. Chris Blackwell requested the album as part of a planned series of remix albums by various producers who were rooted in the reggae/dub tradition. Blackwell’s departure from Island killed any further albums. For Panthalassa, Laswell took the tapes from Miles’ ‘electric period’ and re-imagined (cut-up and remix) them. The impetus for the project being that the original releases were just mixes made by Teo Macero from long in studio sessions. Needless to say, critic and fan responses varied wildly.
The late ‘90s saw two other major changes, Chris Blackwell left Island Records. Although he took the Axiom imprint with him to his new Palm Pictures label, the back catalog stayed with Island. Many of the albums are now out of print, efforts to obtain master recordings and new distribution has been unsuccessful. The other change came in the form of studio space. Laswell, seeing that Greenpoint had turned into a sort of hangout, moved his studio to West Orange, New Jersey, now calling it Orange Music or alternately, Orange Music Sound Studios......to be continued
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Laswell & Namlook - Psychonavigation ( 94 ^ 137mb)
Sonic hallucinogens that permeate the psyche, sequences and atmospheres full of experimental sounds, strange samples, and overt space music riffs, nothing earthly about it. The atmospheres are metallic and robotic evocations. The flow, however, is smooth and fluid. This is one of the best Namlook/Laswell collaborations, essential space music. It bore four more Psychonavigations.
1 - Psychic And UFO Revelations In The Last Days (38:46)
2 - Angel Tech (10:17)
3 - Black Dawn (21:22)
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Jah Wobble • Bill Laswell - Radioaxiom – A Dub Transmission ( 01 ^ 99mb)
Featuring a cast of characters that includes Nils Petter Molvær, Hamid Drake, Sly Dunbar, Aiyb Deng, Nicky Skopelitis, and vocalist Gigi Shibabbaw (later mrs.Laswell), this collaboration between bassists Bill Laswell and Jah Wobble is many things, but a far cry from the stripped-down, spooky reggae. This is a mind journey of an album that extends the time-space continuum, or at least gives the illusion it does. This may not be the heavy-duty dub blowout expected by some fans of this pair, but it is an elegant, and very tasteful record, assembling a plethora of melodies, textures, instruments, and rhythms with taste and attention to detail, in short beautiful mind music.
1 - Subcode (7:36)
2 - Alsema Dub (5:48)
3 - Virus B (8:06)
4 - Orion (7:51)
5 - 6th Chamber (7:09)
6 - Alam Dub (6:49)
7 - Second Sight (8:35)
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The Golden Palominos - Drunk With Passion (91 ^ 99mb)
Golden Palominos first featured Fier, singer-guitarist Arto Lindsay, saxophonist John Zorn, bass guitarist Bill Laswell and violinist/guitarist Fred Frith. Their self-titled debut album was released on New York's Celluloid Records in 1983, the album is notable for having some of the first recorded turntable scratching outside of rap music, courtesy of Laswell and M.E. Miller. The Palominos' next album, 1985's Visions of Excess, would sound vastly different, leaning towards songs more in a folk vein, with a sound in some respects pre-dating the emergence of the alt-country genre by a few years. This record was also noteworthy as the debut of singer Syd Straw, whose songwriting and vocals would be featured prominently on this record and the next, Blast Of Silence. Cream's Jack Bruce, guitarists Richard Thompson and Jody Harris, and R.E.M.'s Michael Stipe also appeared on the record. Of the band members that were on the first record, only Fier and Arto Lindsay had remained. Blast Of Silence was released the following year, carrying on in much of the same vein as Visions Of Excess and with appearances by many of the same personnel.
A Dead Horse (1989) carried on in the sound of its predocessors slightly, but some of the songs also crossed into a darker, more ambient and ethereal sound, a sound which would dominate the Palomino records of the 1990s. Syd Straw had moved on and was no longer in the band, with most of the vocals now handled by Amanda Kramer. It saw the return of Bill laswell who brought Bernie Worrell and Aiyb Dieng along. Drunk With Passion marked the first record not on Celluloid Records, with its sound taking from some of the darker cues heard on A Dead Horse and also using more processed and electronic sounds, giving many of its songs an ethereal feel. This album could be argued was more influenced by its guest appearances than any of the others, who included Hüsker Dü's Bob Mould, Richard Thompson, and Michael Stipe.
This Is How It Feels, released in 1993, continued on in much of the ambient sound of Drunk With Passion, but it also incorporated many elements of club and trance music. It also marked the introduction of new lead vocalist Lori Carson, who co-wrote nine of the CD's tracks with Anton Fier. Bill Laswell's production work on this and on the following record, Pure, would heavily influence his own remix work of the late 90's, as seen on the CDs Emerald Ather and City Of Light. Pure, released a year later, is seen by many as the band's most focused work, due much to the strong contributions once again of Carson, Laswell, and Skopelitis. Tracks such as "No Skin" and "Pure" continue in the dance/ambient style of the previous album. The CD would also stir a minor controversy over the bare female breast on its cover. The song "Little Suicides", from Pure showed much of same sparse sound, production, and strong yet quiet vocals (albeit less electronic) that would influence Carson's solo work. Anton Fier would produce Carson's 1995 solo record, Where It Goes.
Dead Inside (1996) was another stylistic turnaround for the Palominos, and their last proper album. This time, the record had a deathly, industrial sound, with the line-up consisting only of Fier, multi-instrumentalist Knox Chandler (who before joining the Palominos, was also in a band with Lori Carson), Nicky Skopelitis, and poet Nicole Blackman. Much of the Golden Palominos work has become increasingly hard to find, and compilations do not provide a complete overview of their work.
1 - Alive And Living Now (Voc.Michael Stipe) (5:38)
2 - The Haunting (5:30)
3 - When The Kingdom Calls (Voc. Amanda Kramer) (6:26)
4 - A Sigh (Voc. Amanda Kramer) (8:36)
5 - Thunder Cries (Voc. Amanda Kramer) (4:22)
6 - Hands Of Heaven (Voc. Amanda Kramer) (5:22)
7 - Dying From The Inside Out (Voc.Bob Mould) (8:18)
8 - Begin To Return (Voc.Bob Kidney) (6:12)
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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 !
*****
Laswell's artistic and commercial breakthrough came via jazz icon Herbie Hancock's Future Shock album (1983); Laswell produced the album, played bass on all the songs, and co-wrote most of the material. Its track "Rockit" has frequently been regarded as a pivotal moment in the influence of hip hop and turntablism (via Grand Mixer D.ST). The track was the first hit song to feature turntable scratching. The remainder of the 80’s saw Laswell produce albums for people like Sly & Robbie (who Laswell continues to work with) Mick Jagger, PiL, The Ramones, Iggy Pop and Yoko Ono. Many of these projects afforded Laswell the opportunity to bring in some of his normal working crew to record on more mainstream records.
The later part of the ‘80s also saw Laswell completely sever ties with the Celluloid label, which has since been sold several times. 1990 marked a watershed year in Laswell’s control and ability to produce high-quality recordings controlled by himself. In addition to purchasing his own studio (the famed Greenpoint Studio in Brooklyn), Chris Blackwell, founder of Island Records and longtime Laswell booster, gave Laswell the opportunity to begin a new label with the backing of Island Records. Thus, Axiom Records was born. Axiom played the ‘Nothing Is True, Everything Is Permitted’ credo to its fullest. With a sizable budget and minimal interference from Island executives, Laswell had the means to make arguably some of the most important music of his career. In addition to albums by Material that featured players ranging from Sly & Robbie, William S. Burroughs, Wayne Shorter, Bootsy Collins and Bernie Worrell, he produced and released albums by drummer and Ornette Coleman acolyte Ronald Shannon Jackson, Sonny Sharrock (featuring Pharoah Sanders and Elvin Jones), Laswell main-stay Nicky Skopelitis, Last Poet Umar Bin Hassan and Ginger Baker.
The most successful project and one of the few still in print on Axiom – where the first release was produced, was Praxis. Originally the moniker that an experimental Celluloid 12” by Laswell was released under in 1984, Praxis now became a full-fledged band, The release, ‘Transmutations (Mutadis Mutandis)’ featured the enigmatic guitarist Buckethead, drummer Brain, Bernie Worrell and Bootsy Collins. The project has spawned other releases, never with the same line-up twice, generally consisting of the core trio of Buckethead, Brain and Laswell supplimented by others. 1994/1995 saw a bit of a slow-down in Axiom’s output, but a number of genre-shattering 2CD compilation sets were released. Axiom Funk’s ‘Funkronomicon’ saw previously released tracks by Praxis and Nicky Skopelitis paired with a host of tracks mainly featuring various members of the Parliament/Funkadelic crew. Axiom Dub was another compilation, Laswell also remixed the whole of the Axiom catalog into a 2 disc ambient mix called Axiom Ambient
The ‘90s also saw a number of other labels associated with Laswell, most prolific of these was Subharmonic. Though not owned by Laswell, the label was essentially a release house for his projects, most of which fell into the ambient or ambient-dub catagories, notably Psychonavigation (with Pete Namlook) and Cymatic Scan (with Tetsu Inoue). The label also released albums from Praxis and Laswell’s new project, Divination, an ambient dub project (umbrella moniker for releases of ambient compilations).
Laswell released two albums of remixes from dead artists – Bob Marley’s Dreams of Freedom on Axiom and Miles Davis’ Panthalassa. The first contained airy, ambient dub translations of some of Marley’s Island catalog, largely sans Marley’s voice. Chris Blackwell requested the album as part of a planned series of remix albums by various producers who were rooted in the reggae/dub tradition. Blackwell’s departure from Island killed any further albums. For Panthalassa, Laswell took the tapes from Miles’ ‘electric period’ and re-imagined (cut-up and remix) them. The impetus for the project being that the original releases were just mixes made by Teo Macero from long in studio sessions. Needless to say, critic and fan responses varied wildly.
The late ‘90s saw two other major changes, Chris Blackwell left Island Records. Although he took the Axiom imprint with him to his new Palm Pictures label, the back catalog stayed with Island. Many of the albums are now out of print, efforts to obtain master recordings and new distribution has been unsuccessful. The other change came in the form of studio space. Laswell, seeing that Greenpoint had turned into a sort of hangout, moved his studio to West Orange, New Jersey, now calling it Orange Music or alternately, Orange Music Sound Studios......to be continued
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Laswell & Namlook - Psychonavigation ( 94 ^ 137mb)
Sonic hallucinogens that permeate the psyche, sequences and atmospheres full of experimental sounds, strange samples, and overt space music riffs, nothing earthly about it. The atmospheres are metallic and robotic evocations. The flow, however, is smooth and fluid. This is one of the best Namlook/Laswell collaborations, essential space music. It bore four more Psychonavigations.
1 - Psychic And UFO Revelations In The Last Days (38:46)
2 - Angel Tech (10:17)
3 - Black Dawn (21:22)
***** ***** ***** ***** *****
Jah Wobble • Bill Laswell - Radioaxiom – A Dub Transmission ( 01 ^ 99mb)
Featuring a cast of characters that includes Nils Petter Molvær, Hamid Drake, Sly Dunbar, Aiyb Deng, Nicky Skopelitis, and vocalist Gigi Shibabbaw (later mrs.Laswell), this collaboration between bassists Bill Laswell and Jah Wobble is many things, but a far cry from the stripped-down, spooky reggae. This is a mind journey of an album that extends the time-space continuum, or at least gives the illusion it does. This may not be the heavy-duty dub blowout expected by some fans of this pair, but it is an elegant, and very tasteful record, assembling a plethora of melodies, textures, instruments, and rhythms with taste and attention to detail, in short beautiful mind music.
1 - Subcode (7:36)
2 - Alsema Dub (5:48)
3 - Virus B (8:06)
4 - Orion (7:51)
5 - 6th Chamber (7:09)
6 - Alam Dub (6:49)
7 - Second Sight (8:35)
***** ***** ***** ***** *****
The Golden Palominos - Drunk With Passion (91 ^ 99mb)
Golden Palominos first featured Fier, singer-guitarist Arto Lindsay, saxophonist John Zorn, bass guitarist Bill Laswell and violinist/guitarist Fred Frith. Their self-titled debut album was released on New York's Celluloid Records in 1983, the album is notable for having some of the first recorded turntable scratching outside of rap music, courtesy of Laswell and M.E. Miller. The Palominos' next album, 1985's Visions of Excess, would sound vastly different, leaning towards songs more in a folk vein, with a sound in some respects pre-dating the emergence of the alt-country genre by a few years. This record was also noteworthy as the debut of singer Syd Straw, whose songwriting and vocals would be featured prominently on this record and the next, Blast Of Silence. Cream's Jack Bruce, guitarists Richard Thompson and Jody Harris, and R.E.M.'s Michael Stipe also appeared on the record. Of the band members that were on the first record, only Fier and Arto Lindsay had remained. Blast Of Silence was released the following year, carrying on in much of the same vein as Visions Of Excess and with appearances by many of the same personnel.
A Dead Horse (1989) carried on in the sound of its predocessors slightly, but some of the songs also crossed into a darker, more ambient and ethereal sound, a sound which would dominate the Palomino records of the 1990s. Syd Straw had moved on and was no longer in the band, with most of the vocals now handled by Amanda Kramer. It saw the return of Bill laswell who brought Bernie Worrell and Aiyb Dieng along. Drunk With Passion marked the first record not on Celluloid Records, with its sound taking from some of the darker cues heard on A Dead Horse and also using more processed and electronic sounds, giving many of its songs an ethereal feel. This album could be argued was more influenced by its guest appearances than any of the others, who included Hüsker Dü's Bob Mould, Richard Thompson, and Michael Stipe.
This Is How It Feels, released in 1993, continued on in much of the ambient sound of Drunk With Passion, but it also incorporated many elements of club and trance music. It also marked the introduction of new lead vocalist Lori Carson, who co-wrote nine of the CD's tracks with Anton Fier. Bill Laswell's production work on this and on the following record, Pure, would heavily influence his own remix work of the late 90's, as seen on the CDs Emerald Ather and City Of Light. Pure, released a year later, is seen by many as the band's most focused work, due much to the strong contributions once again of Carson, Laswell, and Skopelitis. Tracks such as "No Skin" and "Pure" continue in the dance/ambient style of the previous album. The CD would also stir a minor controversy over the bare female breast on its cover. The song "Little Suicides", from Pure showed much of same sparse sound, production, and strong yet quiet vocals (albeit less electronic) that would influence Carson's solo work. Anton Fier would produce Carson's 1995 solo record, Where It Goes.
Dead Inside (1996) was another stylistic turnaround for the Palominos, and their last proper album. This time, the record had a deathly, industrial sound, with the line-up consisting only of Fier, multi-instrumentalist Knox Chandler (who before joining the Palominos, was also in a band with Lori Carson), Nicky Skopelitis, and poet Nicole Blackman. Much of the Golden Palominos work has become increasingly hard to find, and compilations do not provide a complete overview of their work.
1 - Alive And Living Now (Voc.Michael Stipe) (5:38)
2 - The Haunting (5:30)
3 - When The Kingdom Calls (Voc. Amanda Kramer) (6:26)
4 - A Sigh (Voc. Amanda Kramer) (8:36)
5 - Thunder Cries (Voc. Amanda Kramer) (4:22)
6 - Hands Of Heaven (Voc. Amanda Kramer) (5:22)
7 - Dying From The Inside Out (Voc.Bob Mould) (8:18)
8 - Begin To Return (Voc.Bob Kidney) (6:12)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 28, 2008
Rhotation (38) Into BPM
Hello, Rhotation 38 takes the BPM into electroclash today. First up the quasi godfather of elctroclash, even though he initially made his mark on the house scene, which makes sense coming from Chicago. He's kept an aloof attitude to the music scene with his many pseudonyms, firmly keeping that tongue in cheek, with Kittenz and Thee Glitz he could open his box and pick any kitsch he wished..the result a concept album on the TR 808 (kick drum) sound of the eighties in a ninetiesmix format....Ladytron managed to expand on their unexpected debut successes with Light & Magic . A logical, elegant progression, balancing their pop and experimental instincts even more ably than their debut...And if that dont satisfy you synth-pop fetishists and robot girl junkies, there's more dark dance and retro wave with Client's second album City...
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Felix da Housecat - Kittenz and Thee Glitz (01 ^ 149mb)
Felix da Housecat (Felix Stallings Jr August 25, 1971 in Chicago) He taught himself keyboards by the age of 14, and a year later stepped into a studio and was introduced to Acid House pioneer DJ Pierre, who gave 15-year-old Stallings his break, and under the patronage and guidance of Pierre, he released his first single, "Phantasy Girl," in 1987. Felix gave up house music to go to Alabama State University to study media and communication. However, by 92 DJ Pierre, had him producing and mixing again and a first hit with the single "Thee Dawn". One of the defining moments of the 90's for Felix was his single, "In The Dark We Live (Thee Lite)" under one of his many pseudonyms, Aphrohead, the Dave Clarke remix of it became huge.
During 1995, he released his debut full-length Alone in the Dark (as Thee Maddkatt Courtship), followed by the Radikal Fear compilation, The Chicago All Stars and a mix album entitled Clashbackk Compilation Mix. Another LP, Metropolis Present Day? Thee Album, followed in 1998. After a lengthy break from the dance scene, Stallings returned in 1999 under his Thee Madkatt Courtship moniker with I Know Electrikboy. 2001 saw the release of Kittenz and Thee Glitz, a critically-acclaimed LP that gained Felix mainstream exposure and worldwide coverage in dance music and fashion circles, and has often been mentioned as one of the pioneering releases of the electroclash movement.The second concept album from Felix da Housecat, for this one he moved from dance culture to sex culture, recruiting a bevy of detached, vaguely European-sounding female vocals (including starlet Miss Kittin) and producing a dozen songs on self-explanatory themes.
At the end of 2001, Felix won Best Album at the now-defunct Muzik Awards, beating the likes of Daft Punk that day. The ensuing fame brought Felix widespread popularity and remix work for superstars like Madonna and Kylie Minogue. The proper follow-up, Devin Dazzle & the Neon Fever, didn't arrive until 2004, but Stallings released a pair of mix albums, 2002's Excursions and 2003's A Bugged Out Mix. Devin Dazzle, really caught the mood of the moment in clubland. Not only did he resurrect Vanity 6 with his own girl group, Neon Fever, he also managed to encompass DFA-like disco-punk along with his more familiar ‘80s reference points. Felix's latest album, Virgo Blaktro and the Movie Disco, was released on October 2, 2007. It represents a back-to-basics move and a firm step forward. Felix opted to keep it to a handful of collaborators new and old, none of whom are famous indie or dance music figures, so it has the feel of his releases prior to Devin Dazzle. It was, however, executive produced by famous R&B producer Dallas Austin. Since then, he's just released his first Global Underground compilation GU 34 'Milan', his first for the compilation and club label. The compilation is split into 'Milanfuck Rock Europa' and 'Fuck Rave (Americas)' section.
01 - Harlot (Intro) (Voc.Melistar) (3:10)
02 - Walk With Me (Voc.Electrikboy) (4:15)
03 - Analog City (1:18)
04 - Pray For A Star (Voc.Harrison Crump) (3:54)
05 - Voicemail W/ Ms Kittin (Voc.Miss Kittin) (0:47)
06 - Madame Hollywood (Voc.Miss Kittin) (2:51)
07 - Silver Screen (Voc.Miss Kittin) (4:40)
08 - Control Freaq (5:11)
09 - What Does It Feel Like? (Voc.Melistar)(2:36)
10 - Happy Hour (Voc.Melistar) (5:02)
11 - Thee Enter View (1:14)
12 - Glitz Rock (4:00)
13 - Sequel2Sub (3:50)
14 - Magic Fly (3:00)
15 - She Lives (3:03)
16 - Runaway Dreamer (Voc.Harrison Crump) (3:20)
diet version
Felix da Housecat - Kittenz and Thee Glitz ( * 99mb)
***** ***** ***** ***** *****
Ladytron - Light & Magic (02 ^ 148mb)
Daniel Hunt and Reuben Wu, (rhythm boxes and keyboards) settled in Liverpool after a spate of DJ work in Japan and world travel, in Bulgaria they met vocalist Mira Aroyo. Helena Marnie, who also sings and plays keyboards for the group, also joined them and they began work on their first single, "He Took Her to a Movie," which was recorded for 50 pounds. Ladytron toured throughout the continent before beginning work on their debut EP, Commodore Rock, which was released in the summer of 2000, providing their fans another foray into the noisy world of early-'80s sound. Ladytron makes electronic pop music, using an array of vintage analogue equipment to achieve its distinct sound. Albums so far have focused on a balance between pop structures and digitally edited analogue electronic sound, along with some more experimental leanings.The studio full-length 604 followed a year later, and gained many positive reviews.
The follow up, Light & Magic, was released in Autumn 2002 , on it Ladytron do bring on the special effects, adding denser arrangements, more complex melodies, and processed vocals to their brand of spooky, stylish synth pop. Even more so than on 604, Light & Magic makes the most of Helen Marnie and Mira Aroyo's contrasting vocal styles. It spawned the underground hits "Seventeen", "Evil", and "Blue Jeans". Following 18 months on tour supporting that album, they recorded their third album, Witching Hour released in 2005, followed by an extensive tour in support from mid-2005 to mid-2007. Ladytron's aloof, glamorous, slightly sinister and bittersweet music has a cult audience worldwide and this distinctive sound resulted in them being in demand to produce remixes for a wide array of artists including Placebo, Blondie, Gang of Four, David Gahan, Goldfrapp, Bloc Party, Kings of Convenience, Indochine, Apoptygma Berzerk, She Wants Revenge, Soulwax, Nine Inch Nails and Simian. The band finished work on their fourth studio album, Velocifero, in February 2008, it was released in the US on June 3, and contains 13 tracks. Velocifero was recorded in Paris, with the band handling production duties.
01 - True Mathematics (2:22)
02 - Seventeen (4:37)
03 - Flicking Your Switch (3:26)
04 - Fire (2:49)
05 - Turn It On (4:46)
06 - Blue Jeans (4:13)
07 - Cracked LCD (2:32)
08 - Black Plastic (4:17)
09 - Evil (5:34)
10 - Startup Chime (3:30)
11 - Nuhorizons (4:03)
12 - Cease2xist (4:37)
13 - Re:Agents (4:53)
14 - Light & Magic (3:35)
15 - The Reason Why (4:14)
diet version
Ladytron - Light & Magic( * 99mb)
***** ***** ***** ***** *****
Client - City (04 ^ 99mb)
Client are a futurist British musical group from Rotherham, England, members were formerly known only anonymously as Client A and Client B, to the extent that their faces were not shown on any publicity photos; it has since been revealed that they are Kate Holmes, formerly of Frazier Chorus and Technique, and Sarah Blackwood, lead singer of Dubstar. Kate Holmes is married to Alan McGee (founder of Creation Records). They were the first signings to Andy Fletcher's (of Depeche Mode fame) Toast Hawaii label.
Client retains a strong penchant for the lost days of synth pop, when the likes of the first Human League albums were all the rage. Further inspirations according to Client B include "decadent artists..." Their first single, "Price of Love," mimics the robotic, bloodless vibe of that era backed by an intensely catchy melody. A second single, "Rock and Roll Machine," attempts a less pop-oriented groove that focuses on the seedier side of their persona. Client have toured extensively throughout Europe and Asia, and are most popular in Germany where they have had the most commercial success. Client combine Scandinavian airline hostess uniforms with glamour-girl aesthetics and harsh electronics to create a sound reminiscent of early forays into electronic sound manipulation and New Wave. Their uniforms have become their trademark.
In September of 2004 the duo returned with City. The icy and tawdry tunes are tempered with Yaz-esque sereneness. "Theme" is their best beat yet, and the simple "Radio" is nothing if not infectious. The high-on-concept duo is now offering more than just clever, thoughtful production, meatier music, and broader scope makes City well worth hearing. A third member, Client E (Emily Mann), joined for the third album, Heartland, synth-pop flashback music is still the rule, and almost everything seems written towards a clever, edgy comment. This album also marked a change of label as it was released by dark dance and retro wave specialists Metropolis. . Meanwhile E is no longer a Client.
01 - Radio (4:16)
02 - Come On (4:02)
03 - Overdrive (Voc. Martin L. Gore) (3:50)
04 - One Day At A Time (4:40)
05 - Cracked (0:48)
06 - In It For The Money (3:35)
07 - Pornography (Voc. Carl Barat) (4:07)
08 - Down To The Underground (Voc.Pete Doherty) (3:02)
09 - The Chill Of October (4:51)
10 - Theme (2:25)
11 - Don't Call Me Baby (4:04)
12 - It's Rock And Roll (Voc.Joe Wilson) (3:25)
13 - Everything Must End (4:41)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
***** ***** ***** ***** *****
Felix da Housecat - Kittenz and Thee Glitz (01 ^ 149mb)
Felix da Housecat (Felix Stallings Jr August 25, 1971 in Chicago) He taught himself keyboards by the age of 14, and a year later stepped into a studio and was introduced to Acid House pioneer DJ Pierre, who gave 15-year-old Stallings his break, and under the patronage and guidance of Pierre, he released his first single, "Phantasy Girl," in 1987. Felix gave up house music to go to Alabama State University to study media and communication. However, by 92 DJ Pierre, had him producing and mixing again and a first hit with the single "Thee Dawn". One of the defining moments of the 90's for Felix was his single, "In The Dark We Live (Thee Lite)" under one of his many pseudonyms, Aphrohead, the Dave Clarke remix of it became huge.
During 1995, he released his debut full-length Alone in the Dark (as Thee Maddkatt Courtship), followed by the Radikal Fear compilation, The Chicago All Stars and a mix album entitled Clashbackk Compilation Mix. Another LP, Metropolis Present Day? Thee Album, followed in 1998. After a lengthy break from the dance scene, Stallings returned in 1999 under his Thee Madkatt Courtship moniker with I Know Electrikboy. 2001 saw the release of Kittenz and Thee Glitz, a critically-acclaimed LP that gained Felix mainstream exposure and worldwide coverage in dance music and fashion circles, and has often been mentioned as one of the pioneering releases of the electroclash movement.The second concept album from Felix da Housecat, for this one he moved from dance culture to sex culture, recruiting a bevy of detached, vaguely European-sounding female vocals (including starlet Miss Kittin) and producing a dozen songs on self-explanatory themes.
At the end of 2001, Felix won Best Album at the now-defunct Muzik Awards, beating the likes of Daft Punk that day. The ensuing fame brought Felix widespread popularity and remix work for superstars like Madonna and Kylie Minogue. The proper follow-up, Devin Dazzle & the Neon Fever, didn't arrive until 2004, but Stallings released a pair of mix albums, 2002's Excursions and 2003's A Bugged Out Mix. Devin Dazzle, really caught the mood of the moment in clubland. Not only did he resurrect Vanity 6 with his own girl group, Neon Fever, he also managed to encompass DFA-like disco-punk along with his more familiar ‘80s reference points. Felix's latest album, Virgo Blaktro and the Movie Disco, was released on October 2, 2007. It represents a back-to-basics move and a firm step forward. Felix opted to keep it to a handful of collaborators new and old, none of whom are famous indie or dance music figures, so it has the feel of his releases prior to Devin Dazzle. It was, however, executive produced by famous R&B producer Dallas Austin. Since then, he's just released his first Global Underground compilation GU 34 'Milan', his first for the compilation and club label. The compilation is split into 'Milanfuck Rock Europa' and 'Fuck Rave (Americas)' section.
01 - Harlot (Intro) (Voc.Melistar) (3:10)
02 - Walk With Me (Voc.Electrikboy) (4:15)
03 - Analog City (1:18)
04 - Pray For A Star (Voc.Harrison Crump) (3:54)
05 - Voicemail W/ Ms Kittin (Voc.Miss Kittin) (0:47)
06 - Madame Hollywood (Voc.Miss Kittin) (2:51)
07 - Silver Screen (Voc.Miss Kittin) (4:40)
08 - Control Freaq (5:11)
09 - What Does It Feel Like? (Voc.Melistar)(2:36)
10 - Happy Hour (Voc.Melistar) (5:02)
11 - Thee Enter View (1:14)
12 - Glitz Rock (4:00)
13 - Sequel2Sub (3:50)
14 - Magic Fly (3:00)
15 - She Lives (3:03)
16 - Runaway Dreamer (Voc.Harrison Crump) (3:20)
diet version
Felix da Housecat - Kittenz and Thee Glitz ( * 99mb)
***** ***** ***** ***** *****
Ladytron - Light & Magic (02 ^ 148mb)
Daniel Hunt and Reuben Wu, (rhythm boxes and keyboards) settled in Liverpool after a spate of DJ work in Japan and world travel, in Bulgaria they met vocalist Mira Aroyo. Helena Marnie, who also sings and plays keyboards for the group, also joined them and they began work on their first single, "He Took Her to a Movie," which was recorded for 50 pounds. Ladytron toured throughout the continent before beginning work on their debut EP, Commodore Rock, which was released in the summer of 2000, providing their fans another foray into the noisy world of early-'80s sound. Ladytron makes electronic pop music, using an array of vintage analogue equipment to achieve its distinct sound. Albums so far have focused on a balance between pop structures and digitally edited analogue electronic sound, along with some more experimental leanings.The studio full-length 604 followed a year later, and gained many positive reviews.
The follow up, Light & Magic, was released in Autumn 2002 , on it Ladytron do bring on the special effects, adding denser arrangements, more complex melodies, and processed vocals to their brand of spooky, stylish synth pop. Even more so than on 604, Light & Magic makes the most of Helen Marnie and Mira Aroyo's contrasting vocal styles. It spawned the underground hits "Seventeen", "Evil", and "Blue Jeans". Following 18 months on tour supporting that album, they recorded their third album, Witching Hour released in 2005, followed by an extensive tour in support from mid-2005 to mid-2007. Ladytron's aloof, glamorous, slightly sinister and bittersweet music has a cult audience worldwide and this distinctive sound resulted in them being in demand to produce remixes for a wide array of artists including Placebo, Blondie, Gang of Four, David Gahan, Goldfrapp, Bloc Party, Kings of Convenience, Indochine, Apoptygma Berzerk, She Wants Revenge, Soulwax, Nine Inch Nails and Simian. The band finished work on their fourth studio album, Velocifero, in February 2008, it was released in the US on June 3, and contains 13 tracks. Velocifero was recorded in Paris, with the band handling production duties.
01 - True Mathematics (2:22)
02 - Seventeen (4:37)
03 - Flicking Your Switch (3:26)
04 - Fire (2:49)
05 - Turn It On (4:46)
06 - Blue Jeans (4:13)
07 - Cracked LCD (2:32)
08 - Black Plastic (4:17)
09 - Evil (5:34)
10 - Startup Chime (3:30)
11 - Nuhorizons (4:03)
12 - Cease2xist (4:37)
13 - Re:Agents (4:53)
14 - Light & Magic (3:35)
15 - The Reason Why (4:14)
diet version
Ladytron - Light & Magic( * 99mb)
***** ***** ***** ***** *****
Client - City (04 ^ 99mb)
Client are a futurist British musical group from Rotherham, England, members were formerly known only anonymously as Client A and Client B, to the extent that their faces were not shown on any publicity photos; it has since been revealed that they are Kate Holmes, formerly of Frazier Chorus and Technique, and Sarah Blackwood, lead singer of Dubstar. Kate Holmes is married to Alan McGee (founder of Creation Records). They were the first signings to Andy Fletcher's (of Depeche Mode fame) Toast Hawaii label.
Client retains a strong penchant for the lost days of synth pop, when the likes of the first Human League albums were all the rage. Further inspirations according to Client B include "decadent artists..." Their first single, "Price of Love," mimics the robotic, bloodless vibe of that era backed by an intensely catchy melody. A second single, "Rock and Roll Machine," attempts a less pop-oriented groove that focuses on the seedier side of their persona. Client have toured extensively throughout Europe and Asia, and are most popular in Germany where they have had the most commercial success. Client combine Scandinavian airline hostess uniforms with glamour-girl aesthetics and harsh electronics to create a sound reminiscent of early forays into electronic sound manipulation and New Wave. Their uniforms have become their trademark.
In September of 2004 the duo returned with City. The icy and tawdry tunes are tempered with Yaz-esque sereneness. "Theme" is their best beat yet, and the simple "Radio" is nothing if not infectious. The high-on-concept duo is now offering more than just clever, thoughtful production, meatier music, and broader scope makes City well worth hearing. A third member, Client E (Emily Mann), joined for the third album, Heartland, synth-pop flashback music is still the rule, and almost everything seems written towards a clever, edgy comment. This album also marked a change of label as it was released by dark dance and retro wave specialists Metropolis. . Meanwhile E is no longer a Client.
01 - Radio (4:16)
02 - Come On (4:02)
03 - Overdrive (Voc. Martin L. Gore) (3:50)
04 - One Day At A Time (4:40)
05 - Cracked (0:48)
06 - In It For The Money (3:35)
07 - Pornography (Voc. Carl Barat) (4:07)
08 - Down To The Underground (Voc.Pete Doherty) (3:02)
09 - The Chill Of October (4:51)
10 - Theme (2:25)
11 - Don't Call Me Baby (4:04)
12 - It's Rock And Roll (Voc.Joe Wilson) (3:25)
13 - Everything Must End (4:41)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 27, 2008
Into The Groove (37)
Hello, Into the Groove pays a third visit to the Prince Family ( previously Rhotation 15, 22) For starters the follow up to last times ending Madhouse 8 , conveniently called 16, this time Prince let's others in aswell, i suppose he recognised that solo jazz funk is stretching the jazz concept, i gather it's become a rarity so ....Jesse Johnson understood rather quickly that Prince wasn't having two guitar captains so after he scored a big hit for the Time, Jungle Love..he understood it was the right time to leave and go for a solo career, his first three albums did reasonably well and he got plenty of production work, however in the nineties he's faded .....Every Shade Of Love.....Finally Wendy and Lisa the girls felt a bit used after they got sacked by Prince, obviously they had something to proove and they released 3 albums together under the Wendy & Lisa moniker. Fruit At The Bottom tends to be bruised and should be consumed a.s.a.p. i'm not sure what the girls had in mind but the album didnt build on their debut...
***** ***** ***** ***** *****
Madhouse - 16 (87 ^ 94mb)
Prince had caressed the idea of an instrumental jazz-funk album ever since he recorded his first tracks with Eric Leeds for his 1985 side-project, The Family. In late 1985-early 1986, he recorded hours of instrumental music with Leeds and other musicians from his band, Sheila E. and musicians from her own band, as well as members from Wendy & Lisa's families. From these sessions, Prince compiled an album called The Flesh, supposed to be released by an eponymous pseudo-band, but the project was abandoned and its concept lightly modified to become Madhouse. As he did with most of his side projects, Prince created an alter ego, named Austra Chanel, who was said to have been the mentor/producer for Madhouse.
All instruments on "8", the first Madhouse album, were performed by Prince except for the saxophone and flute parts which were performed by Eric Leeds. The albums consists of instrumental jazz-fusion tracks. A remix of the track "Six" was released alongside with the b-side "Six & 1/2", composed by Leeds and featuring Atlanta Bliss on trumpet. "16", the second Madhouse album, featured contributions by Eric Leeds on saxophone and flute, Sheila E. on drums and Levi Seacer, Jr. on bass guitar (the three of them co-composed a few tracks besides playing on the album.) "Doctor" Matt Fink (keyboards) and John Lewis (drums) are also credited in the album's booklet but their participation to the recording is more than uncertain (though both were part of the short-lived live-version of the band.) "16" features more aggressive and minimalist jazz funk tracks than its predecessor.
Cover art for both albums featured a voluptuous woman playing with a small dog, reminiscent of a 1940s pinup photograph. The videos from "16" were more 1940s gangster-themed. The cover of "16" features the subtitle "new directions in garage music", which is a homage to Miles Davis' Directions In music series. The only vocals on either album consisted mainly of choice snippets of audio lifted from the first two Godfather films and samples of Vanity simulating an orgasm (from the Vanity 6 outtake "Vibrator", later used on Prince's own song "Orgasm" from Come.) In 1987, Madhouse served as an opening act for Prince’s headlining tours, with each of the musicians heavily disguised in baggy cloaks and sunglasses, to be removed for the final set. Prince himself often guested with Madhouse, incognito.
At least three other Madhouse albums were later recorded and remain unreleased to this day, all three of them being named "24". The first one was recorded in 1988, mostly by Prince and Eric Leeds. Only one track eventually emerged, severely edited, on Eric Leeds'1991 solo-album Times Squared. The second one was recorded in 1993 with a line-up consisting of Prince (keyboards), Eric Leeds (saxophone), Levi Seacer, Jr. (guitar), Sonny T. (bass) and Michael B. (drums.) Only two tracks were officially released, "17" and"Asswhuppin' In A Trunk" in 2001, via Prince's website. . The third unreleased album is almost unknown since only two tracks are circulating: one was released in 1998 on a very rare promo-CD, and another one in 2001 on Prince's website. The two released tracks feature even more complex arrangements than the 1993 album, sort of announcing Prince's "New directions In Music" series from 2002-2003.
1 - Nine (2:06)
2 - Ten (5:04)
3 - Eleven (6:14)
4 - Twelve (5:14)
5 - Thirteen (4:46)
6 - Fourteen (5:12)
7 - Fifteen (3:49)
8 - Sixteen (4:17)
***** ***** ***** ***** *****
Jesse Johnson - Every Shade Of Love ( 88 ^ 96mb)
Jesse Woods Johnson (born May 29, 1960 in Rock Island, Illinois) He moved to St. Louis at the age of 9 and was raised by foster parents after his parents split up. At age 16 he moved back to Rock Island to live with his father. Johnson began playing guitar when he was 15. On a friend's recommendation, he moved to Minneapolis, Minnesota in 1981, where he met Morris Day and became the lead guitarist for the city's funk-rock group, The Time. Although Prince basically recorded the first two Time albums on his own with Morris Day, Johnson did contribute to the Vanity 6 project with a song called "Bite The Beat" co-written with Prince. On The Time's third album, Ice Cream Castle, Johnson contributed to the smash singles "The Bird" and "Jungle Love".
At the height of The Time's popularity following the Purple Rain, Johnson left the band and signed a solo deal with A&M Records in 1984 and released Jesse Johnson's Revue. Shockadelica containing the hit "Crazay", the duet with Sly Stone, and Every Shade of Love followed over the next 3 years, building on the inventive, elaborate sound he forged with The Time. Throughout the late eighties and early 1990s Johnson also featured on the soundtracks to The Breakfast Club contributing "Heart Too Hot To Hold", a duet with Stephanie Spruill, Pretty In Pink, Another 48 Hours and White Men Can't Jump.
By 1990 The Time reformed and issued Pandemonium, which was even more of a group effort than Ice Cream Castle. The album allowed Johnson to contribute his heavy hard rock guitar sound to several tracks. After the band dissolved once again, Johnson remained in the background for several years, quietly contributing to soundtracks and other artists. Finally in 1996, Johnson released another album, . The album was a departure from his funk-filled albums from the 1980s and instead verged into blues and hard rock. It is considered to be the true guitar album that Johnson fans had wanted from him since the beginning of his career.
1 - Love Struck (5:18)
2 - So Misunderstood (6:08)
3 - I'm The One (4:51)
4 - Color Shock (3:43)
5 - Every Shade Of Love (4:44)
6 - Everybody Wants Somebody To Love (3:49)
7 - I'm Just Wanting You (5:43)
8 - Stop-Look-Listen (3:30)
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Wendy & Lisa - Fruit At The Bottom ( 89 ^ 99mb)
Wendy Melvoin (vocals, guitar, bass guitar) and Lisa Coleman (vocals, keyboards) Best known for their collaborations with Prince in the early-mid 1980s, Melvoin and Coleman began their career as Wendy & Lisa in 1986. The two were childhood friends, both from musical families which often performed together; Wendy's father, Mike Melvoin, was an in-demand session musician, while Lisa's father, Gary Coleman was also an in-demand session musician for jazz artists. In 1980, Lisa Coleman replaced Gayle Chapman in Prince's touring band. In 1983, Dez Dickerson left, Lisa suggested Melvoin as a replacement. Prince accepted Melvoin into the band as they began to record Purple Rain. The film and album were a phenomenon, turning Prince and the newly named The Revolution into superstars. Prince's personal life also became intertwined with Melvoin's when he began dating her twin sister Susannah.
The team of Coleman and Melvoin worked extremely well together. Prince saw this and tapped their talents for the albums following Purple Rain. Their influence was particularly heard on several tracks on the Parade album, the soundtrack to Prince's film Under the Cherry Moon. In an ironic parallel to the conflicts in the film Purple Rain, the duo felt they were not getting the recognition and credit they deserved despite their growing contributions. During 1986 Wendy and Lisa became increasingly disillusioned with Prince, unhappy and vocal about their feelings, they were eventually convinced to remain with the band and to go on tour that year. By the end of the tour Prince had already decided he would dissolve The Revolution once the tour was complete. Hence, by October 1986, Coleman and Melvoin (along with Bobby Z.) were dismissed by Prince.
"Wendy and Lisa" (much like Sheila E.) are often miscategorized as being part of Prince's protégé harem. However, Melvoin and Coleman (like Sheila E.) were clearly professional musicians in their own right. Regardless of critical assessments of either Wendy and Lisa's or Prince's work, the duo definitely had an influence and impact on Prince's sound. The pop/blue eyed soul/funk hybrid can be heard on Purple Rain, Around the World in a Day and Parade. The next year, the duo released an album simply entitled Wendy and Lisa with Columbia Records. The lead single, "Waterfall" received some airplay, leaving the album a moderate success. Wendy and Lisa played almost all of the instruments on their self-titled debut and co-wrote most of the material with ex-Revolution drummer Bobby Z. The sound was a continuation of the ethereal/dance/R&B fusion that had been the hallmark of their work with Prince. In 1988, the duo added Melvoin's twin sister Susannah and recorded Fruit at the Bottom, a song cycle about the ups and downs of romance, the duo decided to incorporate dance-club beats and synthesizers into their music. The results were mixed. Though the album sounds more lively and slick than the debut, Wendy & Lisa came up short in the songwriting department.
After a few years, the duo signed with Virgin Records and released Eroica, an album with a more alternative rock feel. They had a minor radio and dance club hit with the single "Strung Out". In 1991, Virgin UK released Re-mix-In-a-Carnation, a selection of club mixes from the first three albums as remixed by producers like The Orb, William Orbit, and Nellee Hooper.
In the mid-Nineties, Wendy and Lisa worked on several movie projects with record producer Trevor Horn, and their first scoring work, for Dangerous Minds. During this period, they worked to record a full length album under Horn's production, however the project has never been released.
Feeling confined by the "Wendy and Lisa" moniker, and released a CD in 1998 under the name "Girl Bros". Their sound had begun to evolve on "Eroica" and while Girl Bros was still pop/funk based, it also could be categorized as alternative music. Melvoin and Coleman have made numerous contributions to film scores and to television themes (for example, they wrote theme music and background scores for TV-shows such as Crossing Jordan, Carnivàle and their newest venture Heroes.
The duo's somewhat erratic relationship with Prince has continued; in 2006, the duo accompanied Prince on-stage during his performance at the 2006 Brit Awards in London.. It was the first time in 20 years that the three had played together in front of a live audience (Sheila E. also joined the band on-stage).Prince's 2007 album "Planet Earth" features appearances by Wendy & Lisa on the songs "The One U Wanna C" and "Lion of Judah".
01 - Lolly Lolly (4:08)
02 - Are You My Baby (5:06)
03 - Satisfaction (4:53)
04 - Always In My Dreams (4:08)
05 - Everyday (4:04)
06 - From Now On (We’re One) (4:29)
07 - Tears Of Joy (4:38)
08 - Someday I (3:08)
09 - I Think It Was December (4:49)
10 - Fruit At The Bottom (4:25)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
***** ***** ***** ***** *****
Madhouse - 16 (87 ^ 94mb)
Prince had caressed the idea of an instrumental jazz-funk album ever since he recorded his first tracks with Eric Leeds for his 1985 side-project, The Family. In late 1985-early 1986, he recorded hours of instrumental music with Leeds and other musicians from his band, Sheila E. and musicians from her own band, as well as members from Wendy & Lisa's families. From these sessions, Prince compiled an album called The Flesh, supposed to be released by an eponymous pseudo-band, but the project was abandoned and its concept lightly modified to become Madhouse. As he did with most of his side projects, Prince created an alter ego, named Austra Chanel, who was said to have been the mentor/producer for Madhouse.
All instruments on "8", the first Madhouse album, were performed by Prince except for the saxophone and flute parts which were performed by Eric Leeds. The albums consists of instrumental jazz-fusion tracks. A remix of the track "Six" was released alongside with the b-side "Six & 1/2", composed by Leeds and featuring Atlanta Bliss on trumpet. "16", the second Madhouse album, featured contributions by Eric Leeds on saxophone and flute, Sheila E. on drums and Levi Seacer, Jr. on bass guitar (the three of them co-composed a few tracks besides playing on the album.) "Doctor" Matt Fink (keyboards) and John Lewis (drums) are also credited in the album's booklet but their participation to the recording is more than uncertain (though both were part of the short-lived live-version of the band.) "16" features more aggressive and minimalist jazz funk tracks than its predecessor.
Cover art for both albums featured a voluptuous woman playing with a small dog, reminiscent of a 1940s pinup photograph. The videos from "16" were more 1940s gangster-themed. The cover of "16" features the subtitle "new directions in garage music", which is a homage to Miles Davis' Directions In music series. The only vocals on either album consisted mainly of choice snippets of audio lifted from the first two Godfather films and samples of Vanity simulating an orgasm (from the Vanity 6 outtake "Vibrator", later used on Prince's own song "Orgasm" from Come.) In 1987, Madhouse served as an opening act for Prince’s headlining tours, with each of the musicians heavily disguised in baggy cloaks and sunglasses, to be removed for the final set. Prince himself often guested with Madhouse, incognito.
At least three other Madhouse albums were later recorded and remain unreleased to this day, all three of them being named "24". The first one was recorded in 1988, mostly by Prince and Eric Leeds. Only one track eventually emerged, severely edited, on Eric Leeds'1991 solo-album Times Squared. The second one was recorded in 1993 with a line-up consisting of Prince (keyboards), Eric Leeds (saxophone), Levi Seacer, Jr. (guitar), Sonny T. (bass) and Michael B. (drums.) Only two tracks were officially released, "17" and"Asswhuppin' In A Trunk" in 2001, via Prince's website. . The third unreleased album is almost unknown since only two tracks are circulating: one was released in 1998 on a very rare promo-CD, and another one in 2001 on Prince's website. The two released tracks feature even more complex arrangements than the 1993 album, sort of announcing Prince's "New directions In Music" series from 2002-2003.
1 - Nine (2:06)
2 - Ten (5:04)
3 - Eleven (6:14)
4 - Twelve (5:14)
5 - Thirteen (4:46)
6 - Fourteen (5:12)
7 - Fifteen (3:49)
8 - Sixteen (4:17)
***** ***** ***** ***** *****
Jesse Johnson - Every Shade Of Love ( 88 ^ 96mb)
Jesse Woods Johnson (born May 29, 1960 in Rock Island, Illinois) He moved to St. Louis at the age of 9 and was raised by foster parents after his parents split up. At age 16 he moved back to Rock Island to live with his father. Johnson began playing guitar when he was 15. On a friend's recommendation, he moved to Minneapolis, Minnesota in 1981, where he met Morris Day and became the lead guitarist for the city's funk-rock group, The Time. Although Prince basically recorded the first two Time albums on his own with Morris Day, Johnson did contribute to the Vanity 6 project with a song called "Bite The Beat" co-written with Prince. On The Time's third album, Ice Cream Castle, Johnson contributed to the smash singles "The Bird" and "Jungle Love".
At the height of The Time's popularity following the Purple Rain, Johnson left the band and signed a solo deal with A&M Records in 1984 and released Jesse Johnson's Revue. Shockadelica containing the hit "Crazay", the duet with Sly Stone, and Every Shade of Love followed over the next 3 years, building on the inventive, elaborate sound he forged with The Time. Throughout the late eighties and early 1990s Johnson also featured on the soundtracks to The Breakfast Club contributing "Heart Too Hot To Hold", a duet with Stephanie Spruill, Pretty In Pink, Another 48 Hours and White Men Can't Jump.
By 1990 The Time reformed and issued Pandemonium, which was even more of a group effort than Ice Cream Castle. The album allowed Johnson to contribute his heavy hard rock guitar sound to several tracks. After the band dissolved once again, Johnson remained in the background for several years, quietly contributing to soundtracks and other artists. Finally in 1996, Johnson released another album, . The album was a departure from his funk-filled albums from the 1980s and instead verged into blues and hard rock. It is considered to be the true guitar album that Johnson fans had wanted from him since the beginning of his career.
1 - Love Struck (5:18)
2 - So Misunderstood (6:08)
3 - I'm The One (4:51)
4 - Color Shock (3:43)
5 - Every Shade Of Love (4:44)
6 - Everybody Wants Somebody To Love (3:49)
7 - I'm Just Wanting You (5:43)
8 - Stop-Look-Listen (3:30)
***** ***** ***** ***** *****
Wendy & Lisa - Fruit At The Bottom ( 89 ^ 99mb)
Wendy Melvoin (vocals, guitar, bass guitar) and Lisa Coleman (vocals, keyboards) Best known for their collaborations with Prince in the early-mid 1980s, Melvoin and Coleman began their career as Wendy & Lisa in 1986. The two were childhood friends, both from musical families which often performed together; Wendy's father, Mike Melvoin, was an in-demand session musician, while Lisa's father, Gary Coleman was also an in-demand session musician for jazz artists. In 1980, Lisa Coleman replaced Gayle Chapman in Prince's touring band. In 1983, Dez Dickerson left, Lisa suggested Melvoin as a replacement. Prince accepted Melvoin into the band as they began to record Purple Rain. The film and album were a phenomenon, turning Prince and the newly named The Revolution into superstars. Prince's personal life also became intertwined with Melvoin's when he began dating her twin sister Susannah.
The team of Coleman and Melvoin worked extremely well together. Prince saw this and tapped their talents for the albums following Purple Rain. Their influence was particularly heard on several tracks on the Parade album, the soundtrack to Prince's film Under the Cherry Moon. In an ironic parallel to the conflicts in the film Purple Rain, the duo felt they were not getting the recognition and credit they deserved despite their growing contributions. During 1986 Wendy and Lisa became increasingly disillusioned with Prince, unhappy and vocal about their feelings, they were eventually convinced to remain with the band and to go on tour that year. By the end of the tour Prince had already decided he would dissolve The Revolution once the tour was complete. Hence, by October 1986, Coleman and Melvoin (along with Bobby Z.) were dismissed by Prince.
"Wendy and Lisa" (much like Sheila E.) are often miscategorized as being part of Prince's protégé harem. However, Melvoin and Coleman (like Sheila E.) were clearly professional musicians in their own right. Regardless of critical assessments of either Wendy and Lisa's or Prince's work, the duo definitely had an influence and impact on Prince's sound. The pop/blue eyed soul/funk hybrid can be heard on Purple Rain, Around the World in a Day and Parade. The next year, the duo released an album simply entitled Wendy and Lisa with Columbia Records. The lead single, "Waterfall" received some airplay, leaving the album a moderate success. Wendy and Lisa played almost all of the instruments on their self-titled debut and co-wrote most of the material with ex-Revolution drummer Bobby Z. The sound was a continuation of the ethereal/dance/R&B fusion that had been the hallmark of their work with Prince. In 1988, the duo added Melvoin's twin sister Susannah and recorded Fruit at the Bottom, a song cycle about the ups and downs of romance, the duo decided to incorporate dance-club beats and synthesizers into their music. The results were mixed. Though the album sounds more lively and slick than the debut, Wendy & Lisa came up short in the songwriting department.
After a few years, the duo signed with Virgin Records and released Eroica, an album with a more alternative rock feel. They had a minor radio and dance club hit with the single "Strung Out". In 1991, Virgin UK released Re-mix-In-a-Carnation, a selection of club mixes from the first three albums as remixed by producers like The Orb, William Orbit, and Nellee Hooper.
In the mid-Nineties, Wendy and Lisa worked on several movie projects with record producer Trevor Horn, and their first scoring work, for Dangerous Minds. During this period, they worked to record a full length album under Horn's production, however the project has never been released.
Feeling confined by the "Wendy and Lisa" moniker, and released a CD in 1998 under the name "Girl Bros". Their sound had begun to evolve on "Eroica" and while Girl Bros was still pop/funk based, it also could be categorized as alternative music. Melvoin and Coleman have made numerous contributions to film scores and to television themes (for example, they wrote theme music and background scores for TV-shows such as Crossing Jordan, Carnivàle and their newest venture Heroes.
The duo's somewhat erratic relationship with Prince has continued; in 2006, the duo accompanied Prince on-stage during his performance at the 2006 Brit Awards in London.. It was the first time in 20 years that the three had played together in front of a live audience (Sheila E. also joined the band on-stage).Prince's 2007 album "Planet Earth" features appearances by Wendy & Lisa on the songs "The One U Wanna C" and "Lion of Judah".
01 - Lolly Lolly (4:08)
02 - Are You My Baby (5:06)
03 - Satisfaction (4:53)
04 - Always In My Dreams (4:08)
05 - Everyday (4:04)
06 - From Now On (We’re One) (4:29)
07 - Tears Of Joy (4:38)
08 - Someday I (3:08)
09 - I Think It Was December (4:49)
10 - Fruit At The Bottom (4:25)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 26, 2008
Alphabet Soup (K)
Hello, Alphabet Soup tastes K today and what a rich blend comes thru. First up one of my favourite albums in the seventies, in 2 years i went from Gary Glitter and Slade onto King Crimson (rather amazing -with hindsight). With Red King Crimson closed the first 5 years of its existance in a aggressive and loud way with main man Robert Fripp already under the spell of the mystic George Gurdjieff and thoughts of the end of the world is here (to stay -wink). It gave the album and players a push that resulted in a classic.....Kravitz, Lenny what can i say with his Let Love Rule and bronze adonis body he had all the girls and hippies out at the end of the eighties. He's maintained a media presence now for the following 20 years, and successfully evaded being labelled a big media puppet, at the same time playing his ancestry cards (Jewish father) very cleverly. After marriage with Lisa Bonet (Cosby's) and having a daughter Zoe, he had his hands free again and used that as inspiration to his second album, Mama Said..(mama sad more likely) anyway Lenny was on his way too stardom.....Kaiser Chiefs didnt get much help or financing and launched their millionselling album Employment with the strenght of their singles, which have a great singalong quality..young and old be it on the foorballpitch of their favouriete team Leeds United or just at home, in the car wherever, irresistable stuff ....
***** ***** ***** ***** *****
King Crimson - Red (74 ^ 94mb)
King Crimson have typically been categorised as a foundational progressive rock group, although they incorporate diverse influences ranging from jazz, classical and experimental music to psychedelic, New Wave, hard rock, gamelan and folk music. King Crimson have garnered little radio or music video airplay, but gained a large cult following. Their debut album, In the Court of the Crimson King, is widely regarded as a landmark in progressive rock. Their later excursions into even more unconventional territory have been influential on many contemporary musical artists. Bands such as Genesis and Yes were influenced by the band's initial style of symphonic mellotron rock.Tool are widely held to have been heavily influenced by King Crimson. Nirvana are known to have been influenced by King Crimson as a result of Kurt Cobain having mentioned the importance of the Red album to him. The band Porcupine Tree is influenced by King Crimson, and as with Tool, King Crimson (in the form of ProjeKct Six) has been the support band at their shows. The angular, dissonant guitar patterns associated with Fripp’s distinctive approach are also evident in the music of Alt-Metal pioneers, Voivod, Primus is heavily influenced by the King Crimson sound, and Iron Maiden members credit the band as a reference for them....
King Crimson's membership has fluctuated considerably throughout their existence, with eighteen musicians and two lyricists passing through the ranks as full band members. Fripp, the only constant member of King Crimson, has arranged several distinct lineups, but has stated that he does not necessarily consider himself the band's leader. The new King Crimson that evolved in July 1972 (again with some personnel changes) marks a turn toward a heavier progressive sound, with experimental and fusion overtones, that climaxes mostly on their unique semi-improvisatory live performances throughout the whole 1973 with the release of Starless and Bible Black, January 1974. Most of that album was recorded from live performances with the live factor dismissed.
David Cross left and so John Wetton, Bill Bruford and Robert Fripp were left to record the new album, Red, be it with the help of musicians from previous KC albums.(David Cross - violin, Mel Collins - soprano saxophone, Ian McDonald - alto saxophone, Robin Miller - oboe, Marc Charig - cornet). Red has been described as "an impressive achievement" for a group about to disband, with "intensely dynamic" musical chemistry between the band members that resulted in a record "aggressive and loud enough to strip the wallpaper off your living room wall". Fripp, increasingly disillusioned with the music business, was turning his attention to the writings of the mystic George Gurdjieff, and did not want to tour as he felt that the "world was coming to an end". The Red line-up never toured, and two months before the album's release Fripp announced that King Crimson had "ceased to exist" and the group disbanded on September 25, 1974
Early in 1981, Fripp considered forming a new group, with no intention of reforming King Crimson. However, a step that led to this was contacting Bill Bruford to ask if he wanted to join the new band.Bruford agreed and the pair recruited Tony Levin, he brought a new sound with the use of the Chapman Stick, described as an "utterly original style" created by "one of New York City's most sought-after studio musicians".Fripp also contacted guitarist Adrian Belew, who was on tour with Talking Heads ] Fripp had never been in a band with another guitarist before so the decision to seek a second guitarist was indicative of Fripp's desire to create a sound unlike previous incarnations of King Crimson.Belew, who also became the band's singer and lyricist, joined following his tour with Talking Heads. The four played live in the first half of 1981 using the name Discipline.
By October 1981, the band had begun using the name King Crimson. The group released a trilogy of albums: Discipline in 1981, Beat in 1982, and Three of a Perfect Pair in 1984. Beat marked the first King Crimson album to have been recorded with the exact same band members as the album preceding it. After Three of a Perfect Pair, King Crimson disbanded for around a decade, during which time Fripp formed the record label Discipline Global Mobile for King Crimson and related projects, besides starting the Guitar Craft music school in 1985.
Ten years after (May 1994), King Crimson start rehearsing again, this time as a double trio (added to the four above, are Pat Mastelotto on percussion, and Trey Gunn on stick). It is in this time that the Discipline Global Mobile label is started, enabling for the first time Mr. Fripp and associates to release their own music by their own (high) standards. This "double trio" formation released the EP VROOOM in 1994, followed by the studio album THRAK in 1995, and the challenging avantgarde live album THRaKaTTaK in 1996. The new King Crimson sound featured elements of the interlocking guitars on Discipline and the heavy rock feel of Red
The double trio scheme will only release two full albums and various ep’s, yet it will lead to its “fractalization” to groups of three (or four), thus forming the ProjeKcts. Five such ProjeKcts will live and flourish (One, Two, Three, Four, and X), and their live and studio sessions will be released by DGM, along with numerous other recordings from all periods of King Crimson (some under the King Crimson Collector’s Club; bi-monthly releases for members only). In the hands of DGM, the King Crimson back catalogue (most late additions only on FLAC/MP3 format) grows enormously, making it one of the biggest for any rock group ever. By the time the ProjeKcts were complete, Bruford and Levin had ceased to be involved with King Crimson, Belew, Fripp, Gunn, and Mastelotto remained, releasing the studio album The ConstruKction of Light (2000), accompanied by the album Heaven and Earth released under the name ProjeKct X in the same year.
The band continued their activity throughout the decade. In 2002 the EP Happy With What You Have to Be Happy With was released,[51] and in 2003 the studio album The Power to Believe came out with the band touring in support of it. November 2003, Trey Gunn announced his departure from the band. Levin would become the active bassist of King Crimson again, with the subsequent line-up scheduled for rehearsals in 2008 and consisting of Fripp, Belew, Mastelotto, Levin plus a second drummer, Gavin Harrison of Porcupine Tree, who joined King Crimson in November 2007. They began rehearsals in March 2008.
01 - Red (6:20)
02 - Fallen Angel (6:00)
03 - One More Red Nightmare (7:07)
04 - Providence (8:08)
(Recorded at Palace Theatre, Providence, USA, 30 June 1974)
05 - Starless (12:18)
***** ***** ***** ***** *****
Lenny Kravitz - Mama Said (91 ^ 99mb)
Leonard Albert "Lenny" Kravitz (born May 26, 1964, New York City) Lenny began banging on pots and pans in the kitchen, playing them as drums at the age of three, at the age of five, he wanted to be a musician. Kravitz grew up listening to the music his parents listened to: R&B, jazz, classical, opera, gospel, and blues. He began playing the drums and soon added guitar. In 1974, the Kravitz family relocated to Los Angeles when Kravitz's mother landed her role on The Jeffersons. At his mother's urging, Kravitz joined the California Boys Choir for three years, where he performed a classical repertoire, and sang with the Metropolitan Opera.
At the age of 15, determined to have a music career, Kravitz moved out , he stayed with friends, slept in friends' cars. Inspired by David Bowie and The New York Dolls, Kravitz adopted the nom de guerre, "Romeo Blue," a new persona complete with straightened hair, eyeliner and mascara, blue contact lenses, and began performing. Kravitz's music at this time was heavily influenced by the synth-laden funk pop of Prince. With his first demo, Kravitz received offers from several record labels, including I.R.S. Records, but was told he needed to change his music to either make it "black enough" to fit in with current radio-friendly R and B styles or to make it "whiter" to work as a rock artist "I refused," Kravitz told the Los Angeles Times in 1989. With record labels still telling him his music wasn't "black enough" or "white enough," Kravitz decided to record an album on his own. Kravitz began working on his debut album with Hirsch over the next year and a half, with his father paying for the studio time.
Kravitz released his debut album Let Love Rule on September 19, 1989, a combination of rock and funk with a general 1960s vibe. Music critics were mixed: some felt Kravitz was a gifted new artist, others felt he was overpowered by his musical influences. The album was a moderate success in the United States, but much bigger outside of the US, especially in Europe. In 1990, Kravitz co-wrote with Ingrid Chavez and produced the song "Justify My Love" for Madonna. The song, created controversy because of its explicit video, and thus went to #1. Kravitz separated from Lisa Bonet in 1991, amid rumors of an affair between him and Madonna. In 1991, he produced, played most of the instruments, and co-wrote most of the songs on the self-titled album of French singer Vanessa Paradis He also released his second album, Mama Said, which was his first album to reach the Top 40. The songs on the album were about Bonet and dedicated to her, documenting his depression over their breakup. Kravitz's biggest single yet, "It Ain't Over 'Til It's Over", went to #2
In 1993, Are You Gonna Go My Way was released, reaching #12 on the Billboard 200 and Kravitz earned a BRIT Award for best international male artist in 1994. He released the album Circus in 1995, which went to number 10 on the Billboard chart on the back of his past achievement. However, the album only had two hit singles: "Rock and Roll Is Dead" and "Can't Get You Off My Mind". With 5 (1998), Kravitz embraced digital technology such as Pro Tools and samplers for the first time. The single "Fly Away" reached #1 on multiple charts. He would win the first of his four consecutive Grammy for Best Male Rock Vocal Performance at the Grammy Awards of 1999. His cover version of The Guess Who's hit "American Woman" won him another Grammy at the Grammy Awards of 2000 and helped The Guess Who's song reach a new audience. Kravitz's version of the song originally came from the soundtrack of Austin Powers: The Spy Who Shagged Me and was later added to 5 as a bonus track. The single "Again" earned him his third consecutive Grammy for the Best Male Rock Vocal in the Grammy Awards of 2001
Kravitz sixth album, Lenny was recorded in Miami and released in October 2001. He won his fourth Grammy in 2002. "Stillness of Heart", "Believe in Me", and "If I Could Fall In Love" were subsequent singles from the album. Kravitz's seventh album Baptism was released in May 2004. The first single was "Where Are We Runnin'?", "Storm", featuring Jay-Z, reached the charts. "Calling All Angels" was successful in various countries and a huge hit in Brazil, however it was "Lady", dedicated to his then girlfriend Nicole Kidman, became the album's surprise hit, making the US Top 30 and propelling "Baptism" to gold status. Lately, Kravitz has founded a design firm named Kravitz Design, focused on interior and furniture design, stating if he hadn't been a musician he would have been a designer. On January 17, 2008, Kravitz embarked on a 9 city mini-tour to promote his new album It Is Time for a Love Revolution. The tour started in Santa Monica, California and ended in New York City on February 1st. Ten days later he was in hospital with a severe bronchitis, which caused cancelling the European and South -Amercican tour to be cancelled. Not to worry the 44 year old is still alive and well working on his next bum, Funk
01 - Fields Of Joy (4:03)
02 - Always On The Run (3:57)
03 - Stand By My Woman (4:16)
04 - It Ain't Over 'Til It's Over (3:55)
05 - More Than Anything In This World (3:43)
06 - What Goes Around Comes Around (4:40)
07 - The Difference Is Why (4:48)
08 - Stop Draggin' Around (2:37)
09 - Flowers For Zoe (2:45)
10 - Fields Of Joy (Reprise) (3:57)
11 - All I Ever Wanted (4:04)
12 - When The Morning Turns To Night (2:58)
13 - What The .... Are We Saying? (5:10)
14 - Butterfly (1:45)
***** ***** ***** ***** *****
Kaiser Chiefs - Employment ( 05 ^ 99mb)
When they were around eleven years old, Nick Hodgson, Nick Baines and Simon Rix met in the same class at St. Mary's School, Menston just outside Leeds. After leaving school, Rix and Baines left for university in 1996 whereas Hodgson remained in the Leeds area, meeting both Andrew White and Ricky Wilson. Hodgson, White and Wilson formed the band Runston Parva. The group would re-form as Parva upon the return of Rix and Baines from university. Parva's career would go beyond the boundaries of Leeds, and the band was able to obtain a record deal in 2001. However, the label closed down soon after, leaving Parva desolate and without any direction. The band decided that they would would aim for a longer term record deal and started afresh with new songs and a new name: Kaiser Chiefs. The new name was taken from South African football club Kaizer Chiefs, where former Leeds United captain Lucas Radebe had once played.
The group's debut album Employment was released in March 2005, on the B-Unique record label and went on to becoming the fourth best-selling album in the United Kingdom that year. Being primarily inspired by new wave and punk rock music of late 1970s.[3] The album was well received by music critics, described as "thrilling from beginning to end" and "quintessentially British, without pretension and most importantly, a whole lot of fun. The first single released from the album was "Oh My God" in 2004, which reached number six on the UK singles chart when it was reissued in February 2005. "I Predict a Riot" soon followed as the album's second release.Originally the album charted at #3 in the UK Albums Chart, but charted one place higher at #2 almost a year after its release, due to the bands success at the Brit Awards. Glastonbury 2005 was the Kaiser's festival. With dreaded weather the band played the main stage on the Saturday afternoon and again had the crowd eating out of the palm of its (collective) hand.
Kaiser Chiefs' second album Yours Truly, Angry Mob was released in February 2007. The group recorded the album throughout the September and October of 2006, and recorded over twenty-two songs at Hook End Studio in Oxfordshire.
Unlike Employment, the album received mixed reviews from critics who found it to be "an album full of jukebox hits" and "predictable". "Ruby", the album's lead single, became Kaiser Chiefs' first UK number one single. Yours Truly, Angry Mob reached number one on the UK albums chart and number forty-five on the Billboard 200 albums chart. Kaiser Chiefs recently scrapped most of their autumn US tour saying they were too anxious to begin recording their third full length album. Mark Ronson along with Eliot Jameswill be producing the forthcoming third album to be released coming fall. They can be seen at several festivals this summer , and headline the Friday night of this years Isle of Wight Festival.
01 - Everyday I Love You Less And Less (3:37)
02 - I Predict A Riot (3:53)
03 - Modern Way (4:03)
04 - Na Na Na Na Naa (3:00)
05 - You Can Have It All (4:35)
06 - Oh My God (3:34)
07 - Born To Be A Dancer (3:30)
08 - Saturday Night (3:26)
09 - What Did I Ever Give You? (4:09)
10 - Time Honoured Tradition (2:45)
11 - Caroline, Yes (4:10)
12 - Team Mate (3:24)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
***** ***** ***** ***** *****
King Crimson - Red (74 ^ 94mb)
King Crimson have typically been categorised as a foundational progressive rock group, although they incorporate diverse influences ranging from jazz, classical and experimental music to psychedelic, New Wave, hard rock, gamelan and folk music. King Crimson have garnered little radio or music video airplay, but gained a large cult following. Their debut album, In the Court of the Crimson King, is widely regarded as a landmark in progressive rock. Their later excursions into even more unconventional territory have been influential on many contemporary musical artists. Bands such as Genesis and Yes were influenced by the band's initial style of symphonic mellotron rock.Tool are widely held to have been heavily influenced by King Crimson. Nirvana are known to have been influenced by King Crimson as a result of Kurt Cobain having mentioned the importance of the Red album to him. The band Porcupine Tree is influenced by King Crimson, and as with Tool, King Crimson (in the form of ProjeKct Six) has been the support band at their shows. The angular, dissonant guitar patterns associated with Fripp’s distinctive approach are also evident in the music of Alt-Metal pioneers, Voivod, Primus is heavily influenced by the King Crimson sound, and Iron Maiden members credit the band as a reference for them....
King Crimson's membership has fluctuated considerably throughout their existence, with eighteen musicians and two lyricists passing through the ranks as full band members. Fripp, the only constant member of King Crimson, has arranged several distinct lineups, but has stated that he does not necessarily consider himself the band's leader. The new King Crimson that evolved in July 1972 (again with some personnel changes) marks a turn toward a heavier progressive sound, with experimental and fusion overtones, that climaxes mostly on their unique semi-improvisatory live performances throughout the whole 1973 with the release of Starless and Bible Black, January 1974. Most of that album was recorded from live performances with the live factor dismissed.
David Cross left and so John Wetton, Bill Bruford and Robert Fripp were left to record the new album, Red, be it with the help of musicians from previous KC albums.(David Cross - violin, Mel Collins - soprano saxophone, Ian McDonald - alto saxophone, Robin Miller - oboe, Marc Charig - cornet). Red has been described as "an impressive achievement" for a group about to disband, with "intensely dynamic" musical chemistry between the band members that resulted in a record "aggressive and loud enough to strip the wallpaper off your living room wall". Fripp, increasingly disillusioned with the music business, was turning his attention to the writings of the mystic George Gurdjieff, and did not want to tour as he felt that the "world was coming to an end". The Red line-up never toured, and two months before the album's release Fripp announced that King Crimson had "ceased to exist" and the group disbanded on September 25, 1974
Early in 1981, Fripp considered forming a new group, with no intention of reforming King Crimson. However, a step that led to this was contacting Bill Bruford to ask if he wanted to join the new band.Bruford agreed and the pair recruited Tony Levin, he brought a new sound with the use of the Chapman Stick, described as an "utterly original style" created by "one of New York City's most sought-after studio musicians".Fripp also contacted guitarist Adrian Belew, who was on tour with Talking Heads ] Fripp had never been in a band with another guitarist before so the decision to seek a second guitarist was indicative of Fripp's desire to create a sound unlike previous incarnations of King Crimson.Belew, who also became the band's singer and lyricist, joined following his tour with Talking Heads. The four played live in the first half of 1981 using the name Discipline.
By October 1981, the band had begun using the name King Crimson. The group released a trilogy of albums: Discipline in 1981, Beat in 1982, and Three of a Perfect Pair in 1984. Beat marked the first King Crimson album to have been recorded with the exact same band members as the album preceding it. After Three of a Perfect Pair, King Crimson disbanded for around a decade, during which time Fripp formed the record label Discipline Global Mobile for King Crimson and related projects, besides starting the Guitar Craft music school in 1985.
Ten years after (May 1994), King Crimson start rehearsing again, this time as a double trio (added to the four above, are Pat Mastelotto on percussion, and Trey Gunn on stick). It is in this time that the Discipline Global Mobile label is started, enabling for the first time Mr. Fripp and associates to release their own music by their own (high) standards. This "double trio" formation released the EP VROOOM in 1994, followed by the studio album THRAK in 1995, and the challenging avantgarde live album THRaKaTTaK in 1996. The new King Crimson sound featured elements of the interlocking guitars on Discipline and the heavy rock feel of Red
The double trio scheme will only release two full albums and various ep’s, yet it will lead to its “fractalization” to groups of three (or four), thus forming the ProjeKcts. Five such ProjeKcts will live and flourish (One, Two, Three, Four, and X), and their live and studio sessions will be released by DGM, along with numerous other recordings from all periods of King Crimson (some under the King Crimson Collector’s Club; bi-monthly releases for members only). In the hands of DGM, the King Crimson back catalogue (most late additions only on FLAC/MP3 format) grows enormously, making it one of the biggest for any rock group ever. By the time the ProjeKcts were complete, Bruford and Levin had ceased to be involved with King Crimson, Belew, Fripp, Gunn, and Mastelotto remained, releasing the studio album The ConstruKction of Light (2000), accompanied by the album Heaven and Earth released under the name ProjeKct X in the same year.
The band continued their activity throughout the decade. In 2002 the EP Happy With What You Have to Be Happy With was released,[51] and in 2003 the studio album The Power to Believe came out with the band touring in support of it. November 2003, Trey Gunn announced his departure from the band. Levin would become the active bassist of King Crimson again, with the subsequent line-up scheduled for rehearsals in 2008 and consisting of Fripp, Belew, Mastelotto, Levin plus a second drummer, Gavin Harrison of Porcupine Tree, who joined King Crimson in November 2007. They began rehearsals in March 2008.
01 - Red (6:20)
02 - Fallen Angel (6:00)
03 - One More Red Nightmare (7:07)
04 - Providence (8:08)
(Recorded at Palace Theatre, Providence, USA, 30 June 1974)
05 - Starless (12:18)
***** ***** ***** ***** *****
Lenny Kravitz - Mama Said (91 ^ 99mb)
Leonard Albert "Lenny" Kravitz (born May 26, 1964, New York City) Lenny began banging on pots and pans in the kitchen, playing them as drums at the age of three, at the age of five, he wanted to be a musician. Kravitz grew up listening to the music his parents listened to: R&B, jazz, classical, opera, gospel, and blues. He began playing the drums and soon added guitar. In 1974, the Kravitz family relocated to Los Angeles when Kravitz's mother landed her role on The Jeffersons. At his mother's urging, Kravitz joined the California Boys Choir for three years, where he performed a classical repertoire, and sang with the Metropolitan Opera.
At the age of 15, determined to have a music career, Kravitz moved out , he stayed with friends, slept in friends' cars. Inspired by David Bowie and The New York Dolls, Kravitz adopted the nom de guerre, "Romeo Blue," a new persona complete with straightened hair, eyeliner and mascara, blue contact lenses, and began performing. Kravitz's music at this time was heavily influenced by the synth-laden funk pop of Prince. With his first demo, Kravitz received offers from several record labels, including I.R.S. Records, but was told he needed to change his music to either make it "black enough" to fit in with current radio-friendly R and B styles or to make it "whiter" to work as a rock artist "I refused," Kravitz told the Los Angeles Times in 1989. With record labels still telling him his music wasn't "black enough" or "white enough," Kravitz decided to record an album on his own. Kravitz began working on his debut album with Hirsch over the next year and a half, with his father paying for the studio time.
Kravitz released his debut album Let Love Rule on September 19, 1989, a combination of rock and funk with a general 1960s vibe. Music critics were mixed: some felt Kravitz was a gifted new artist, others felt he was overpowered by his musical influences. The album was a moderate success in the United States, but much bigger outside of the US, especially in Europe. In 1990, Kravitz co-wrote with Ingrid Chavez and produced the song "Justify My Love" for Madonna. The song, created controversy because of its explicit video, and thus went to #1. Kravitz separated from Lisa Bonet in 1991, amid rumors of an affair between him and Madonna. In 1991, he produced, played most of the instruments, and co-wrote most of the songs on the self-titled album of French singer Vanessa Paradis He also released his second album, Mama Said, which was his first album to reach the Top 40. The songs on the album were about Bonet and dedicated to her, documenting his depression over their breakup. Kravitz's biggest single yet, "It Ain't Over 'Til It's Over", went to #2
In 1993, Are You Gonna Go My Way was released, reaching #12 on the Billboard 200 and Kravitz earned a BRIT Award for best international male artist in 1994. He released the album Circus in 1995, which went to number 10 on the Billboard chart on the back of his past achievement. However, the album only had two hit singles: "Rock and Roll Is Dead" and "Can't Get You Off My Mind". With 5 (1998), Kravitz embraced digital technology such as Pro Tools and samplers for the first time. The single "Fly Away" reached #1 on multiple charts. He would win the first of his four consecutive Grammy for Best Male Rock Vocal Performance at the Grammy Awards of 1999. His cover version of The Guess Who's hit "American Woman" won him another Grammy at the Grammy Awards of 2000 and helped The Guess Who's song reach a new audience. Kravitz's version of the song originally came from the soundtrack of Austin Powers: The Spy Who Shagged Me and was later added to 5 as a bonus track. The single "Again" earned him his third consecutive Grammy for the Best Male Rock Vocal in the Grammy Awards of 2001
Kravitz sixth album, Lenny was recorded in Miami and released in October 2001. He won his fourth Grammy in 2002. "Stillness of Heart", "Believe in Me", and "If I Could Fall In Love" were subsequent singles from the album. Kravitz's seventh album Baptism was released in May 2004. The first single was "Where Are We Runnin'?", "Storm", featuring Jay-Z, reached the charts. "Calling All Angels" was successful in various countries and a huge hit in Brazil, however it was "Lady", dedicated to his then girlfriend Nicole Kidman, became the album's surprise hit, making the US Top 30 and propelling "Baptism" to gold status. Lately, Kravitz has founded a design firm named Kravitz Design, focused on interior and furniture design, stating if he hadn't been a musician he would have been a designer. On January 17, 2008, Kravitz embarked on a 9 city mini-tour to promote his new album It Is Time for a Love Revolution. The tour started in Santa Monica, California and ended in New York City on February 1st. Ten days later he was in hospital with a severe bronchitis, which caused cancelling the European and South -Amercican tour to be cancelled. Not to worry the 44 year old is still alive and well working on his next bum, Funk
01 - Fields Of Joy (4:03)
02 - Always On The Run (3:57)
03 - Stand By My Woman (4:16)
04 - It Ain't Over 'Til It's Over (3:55)
05 - More Than Anything In This World (3:43)
06 - What Goes Around Comes Around (4:40)
07 - The Difference Is Why (4:48)
08 - Stop Draggin' Around (2:37)
09 - Flowers For Zoe (2:45)
10 - Fields Of Joy (Reprise) (3:57)
11 - All I Ever Wanted (4:04)
12 - When The Morning Turns To Night (2:58)
13 - What The .... Are We Saying? (5:10)
14 - Butterfly (1:45)
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Kaiser Chiefs - Employment ( 05 ^ 99mb)
When they were around eleven years old, Nick Hodgson, Nick Baines and Simon Rix met in the same class at St. Mary's School, Menston just outside Leeds. After leaving school, Rix and Baines left for university in 1996 whereas Hodgson remained in the Leeds area, meeting both Andrew White and Ricky Wilson. Hodgson, White and Wilson formed the band Runston Parva. The group would re-form as Parva upon the return of Rix and Baines from university. Parva's career would go beyond the boundaries of Leeds, and the band was able to obtain a record deal in 2001. However, the label closed down soon after, leaving Parva desolate and without any direction. The band decided that they would would aim for a longer term record deal and started afresh with new songs and a new name: Kaiser Chiefs. The new name was taken from South African football club Kaizer Chiefs, where former Leeds United captain Lucas Radebe had once played.
The group's debut album Employment was released in March 2005, on the B-Unique record label and went on to becoming the fourth best-selling album in the United Kingdom that year. Being primarily inspired by new wave and punk rock music of late 1970s.[3] The album was well received by music critics, described as "thrilling from beginning to end" and "quintessentially British, without pretension and most importantly, a whole lot of fun. The first single released from the album was "Oh My God" in 2004, which reached number six on the UK singles chart when it was reissued in February 2005. "I Predict a Riot" soon followed as the album's second release.Originally the album charted at #3 in the UK Albums Chart, but charted one place higher at #2 almost a year after its release, due to the bands success at the Brit Awards. Glastonbury 2005 was the Kaiser's festival. With dreaded weather the band played the main stage on the Saturday afternoon and again had the crowd eating out of the palm of its (collective) hand.
Kaiser Chiefs' second album Yours Truly, Angry Mob was released in February 2007. The group recorded the album throughout the September and October of 2006, and recorded over twenty-two songs at Hook End Studio in Oxfordshire.
Unlike Employment, the album received mixed reviews from critics who found it to be "an album full of jukebox hits" and "predictable". "Ruby", the album's lead single, became Kaiser Chiefs' first UK number one single. Yours Truly, Angry Mob reached number one on the UK albums chart and number forty-five on the Billboard 200 albums chart. Kaiser Chiefs recently scrapped most of their autumn US tour saying they were too anxious to begin recording their third full length album. Mark Ronson along with Eliot Jameswill be producing the forthcoming third album to be released coming fall. They can be seen at several festivals this summer , and headline the Friday night of this years Isle of Wight Festival.
01 - Everyday I Love You Less And Less (3:37)
02 - I Predict A Riot (3:53)
03 - Modern Way (4:03)
04 - Na Na Na Na Naa (3:00)
05 - You Can Have It All (4:35)
06 - Oh My God (3:34)
07 - Born To Be A Dancer (3:30)
08 - Saturday Night (3:26)
09 - What Did I Ever Give You? (4:09)
10 - Time Honoured Tradition (2:45)
11 - Caroline, Yes (4:10)
12 - Team Mate (3:24)
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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 25, 2008
Eight-X (37)
Hello, Eight-X and more eighties vinyl coming up. The first band wasn't very clever coming up with a geriatric name like Music For Pleasure, music for money lads, or music for a future ..to prod them punks a little.. it didn't happen for them, by 82 /83 the market became flooded by major labels pushing their bands against the independents. Into The Rain, again an odd choice for a title, it did get a succesful producer, so the resulting synth wave certainly didn't dissapoint...How time flies, its been 15 weeks already since i posted Thomas Dolby debut album, his quality follow-up here seemed to establish him as a new force in synth pop, but productionwork and filmscores derailed that career...Finally a band taking their name from the answer to the universe and everything ..42 (HitchHikersGuide To The Galaxy), i picked up Level Best a few weeks ago and i thought i'd share it with you'll...
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Music For Pleasure - Into The Rain (82 ^84mb)
Founded in Leeds circa 1979 by Mark Copson (Vocals), David Whitaker (Keyboards), Martin King (Bass) and Christopher Oldroyd (Drums). (Obviously) influenced by the punk scene, Krautrock and sounding very "new wave-ish" they went on to release a couple of singles on the Rage label.
In 1982 they signed a contract with Polydor (Martin King was replaced by Ivor Roberts) and released their first Lp "Into The Rain", great synth wave/pop, produced by legendary Mike Hedges. "Blacklands". was releassed the following year, meanwhile Polydor lost interest and dropped them. Music For Pleasure went on to release some records on their own label called Whirlpool, before disbanding in 1985. Mark Copson and David Whitaker have been involved with The Danse Society (circa '86), and drummer Christopher Oldroyd appeared on Red Lorry Yellow Lorry's "Paint The Wagon"
01 - Light (3:34)
02 - Switchback (3:23)
03 - Nostalgia (3:18)
04 - Time (3:27)
05 - New Day (5:18)
06 - Lost Detail (3:07)
07 - Winterscene (3:24)
08 - Aim To Life (2:58)
09 - Warehouse (2:53)
10 - Underworld (5:01)
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Thomas Dolby - The Flat Earth (84 ^99mb)
Thomas Dolby (born Thomas Morgan Robertson, on 14 October 1958) is an English musician, producer, and inventor. Thomas was father, Martin Robertson, was an internationally-distinguished professor of classical Greek art and archaeology at the University of London and Oxford University, and in his youth Thomas lived or worked in Greece and France. Thomas married actress Kathleen Beller in 1988; the couple have three children together.
Dolby's interest in music arose through his interest in computers, electronics and synthesizers. He originally attended college to study meteorology, but he was soon side-tracked by electronics, specifically musical equipment. He began building his own synthesizers when he was 18 years old. Around the same time, he began to learn how to play guitar and piano, as well as how to program computers. The "Dolby" nickname comes from the name Dolby Laboratories, and was given to him by school friends due to his seemingly inseparable relationship with his cassette machine. Dolby Laboratories tried to stop him from using the name Dolby entirely. Eventually, the case was settled out of court and it was agreed that he would refrain from using the word Dolby in any context other than with the name Thomas.
In his late teens, Dolby was hired as a touring sound engineer for a variety of post-punk bands, including the Fall, the Passions and the Members; on these dates, he would use a PA system he had built himself. In 1979, he formed the arty post-punk band Camera Club with Bruce Woolley, Trevor Horn, Geoff Downes and Matthew Seligman. Within a year, he had left the group and joined Lene Lovich's backing band. Dolby gave Lovich his song "New Toy," which became a British hit in 1981. That same year, he released his first solo single, "Urges," on the English independent label Armageddon. By the fall, he had signed with Parlophone and released "Europa and the Pirate Twins." Dolby started playing synthesizer on sessions for other artists in 1982. He wrote and produced "Magic's Wand" for Whodini; the single became one of the first million-selling rap singles. Even with all of these achievements, 1982 was most noteworthy for the release of Dolby's first solo album, The Golden Age of Wireless, in the summer of 1982; the record reached number 13 in England, while it was virtually forgotten in America. "Windpower," the first single from the record, became his first Top 40 UK hit .
Dolby's second album, The Flat Earth holds up considerably well since its 1984 release. This staying power belongs to a fantastic ensemble of supporting players as much as to Dolby's songwriting and crisp production. The album was supported by the single "Hyperactive." The single became his biggest UK hit. Though The Flat Earth did relativly well in the US , Dolby's momentum was already beginning to slow -- none of the singles released from the album cracked the American Top 40. Nevertheless, Dolby was in demand as a collaborator and he worked with Herbie Hancock, Howard Jones, Stevie Wonder, George Clinton, and Dusty Springfield. During 1985, he produced Clinton's Some of My Best Jokes Are Friends, Prefab Sprout's Steve McQueen (Two Wheels Good in the US), and Joni Mitchell's Dog Eat Dog, as well as supporting David Bowie at Live Aid. Also in 1985, he began composing film scores, starting with Fever Pitch. In 1986, he composed the scores for Gothic and Howard the Duck, to which he credited himself as Dolby's Cube. Aliens Ate My Buick, Dolby's long-delayed third album, appeared in 1988 to poor reviews and weak sales, even though the single "Airhead" became a minor British hit.
For the rest of the late '80s and early '90s, Dolby continued to score films, producing and he began building his own computer equipment. His fourth album, Astronauts & Heretics, was released in 1992 on his new label, Giant the album was a flop. The following year, Dolby founded the computer software company Headspace, which released The Virtual String Quartet as its first program. For the rest of the '90s, Headspace occupied most of Dolby's time and energy. In 1994, he released The Gate to the Mind's Eye, a soundtrack to the videotape Mind's Eye. Also that year, Capitol released the greatest-hits collection, Retrospectacle.
1 - Dissidents (4:57)
2 - The Flat Earth (6:41)
3 - Screen Kiss (5:33)
4 - White City (5:20)
5 - Mulu The Rain Forest (5:00)
6 - I Scare Myself (5:36)
7 - Hyperactive! (4:14)
--Xs
8 - Dissidents (the search for truth pt 2) (5:54)
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Level 42 - Level Best ( 89 * 99mb)
Before Phil Gould, Mark King and Wally Badarou were members of the pop band M, during 1979. Level 42 was formed in 1980 as a jazz-funk fusion band. The Gould brothers, drummer Phil and guitarist Boon, together with then drummer Mark King all came from the Isle of Wight and had played together in various bands during their teenage years. Initially the band was signed to a small independent record label, Elite Records, after being seen jamming together. Shortly after they released the single "Love Meeting Love", they came to the attention of Polydor Records and signed to them. One of the performers on that track, renowed synthesiser / instrumental keyboardist Wally Badarou, would later become Level 42's longtime co-producer and although he only ever played in the studio with them, he was known as the band's unofficial "fifth member".
In 1981 they released "Love Games", a top 40 hit. They then cut their critically acclaimed, self-titled debut album. This became an immediate success throughout Europe. The following year, a second album The Pursuit of Accidents was made, and singles from the album, first "Weave Your Spell" and then "The Chinese Way" were released, both charting. The album went on to become a huge seller. In between, Polydor released The Early Tapes, recorded in the early days of the band when they were signed to the Elite label. A fourth album Standing in the Light generated their first top ten hit in the UK in 1983, "The Sun Goes Down (Living It Up)". This album debuted a new era for the band, less experimental and jazzy than previous releases. The quartet followed that with the album True Colours in 1984, which veered between funk, power pop, midtempo rock and moody ballads. It yielded the singles "The Chant Has Begun" and "Hot Water"
Released in late 1985, World Machine broke the band worldwide; "Lessons in Love" hit number one in Britain and "Something About You" hit number seven in America. Their next two records, Running in the Family became their biggest seller, reaching the top five in numerous countries, and cemented this poppy musical direction, with King's bass and Lindup and Badarou's chugging keyboards, it made little headway in the U.S. Both of the Gould brothers left the band in late 1987, exhausted and dissatisfied with the musical direction the band had taken. They were replaced by guitarist Alan Murphy and drummer Gary Husband. Murphy died of AIDS-related diseases in 1989. During the early 1990s, the group tried to blend more of their earlier influences, into their sound and Husband asked Allan Holdsworth to provide some guitar work for the album Guaranteed. Though well-received, especially by US music critics, many of their jazz-funk fans did not like the set's mostly progressive / rock-oriented style, and meanwhile the pop music scene in the UK had moved in a different direction. 1994's Forever Now album marked the return of Phil Gould (as studio drummer and principal lyricist), the album saw the group move closer to its R&B-jazz roots. Alas, the fruitful (part) reunion was short-lived and musicians had to be sought for the live -tour which fell apart halfway as Level 42 disbanded.
Mark King went on and formed his own band, increasingly King and his band were playing more and more Level 42 tracks, so in late 2001, King came to a business agreement with Mike Lindup for the rights to the name Level 42 (Lindup agreed to play on future albums, but did not want to tour). A new album, Retroglide was announced in February 2006 with a supporting tour, chiefly recorded by King and co-written by Boon Gould. It also has some contributions from Mike Lindup on keyboards/vocals, May 2006, just prior to the start of the tour in October, it was announced that Mike Lindup would return full time on keyboards.
Level Best is a thorough overview of the smooth, jazzy sophisti-pop outfit, containing all of their biggest hits and best material, it's as comprehensive a summary of Level 42's career as could be hoped.
01 - Running In The Family (3:53)
02 - The Sun Goes Down (3:40)
03 - Something About You (3:39)
04 - Tracie (3:20)
05 - Starchild (3:47)
06 - It's Over (4:32)
07 - Hot Water (3:31)
08 - Take Care Of Yourself (4:28)
09 - Heaven In My Hands (4:03)
10 - Children Say (4:17)
11 - Love Games (4:21)
12 - The Chinese Way (3:52)
13 - Leaving Me Now (3:27)
14 - Lessons In Love (3:53)
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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 24, 2008
Around the World (37)
Hello, Around the World music leaves the classics behind, i hope you got something from it...Summer has come last Saturday , why not have some reggae again...or in this case.. Reggae/Dub from a man who wanted to do some of his own writing and make something that was challenging for him. This here is his 2nd solo album, Becoming A Cliché it came with a limited edition Dub Cliché bonus, which btw has plenty going for it to stand on it's own. Indeed Adrian Maxwell Sherwood is up On-U....
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Adrian Sherwood and his famed On-U Sound label pioneered a distinctive fusion of dub, rock and dance which made waves not only in roots circles but also in the pop mainstream. Born in 1958, Sherwood first surfaced during the late '70s at the helm of a series of disastrously short-lived labels; he formed On-U Sound in 1979, counting Creation Rebel, Prince Far I, Bim Sherman, and the Mothmen (later to form Simply Red) among the roster's earliest additions. While the On-U Sound crew's original focus was on live sound system performances, the emphasis soon switched to making records; when none emerged as a breakout success, Sherwood began mixing and matching line-ups, resulting in new acts including New Age Steppers, African Head Charge, Mark Stewart & Maffia and Dr. Pablo & the Dub Syndicate.
Sherwood's distinctive production style soon began attracting interest from acts outside of the dub community, but reggae remained the label's focus. In 1984, while working for US label Tommy Boy (remixing) , he met Keith LeBlanc, after a productive meeting, McDonald and Wimbish later joined them in London, to begin work on a new project which they christened, Fats Comet. LeBlanc's beat, pitched with Sherwood's dub methodology, taken it to the limit created a unique media where the heavily distorted sound of McDonald s guitar and Wimbish's funky bass made things complete. Sherwood soon recruited the onetime house band at the famed rap label Sugar Hill, the trio brought new power and definition to the On-U's densely-textured recordings. Not only as a band (Fats Comet, Tackhead, Strange Parcels and Little Axe) but as On U studio musicians aswell.
By the mid-1980s, Sherwood was among the most visible producers and remixers in all of contemporary music. He became increasingly involved in industrial music as the decade wore on, producing tracks for Cabaret Voltaire, Skinny Puppy, KMFDM and Nine Inch Nails, and although On-U Sound continued to reflect its leader's eclectic tastes the label remained a top reggae outlet. In 1994, Sherwood mounted Pressure Sounds, a new label dedicated to reissuing seminal reggae and dub releases from the likes of Lee "Scratch" Perry, King Tubby, Augustus Pablo, Jackie Mittoo and Horace Andy. 1997 also saw the first in a new series of reissues known collectively as the On-U Sound Master Recordings, complete with CD-ROM tracks.
The On-U vibe was democratic, leftfield, determinedly non-materialistic and unashamedly idealistic. With it, Sherwood created a niche. "It gave us an identity among like-minded people," he offers. "Anything with the On-U tag on it will sell a few thousand copies around the world, to people who know that we"ve been true to our spirit of making things. The legacy of his use of technology, particularly the then unheard of use of ambience and delay, is evident to anyone familiar with today"s club scene.
the master at work
Adrian Sherwood RBMA video lecture session Pt.1
Adrian Sherwood RBMA video lecture session Pt.2
Productions page at Rho-Xs , discover Sherwoods Forest, here .
***** ***** ***** ***** *****
Adrian Sherwood - Becoming A Cliché / Dub Cliché ( 06, 120min ^ 249mb)
It's taken him long to finally release an album under his own name. It's a much more vocal record than his debut solo effort, 2003's Never Trust a Hippy( as in babyboomer) . On Becoming A Cliché he expands his musical horizons, keeping most of his grooves in an adventurously dubwise but still deeply rootsy reggae-funk vein while promiscuously incorporating any other musical tradition that happens to strike his fancy at the same time. Being the modest man that he is he kind off showcases some new talent, like the multi-talented French-Tunisian singer/songwriter Samia Farah whose paintings and design provides the artwork for ‘Cliché’ aswell. This is an album where Gregorian chants meet melodica solos, where cinema soundtrack samples collide with analogue distortion, it's an exuberant mixture from a true sonic pioneer, one that serves as a thrilling reminder of the possibilities of reggae in the 21st century.
Adrian Sherwood - Becoming A Cliché ( ^ 149mb)
01 - Animal Magic (Voc.Lee Perry) (4:20)
02 - Two Versions Of The Future (3:57)
03 - A Piece Of The Earth (Voc.Little Roy)(5:25)
04 - Monastery Of Sound (4:53)
05 - Dennis Bovine Part 1 (Tribute To Blackbeard) (Voc.Dennis Bovell ) (4:55)
06 - J'Ai Changé (Voc.Samia Farah) (5:35)
07 - You Wonder Why (Voc.LSK Kenny) (5:21)
08 - The House Of Games (4:40)
09 - Nu Rizla (Voc.Bim Sherman) (4:29)
10 - St Peter's Gate (Voc.LSK Kenny) (5:33)
11 - Home Sweet Home ( Voc. Mark Stewart) (4:34)
12 - Forgive Yourself (3:41)
13 - All Hands On Desk (3:59)
14 - Stop The Bloodshed (Voc.Raiz)(5:30)
diet version
Adrian Sherwood - Becoming A Cliché (* 99mb)
Adrian Sherwood - Dub Cliché ( ^ 99mb)
2-01 - Monkey See, Monkey Dub (4:02)
2-02 - Dubshed (Voc. Dennis Alcapone) (4:44)
2-03 - Zoo Time (4:31)
2-04 - Clichéd Dub Slave (Voc.Dennis Bovell ) (3:52)
2-05 - The Noise From Brazil (4:41)
2-06 - Stepping Crowd (5:06)
2-07 - Sans Toupee (3:58)
2-08 - Silly Billy Remix By Activator (Voc. Simon Bogle) (4:41)
2-09 - Moving House (5:15)
2-10 - J'Ai Dubé (3:58)
2-11 - Dennis Bovine Pt 2 (Voc.Dennis Bovell ) (3:59)
2-12 - Silly Old Dub (4:29)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
*****
Adrian Sherwood and his famed On-U Sound label pioneered a distinctive fusion of dub, rock and dance which made waves not only in roots circles but also in the pop mainstream. Born in 1958, Sherwood first surfaced during the late '70s at the helm of a series of disastrously short-lived labels; he formed On-U Sound in 1979, counting Creation Rebel, Prince Far I, Bim Sherman, and the Mothmen (later to form Simply Red) among the roster's earliest additions. While the On-U Sound crew's original focus was on live sound system performances, the emphasis soon switched to making records; when none emerged as a breakout success, Sherwood began mixing and matching line-ups, resulting in new acts including New Age Steppers, African Head Charge, Mark Stewart & Maffia and Dr. Pablo & the Dub Syndicate.
Sherwood's distinctive production style soon began attracting interest from acts outside of the dub community, but reggae remained the label's focus. In 1984, while working for US label Tommy Boy (remixing) , he met Keith LeBlanc, after a productive meeting, McDonald and Wimbish later joined them in London, to begin work on a new project which they christened, Fats Comet. LeBlanc's beat, pitched with Sherwood's dub methodology, taken it to the limit created a unique media where the heavily distorted sound of McDonald s guitar and Wimbish's funky bass made things complete. Sherwood soon recruited the onetime house band at the famed rap label Sugar Hill, the trio brought new power and definition to the On-U's densely-textured recordings. Not only as a band (Fats Comet, Tackhead, Strange Parcels and Little Axe) but as On U studio musicians aswell.
By the mid-1980s, Sherwood was among the most visible producers and remixers in all of contemporary music. He became increasingly involved in industrial music as the decade wore on, producing tracks for Cabaret Voltaire, Skinny Puppy, KMFDM and Nine Inch Nails, and although On-U Sound continued to reflect its leader's eclectic tastes the label remained a top reggae outlet. In 1994, Sherwood mounted Pressure Sounds, a new label dedicated to reissuing seminal reggae and dub releases from the likes of Lee "Scratch" Perry, King Tubby, Augustus Pablo, Jackie Mittoo and Horace Andy. 1997 also saw the first in a new series of reissues known collectively as the On-U Sound Master Recordings, complete with CD-ROM tracks.
The On-U vibe was democratic, leftfield, determinedly non-materialistic and unashamedly idealistic. With it, Sherwood created a niche. "It gave us an identity among like-minded people," he offers. "Anything with the On-U tag on it will sell a few thousand copies around the world, to people who know that we"ve been true to our spirit of making things. The legacy of his use of technology, particularly the then unheard of use of ambience and delay, is evident to anyone familiar with today"s club scene.
the master at work
Adrian Sherwood RBMA video lecture session Pt.1
Adrian Sherwood RBMA video lecture session Pt.2
Productions page at Rho-Xs , discover Sherwoods Forest, here .
***** ***** ***** ***** *****
Adrian Sherwood - Becoming A Cliché / Dub Cliché ( 06, 120min ^ 249mb)
It's taken him long to finally release an album under his own name. It's a much more vocal record than his debut solo effort, 2003's Never Trust a Hippy( as in babyboomer) . On Becoming A Cliché he expands his musical horizons, keeping most of his grooves in an adventurously dubwise but still deeply rootsy reggae-funk vein while promiscuously incorporating any other musical tradition that happens to strike his fancy at the same time. Being the modest man that he is he kind off showcases some new talent, like the multi-talented French-Tunisian singer/songwriter Samia Farah whose paintings and design provides the artwork for ‘Cliché’ aswell. This is an album where Gregorian chants meet melodica solos, where cinema soundtrack samples collide with analogue distortion, it's an exuberant mixture from a true sonic pioneer, one that serves as a thrilling reminder of the possibilities of reggae in the 21st century.
Adrian Sherwood - Becoming A Cliché ( ^ 149mb)
01 - Animal Magic (Voc.Lee Perry) (4:20)
02 - Two Versions Of The Future (3:57)
03 - A Piece Of The Earth (Voc.Little Roy)(5:25)
04 - Monastery Of Sound (4:53)
05 - Dennis Bovine Part 1 (Tribute To Blackbeard) (Voc.Dennis Bovell ) (4:55)
06 - J'Ai Changé (Voc.Samia Farah) (5:35)
07 - You Wonder Why (Voc.LSK Kenny) (5:21)
08 - The House Of Games (4:40)
09 - Nu Rizla (Voc.Bim Sherman) (4:29)
10 - St Peter's Gate (Voc.LSK Kenny) (5:33)
11 - Home Sweet Home ( Voc. Mark Stewart) (4:34)
12 - Forgive Yourself (3:41)
13 - All Hands On Desk (3:59)
14 - Stop The Bloodshed (Voc.Raiz)(5:30)
diet version
Adrian Sherwood - Becoming A Cliché (* 99mb)
Adrian Sherwood - Dub Cliché ( ^ 99mb)
2-01 - Monkey See, Monkey Dub (4:02)
2-02 - Dubshed (Voc. Dennis Alcapone) (4:44)
2-03 - Zoo Time (4:31)
2-04 - Clichéd Dub Slave (Voc.Dennis Bovell ) (3:52)
2-05 - The Noise From Brazil (4:41)
2-06 - Stepping Crowd (5:06)
2-07 - Sans Toupee (3:58)
2-08 - Silly Billy Remix By Activator (Voc. Simon Bogle) (4:41)
2-09 - Moving House (5:15)
2-10 - J'Ai Dubé (3:58)
2-11 - Dennis Bovine Pt 2 (Voc.Dennis Bovell ) (3:59)
2-12 - Silly Old Dub (4:29)
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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 !
Jun 23, 2008
Aldous Huxley (1)
Hello, next up more classic sci-fi, 75 years after the book was written , nevertheless a rather contemporary futuristic vision im afraid..Coming weeks more on Aldous Huxley and his works, today with part 1 of an adaptation of his frightning Brave New World...aswell as the full text of the novel.
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Aldous Huxley was born in 1894 in England to two very aristocratic parents, Leonard and Julia Huxley. Huxley’s family possessed both scientific and literary fame throughout Europe. Indeed young Aldous had much to live up to. As a teenager, Huxley was enrolled in Eton, the legendary university. Soon he developed a bizarre eye disease which left him blind for over two years. Needless to say, this event dramatically changed Huxley, who decided to be a writer instead of a medical doctor. He reminisces, "...I should infallibly have killed myself in the much more strenuous profession of medicine." However, Huxley was no stranger to work, even in the literary world. The great author had an incredibly productive writing career for nearly four decades, concluding at the time of his death in November of 1963.
Brave New World
Aldous Huxley wrote Brave New World in 1932 while he was living in France and England (a British writer, he moved to California in 1937). By this time, Huxley had already established himself as a writer and social satirist. He was a contributor to Vanity Fair and Vogue magazines, had published a collection of his poetry (The Burning Wheel, 1916) and four successful satirical novels: Crome Yellow in 1921, Antic Hay in 1923, Those Barren Leaves in 1925 and Point Counter Point in 1928. Brave New World was Huxley's fifth novel and first attempt at a dystopian work.
The world the novel describes is a dystopia, presented satirically: humanity lives in a carefree, healthy, and technologically advanced society; however, art, science, religion, and all other forms of human expression have been sacrificed to create this "Brave New World". Warfare and poverty have been eliminated and everyone is permanently happy due to government-provided conditioning and drugs. The irony is that all of these things have been achieved by eliminating many things that humans consider to be central to their identity - family, culture, art, literature, science, religion (other than idolization of "our Ford", Henry Ford, who is seen as the father of their society), and philosophy. It is also a hedonistic society, deriving pleasure from promiscuous sex and drug use, in the form of soma, a powerful psychotropic rationed by the government that is taken to escape pain and bad memories through hallucinatory fantasies, referred to as "Holidays".
Huxley was able to use the setting and characters from his futuristic fantasy to express widely held opinions, particularly the fear of losing individual identity in the fast-paced world of the future. An early trip to the United States gave Brave New World much of its character.
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"Brave New World" was originally broadcast as the series premiere, in two parts, on January 27 and February 3rd, 1956. Aldous Huxley himself narrated this hour long adaptation of his dystopic novel of a quickly nearing future in which society manufactures babies for specific roles in life and people control and mellow their experience with the drug Soma.... The government uses technology and science, not threats and bribes, to control its population.
Aldous Huxley - Brave New World Pt 1 (23mb)
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Some quotations by Aldous Huxley...
"We are in process of developing a whole series of techniques which will enable the controlling oligarchy, who have always existed and presumably will always exist, to get people to love their servitude. This is the, it seems to me, the ultimate in malevolent revolutions."
"Given the fact that there are these 20% of highly suggestible people, it becomes quite clear that this is a matter of enormous political importance, for example, any demagogue who is able to get hold of a large number of these 20% of suggestible people and to organize them is really in a position to overthrow any government in any country."
"If there are 20% of the people who really can be suggested into believing almost anything, then we have to take extremely careful steps into prevent the rise of demagogues who will drive them on into extreme positions then organize them into very, very dangerous armies, private armies which may overthrow the government."
"The really interesting thing about the new chemical substances, the new mind-changing drugs is this, if you looking back into history it’s clear that man has always had a hankering after mind changing chemicals, he has always desired to take holidays from himself, but this is the most extraordinary effect of all that every natural occurring narcotic stimulant, sedative, or hallucinogen, was discovered before the dawn of history. "Man was apparently a dope-bag addict before he was a farmer, which is a very curious comment on human nature."
the full text of Aldous Huxley - Brave New World (rtf) (220kb)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
*****
Aldous Huxley was born in 1894 in England to two very aristocratic parents, Leonard and Julia Huxley. Huxley’s family possessed both scientific and literary fame throughout Europe. Indeed young Aldous had much to live up to. As a teenager, Huxley was enrolled in Eton, the legendary university. Soon he developed a bizarre eye disease which left him blind for over two years. Needless to say, this event dramatically changed Huxley, who decided to be a writer instead of a medical doctor. He reminisces, "...I should infallibly have killed myself in the much more strenuous profession of medicine." However, Huxley was no stranger to work, even in the literary world. The great author had an incredibly productive writing career for nearly four decades, concluding at the time of his death in November of 1963.
Brave New World
Aldous Huxley wrote Brave New World in 1932 while he was living in France and England (a British writer, he moved to California in 1937). By this time, Huxley had already established himself as a writer and social satirist. He was a contributor to Vanity Fair and Vogue magazines, had published a collection of his poetry (The Burning Wheel, 1916) and four successful satirical novels: Crome Yellow in 1921, Antic Hay in 1923, Those Barren Leaves in 1925 and Point Counter Point in 1928. Brave New World was Huxley's fifth novel and first attempt at a dystopian work.
The world the novel describes is a dystopia, presented satirically: humanity lives in a carefree, healthy, and technologically advanced society; however, art, science, religion, and all other forms of human expression have been sacrificed to create this "Brave New World". Warfare and poverty have been eliminated and everyone is permanently happy due to government-provided conditioning and drugs. The irony is that all of these things have been achieved by eliminating many things that humans consider to be central to their identity - family, culture, art, literature, science, religion (other than idolization of "our Ford", Henry Ford, who is seen as the father of their society), and philosophy. It is also a hedonistic society, deriving pleasure from promiscuous sex and drug use, in the form of soma, a powerful psychotropic rationed by the government that is taken to escape pain and bad memories through hallucinatory fantasies, referred to as "Holidays".Huxley was able to use the setting and characters from his futuristic fantasy to express widely held opinions, particularly the fear of losing individual identity in the fast-paced world of the future. An early trip to the United States gave Brave New World much of its character.
***** ***** ***** ***** *****
"Brave New World" was originally broadcast as the series premiere, in two parts, on January 27 and February 3rd, 1956. Aldous Huxley himself narrated this hour long adaptation of his dystopic novel of a quickly nearing future in which society manufactures babies for specific roles in life and people control and mellow their experience with the drug Soma.... The government uses technology and science, not threats and bribes, to control its population.
Aldous Huxley - Brave New World Pt 1 (23mb)
***** ***** ***** ***** *****
Some quotations by Aldous Huxley...
"We are in process of developing a whole series of techniques which will enable the controlling oligarchy, who have always existed and presumably will always exist, to get people to love their servitude. This is the, it seems to me, the ultimate in malevolent revolutions."
"Given the fact that there are these 20% of highly suggestible people, it becomes quite clear that this is a matter of enormous political importance, for example, any demagogue who is able to get hold of a large number of these 20% of suggestible people and to organize them is really in a position to overthrow any government in any country."
"If there are 20% of the people who really can be suggested into believing almost anything, then we have to take extremely careful steps into prevent the rise of demagogues who will drive them on into extreme positions then organize them into very, very dangerous armies, private armies which may overthrow the government."
"The really interesting thing about the new chemical substances, the new mind-changing drugs is this, if you looking back into history it’s clear that man has always had a hankering after mind changing chemicals, he has always desired to take holidays from himself, but this is the most extraordinary effect of all that every natural occurring narcotic stimulant, sedative, or hallucinogen, was discovered before the dawn of history. "Man was apparently a dope-bag addict before he was a farmer, which is a very curious comment on human nature."
the full text of Aldous Huxley - Brave New World (rtf) (220kb)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 22, 2008
Sundaze (37)
Hello, another Sundaze coming up, at the center of attention, a prolific musician/producer, Bill Laswell, whose diverse output includes some great ambient works aswell. Under the pseudonym Divination he released Light In Extension with 2 tracks added to the solo Divination, Ambient Dub albums vol 1 & 2 of the year before. Extended forays into the spaciest, most psychedelic regions of ambient music, marked by the hypnotic drone of the subterranean basses.
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Bill Laswell (Feb12, 1955 in Salem, Illinois) , he ranks among the most prolific of musicians, being involved in hundreds of recordings with many musicians from all over the world. Laswell's music draws upon many different genres, most notably funk, various world music, jazz, dub and ambient styles. He has also played or produced music from the noisier end of the rock spectrum, like hardcore punk and metal.
Though starting out as a guitar player, he soon switched to bass. Laswell got his earliest professional experience as a bassist with funk groups in and around Detroit, Michigan as well as Ann Arbor. He often would see shows in Detroit that put together acts such as Iggy and the Stooges (he would work with Pop througout his career starting in the mid ‘80s), MC5 and Funkadelic (many of whose members are part of his stable of musicians). Seeing these differing styles of music in his frequent trips to Detroit, as well as being rooted in the African-American music that he grew up immersed in have clearly had an influence on Laswell’s music. His exposure to jazz - John Coltrane, Albert Ayler and particularly Miles Davis’ electric experiments have also clearly had an impact on his thinking. Laswell’s refusal to pigeon-hole himself, his music, or even the people he works with is arguably his greatest asset as a musician and producer.
In the late 1970’s Laswell made the move to New York city, immersing himself in the thriving New york scene. He moved into famed producer Giorgio Gomelsky’s loft and became part of a group of musicians that would eventually become the first (and only even remotely consistant) incarnation of Material. Aside from Laswell’s first known recording on one side of a Michael Blaise and the Cheaters 7” called Scoring Power in 1978, Laswell and Material became the backing bank for Daevid Allen and New York Gong, appearing on some recordings and embarking on a small tour. Material, primarily consisting of Laswell, keyboardist Michael Beinhorn and drummer Fred Maher, also cut a number of 12” releases for Red Records and others. They were usually supplimented by guitarists, notably either Cliff Cultreri and occasionally Robert Quine. Living in the East Village also put Laswell at the center of a group of musicians both up and coming such as John Zorn and established, such as Fred Frith and Brian Eno. His persistance in asking Eno to work with him paid off in the form of contributions to Eno and David Byrne’s seminal album My Life in the Bush of Ghosts as well as Eno’s own On Land. Brian Eno also contributed a song to the Material album, One Down.
Within a few years of moving to New York, Laswell soon founded a recording studio with producer/engineer Martin Bisi (of later indie rock renown) and hooked up with Jean Karakos and his fledgling label Celluloid Records. Under the Material moniker (now also a production unit consisting of Laswell and Beinhorn – Maher being long gone - and by 1984 consisting solely of Laswell) Laswell became sort of the de facto house producer for Celluloid until the sale of the label in the later ‘80s. During this fruitful time in the early to mid 80s, Laswell was able to record some of his Material excusions (which ran the gambit from proto-jazz/funk to pop and R&B, as well as projects such as Massacre, with Fred Frith and Fred Maher.
His association with Celluloid allowed some of his first forays into this so-called ‘collision music’, and forays into world music. Recordings with The Golden Palominos and production on albums by Shango, Toure Kunda and Fela Kuti all appeard on the label. Celluloid also released a slew of 12” devoted to Hip-Hip, becoming a pre-cursor to the popularity the form enjoyed starting in the mid 80s. Fab 5 Freddy, Phase II and Afrika Bambaataa all appeared on the label. Criminally forgotten, Laswell also put together the very successful 12” World Destruction which paired PiL’s John Lydon with Afrika Bambaataa – years before the Run DMC/Aerosmith collaboration broke down the rock/hip-hop barrier. 1982 also saw Laswell’s solo debut, Baselines...to be continued
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Divination - Light In Extension 1 & 2 (94 ^ 253mb)
Bill Laswell uses the pseudonym Divination for some of his more psychotic endeavors in experimental ambience -- with the emphasis on the "mental." . Light In Extension, Vol. 1 features Laswell with Liu Sola, Jeff Bova, Nicky Skopelitis, Buckethead, and Robert Musso. They have created some outrageous and cutting-edge soundscapes. Using atmospheres, experimental sounds, dub rhythms, and ska backbeats, they have ventured into unknown territory.
For Light In Extension, Vol. 2, the changed Divination lineup is Bill Laswell, Jah Wobble, Mick Harris, and Jeff Bova. Laswell manages again to construct this unearthly soundscape of deep atmospheres full of gray washes and dark minimalism.
Divination - Light In Extension Vol. 1 ( ^ 92mb)
1 - Divination One (3:44)
2 - Seven Heavens (12:18)
3 - Errata (4:24)
4 - Delta (5:58)
5 - Tian Zhen (4:22)
6 - Agrippa (6:53)
7 - Godspeed (8:20)
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Divination - Light In Extension Vol. 1,2 ( ^ 64mb)
8 - Ain Soph Aour (5:48)
9 - Najm-Al-Din (9:06)
1 - Dead Slow (4:05)
2 - Baraka (15:08)
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Divination - Light In Extension Vol. 2 ( ^ 097mb)
3 - Silent Fields (4:05)
4 - Evil Eye (14:28)
5 - Dream Light (9:59)
6 - Journeys (13:31)
7 - The Last Words Of Hassan I Sabbath (10:29)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
*****
Bill Laswell (Feb12, 1955 in Salem, Illinois) , he ranks among the most prolific of musicians, being involved in hundreds of recordings with many musicians from all over the world. Laswell's music draws upon many different genres, most notably funk, various world music, jazz, dub and ambient styles. He has also played or produced music from the noisier end of the rock spectrum, like hardcore punk and metal.
Though starting out as a guitar player, he soon switched to bass. Laswell got his earliest professional experience as a bassist with funk groups in and around Detroit, Michigan as well as Ann Arbor. He often would see shows in Detroit that put together acts such as Iggy and the Stooges (he would work with Pop througout his career starting in the mid ‘80s), MC5 and Funkadelic (many of whose members are part of his stable of musicians). Seeing these differing styles of music in his frequent trips to Detroit, as well as being rooted in the African-American music that he grew up immersed in have clearly had an influence on Laswell’s music. His exposure to jazz - John Coltrane, Albert Ayler and particularly Miles Davis’ electric experiments have also clearly had an impact on his thinking. Laswell’s refusal to pigeon-hole himself, his music, or even the people he works with is arguably his greatest asset as a musician and producer.
In the late 1970’s Laswell made the move to New York city, immersing himself in the thriving New york scene. He moved into famed producer Giorgio Gomelsky’s loft and became part of a group of musicians that would eventually become the first (and only even remotely consistant) incarnation of Material. Aside from Laswell’s first known recording on one side of a Michael Blaise and the Cheaters 7” called Scoring Power in 1978, Laswell and Material became the backing bank for Daevid Allen and New York Gong, appearing on some recordings and embarking on a small tour. Material, primarily consisting of Laswell, keyboardist Michael Beinhorn and drummer Fred Maher, also cut a number of 12” releases for Red Records and others. They were usually supplimented by guitarists, notably either Cliff Cultreri and occasionally Robert Quine. Living in the East Village also put Laswell at the center of a group of musicians both up and coming such as John Zorn and established, such as Fred Frith and Brian Eno. His persistance in asking Eno to work with him paid off in the form of contributions to Eno and David Byrne’s seminal album My Life in the Bush of Ghosts as well as Eno’s own On Land. Brian Eno also contributed a song to the Material album, One Down.
Within a few years of moving to New York, Laswell soon founded a recording studio with producer/engineer Martin Bisi (of later indie rock renown) and hooked up with Jean Karakos and his fledgling label Celluloid Records. Under the Material moniker (now also a production unit consisting of Laswell and Beinhorn – Maher being long gone - and by 1984 consisting solely of Laswell) Laswell became sort of the de facto house producer for Celluloid until the sale of the label in the later ‘80s. During this fruitful time in the early to mid 80s, Laswell was able to record some of his Material excusions (which ran the gambit from proto-jazz/funk to pop and R&B, as well as projects such as Massacre, with Fred Frith and Fred Maher.
His association with Celluloid allowed some of his first forays into this so-called ‘collision music’, and forays into world music. Recordings with The Golden Palominos and production on albums by Shango, Toure Kunda and Fela Kuti all appeard on the label. Celluloid also released a slew of 12” devoted to Hip-Hip, becoming a pre-cursor to the popularity the form enjoyed starting in the mid 80s. Fab 5 Freddy, Phase II and Afrika Bambaataa all appeared on the label. Criminally forgotten, Laswell also put together the very successful 12” World Destruction which paired PiL’s John Lydon with Afrika Bambaataa – years before the Run DMC/Aerosmith collaboration broke down the rock/hip-hop barrier. 1982 also saw Laswell’s solo debut, Baselines...to be continued
***** ***** ***** ***** *****
Divination - Light In Extension 1 & 2 (94 ^ 253mb)
Bill Laswell uses the pseudonym Divination for some of his more psychotic endeavors in experimental ambience -- with the emphasis on the "mental." . Light In Extension, Vol. 1 features Laswell with Liu Sola, Jeff Bova, Nicky Skopelitis, Buckethead, and Robert Musso. They have created some outrageous and cutting-edge soundscapes. Using atmospheres, experimental sounds, dub rhythms, and ska backbeats, they have ventured into unknown territory.
For Light In Extension, Vol. 2, the changed Divination lineup is Bill Laswell, Jah Wobble, Mick Harris, and Jeff Bova. Laswell manages again to construct this unearthly soundscape of deep atmospheres full of gray washes and dark minimalism.
Divination - Light In Extension Vol. 1 ( ^ 92mb)
1 - Divination One (3:44)
2 - Seven Heavens (12:18)
3 - Errata (4:24)
4 - Delta (5:58)
5 - Tian Zhen (4:22)
6 - Agrippa (6:53)
7 - Godspeed (8:20)
***** ***** ***** ***** *****
Divination - Light In Extension Vol. 1,2 ( ^ 64mb)
8 - Ain Soph Aour (5:48)
9 - Najm-Al-Din (9:06)
1 - Dead Slow (4:05)
2 - Baraka (15:08)
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Divination - Light In Extension Vol. 2 ( ^ 097mb)
3 - Silent Fields (4:05)
4 - Evil Eye (14:28)
5 - Dream Light (9:59)
6 - Journeys (13:31)
7 - The Last Words Of Hassan I Sabbath (10:29)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 21, 2008
Rhotation (37) Into BPM
Hello, Rhotation 37, how time flees..Into BPM , is about Darren Emerson today, his Psychotrance mix album showed not only great skills but self assuredness aswell, enough to extend the feel of it into Underworlds next releases, when he left in 2000 at the height of the DJ culture, he spon his way into the Ibiza nightlife, becoming one of it's biggest assets.
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Darren Emerson mix Psychotrance 2 (94, 72min ^ 155mb)
Darren Emerson (born 30 April 1971, in Hornchurch, England), he began mixing Hip-Hop records at the age of 14, and by 16 was DJing regularly at local venues. He began to explore House Music and quickly acquired a reputation as one of the top British DJs, and demand for his services saw him playing at top clubs such as The Milk Bar, Limelights, and Venus. Along the way Darren garnered several accolades such as "DJ of the Month" in The Face magazine, and also i-D magazine.
In 1990, Martin Prudence, brother-in-law of Rick Smith, introduced him and Karl Hyde invited him to become the third member of techno band Underworld. 1993's dubnobasswithmyheadman was their commercial breakthrough onto the then burgeoning British electronica scene. In 1994 he was asked to compile and mix the second instalment of the well recieved Psychotrance 1, Darren didn't blink and layed down not only an excellent set but layed out the groundworks of Underworlds next releases. "Born Slippy .NUXX", which became a huge hit following its inclusion on the soundtrack to the movie, Trainspotting. Originally not included on their second album, 1996's Second Toughest in the Infants. Where Underworld continue to explore the fringes of dub, dance, and techno, creating a seamless, eclectic fusion of various dance genres. Emerson also emerged as a much sought-after remix talent, with remixes for such diverse acts as The Chemical Brothers, and Björk.
Darren parted ways with Underworld in 2000 and then concentrated more on his solo career as a DJ and remixer, and also a label owner. "Global Underground: Uruguay" (2000) and "Global Underground: Singapore" (2001) soon followed on the Global Underground label, with "Episode 1" on his new Underwater label following in 2002. He continued to release tracks by himself and new artists on the Underwater records label and eventually gained its own night at super club Pacha, Ibiza alongside fellow DJ Erick Morillo, to hold a joint Underwater/Subliminal Records night. During its second summer at Pacha, his Underwater Records night won 'House Event' of the summer at the DJ Magazine awards. After its success, Darren Emerson decided to host its own full night at Pacha, Ibiza which became an extremely popular night on the island.
Over the past few years, Emerson has been busy touring the world whilst preparing for his own solo debut album. Rarely playing in the UK apart from his bi-monthly resident slot at London club The End, he still finds time to release an annual Underwater Records compilation every summer. Since 2004, Emerson has been dating British TV presenter, Kate Thornton. They are currently engaged and have one son, born in last month May 2008.
+-.jpg)
01 - T World - Anthem (5:52)
02 - Norma G. - Son Of Norma (9:09)
03 - Josh Wink - Liquid Summer (5:43)
04 - Advent, The - Level X (6:10)
05 - Gyrate - Touchdown (7:41)
06 - F.E.O.S. vs. M/S/O - Music Was Sent (4:54)
07 - Stefan Robbers - Mask EP (4:28)
08 - Nüw Idol - Z I M (9:29)
09 - Soundscape - Darkside (2:09)
10 - Manuel And Clive - Recognised (4:49)
11 - Dave Angel - Artech (4:27)
12 - Acid Jesus - Move My Body (7:12)
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Underworld - Second Toughest In The Infants (96 ^ 194mb)
When at first you don't succeed...Hyde and Smith began their musical partnership with the Kraftwerk and reggae-inspired sounds of while studying together at Cardiff Art College. In 1983 they recorded two albums for CBS Records with a proto-electroclash new romantic band whose name was a graphic squiggle, which (this being a relatively unknown band and many years before Prince became "Love Symbol") was soon given a pronunciation, Freur...doot doot .Freur disbanded in 1986. In 1987 members of Freur created the band Underworld and tried a more guitar-orientated funky electropop sound "Underneath the Radar"and Change the Weather.After a break (to concentrate on, among other things, art/design project Tomato), Hyde and Smith recruited Essex DJ Darren Emerson, and after several minor releases and remixes as Lemon Interupt and Steppin' Razor readopted the Underworld moniker.
The trio's first full-length, Dubnobasswithmyheadman, was released in 1993 to rave reviews and is still considered a landmark piece of work today. It spawned several hit singles ("Dark & Long", "Cowgirl", "Dirty Epic") and was followed a couple years later by the "Born Slippy" single and their second album, Second Toughest In The Infants (1996). The unusual name of the album as released derives from a comment made by Smith's six-year old nephew Simon Prosser when asked on his progress at school. Both the single and the album showed Underworld maturing as a trio, mixing elements of techno, house, drum and bass and pop music to spectacular effect.
Underworld's well-praised remixography also continued to grow, including artists such as Björk, Saint Etienne, Simply Red, Massive Attack and Leftfield. After licensing a remix of "Born Slippy" for the 1996 cult classic film Trainspotting, Underworld gained instant worldwide fame and found themselves touring furiously, presenting their renowned, high-energy live act worldwide. Their fame continued to run high through the release of Beaucoup Fish (1999) and Everything, Everything (2000), after which time Emerson left the group to concentrate on his DJ career.
The duo continued on, releasing the album A Hundred Days Off in 2002 and an anthology release, 1992–2002 in 2003. From 2004–2006, they took a break from the traditional album/tour cycle, and focused on soundtrack work and online digital EP releases as part of The RiverRun Project.In late 2005 they released two compilations of new songs with accompanying photographs on Underworld Live, Lovely Broken Thing and Pizza for Eggs. These were only released online, june 2006, they released their third instalment, I'm a Big Sister, and I'm a Girl, and I'm a Princess, and This Is My Horse. July 2006, they released a special retrospective mix, called The Misterons Mix, which is comprised of tracks from the three previous Riverrun releases.
Underworld added DJ Darren Price to their live lineup during this period. In 2006, Underworld and Gabriel Yared composed the music score to Anthony Minghella's film Breaking and Entering. Underworld 's latest album, Oblivion with Bells, was released on October 16th, 2007. Underworld have been experimenting and selling recordings of their live performance at the venue, 15 minutes after the show had finished, the first time they did this was a 3xCD set called Live in Tokyo in 2005. A full world tour has been announced to support the new studio album, illness prevented the planned kick off time but they've been catching up in 2008, with their tour dates in the United States, Europe, and Japan. This summer they'll be doing a number of festivals around the globe-see their mypage.
In addition to their music, Hyde and Smith are also founding members of a graphic design company, Tomato, which has done high-profile work for clients around the world as well as providing art for all of Underworld's releases. Hyde, along with John Warwicker of Tomato, has published two typographic journals as Underworld Print: Mmm... Skyscraper, I Love You (1994) and In The Belly Of Saint Paul (2003). Underworld Print began publishing the monthly Book of Jam in October 2007, which focuses on a different theme in each issue.
Underworld - Second Toughest In The Infants (96 ^ 99mb)
01 - Juanita (16:36)
------ Kiteless
-------To Dream Of Love
02 - Banstyle/Sappys Curry (15:22)
03 - Confusion The Waitress (6:47)
04 - Rowla (6:31)
Underworld - Second Toughest In The Infants 2 (^ 94mb)
05 - Pearls Girl (9:36)
06 - Air Towel (7:37)
07 - Blueski (2:55)
08 - Stagger (7:37)
-- Xs
09 - Born Slippy (NUXX) (11:40)
Underworld - Pearls Girl EP ( 96 ^ 99mb)
01 - Pearl's Girl (Short) (3:50)
02 - Oich Oich (8:31)
03 - Cherry Pie (8:21)
04 - Pearl's Girl (Carp Dreams... Koi) (10:05)
05 - Mosaic (5:00)
06 - Deep Arch (8:24)
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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 !
***** ***** ***** ***** *****
Darren Emerson mix Psychotrance 2 (94, 72min ^ 155mb)
Darren Emerson (born 30 April 1971, in Hornchurch, England), he began mixing Hip-Hop records at the age of 14, and by 16 was DJing regularly at local venues. He began to explore House Music and quickly acquired a reputation as one of the top British DJs, and demand for his services saw him playing at top clubs such as The Milk Bar, Limelights, and Venus. Along the way Darren garnered several accolades such as "DJ of the Month" in The Face magazine, and also i-D magazine.
In 1990, Martin Prudence, brother-in-law of Rick Smith, introduced him and Karl Hyde invited him to become the third member of techno band Underworld. 1993's dubnobasswithmyheadman was their commercial breakthrough onto the then burgeoning British electronica scene. In 1994 he was asked to compile and mix the second instalment of the well recieved Psychotrance 1, Darren didn't blink and layed down not only an excellent set but layed out the groundworks of Underworlds next releases. "Born Slippy .NUXX", which became a huge hit following its inclusion on the soundtrack to the movie, Trainspotting. Originally not included on their second album, 1996's Second Toughest in the Infants. Where Underworld continue to explore the fringes of dub, dance, and techno, creating a seamless, eclectic fusion of various dance genres. Emerson also emerged as a much sought-after remix talent, with remixes for such diverse acts as The Chemical Brothers, and Björk.
Darren parted ways with Underworld in 2000 and then concentrated more on his solo career as a DJ and remixer, and also a label owner. "Global Underground: Uruguay" (2000) and "Global Underground: Singapore" (2001) soon followed on the Global Underground label, with "Episode 1" on his new Underwater label following in 2002. He continued to release tracks by himself and new artists on the Underwater records label and eventually gained its own night at super club Pacha, Ibiza alongside fellow DJ Erick Morillo, to hold a joint Underwater/Subliminal Records night. During its second summer at Pacha, his Underwater Records night won 'House Event' of the summer at the DJ Magazine awards. After its success, Darren Emerson decided to host its own full night at Pacha, Ibiza which became an extremely popular night on the island.
Over the past few years, Emerson has been busy touring the world whilst preparing for his own solo debut album. Rarely playing in the UK apart from his bi-monthly resident slot at London club The End, he still finds time to release an annual Underwater Records compilation every summer. Since 2004, Emerson has been dating British TV presenter, Kate Thornton. They are currently engaged and have one son, born in last month May 2008.
01 - T World - Anthem (5:52)
02 - Norma G. - Son Of Norma (9:09)
03 - Josh Wink - Liquid Summer (5:43)
04 - Advent, The - Level X (6:10)
05 - Gyrate - Touchdown (7:41)
06 - F.E.O.S. vs. M/S/O - Music Was Sent (4:54)
07 - Stefan Robbers - Mask EP (4:28)
08 - Nüw Idol - Z I M (9:29)
09 - Soundscape - Darkside (2:09)
10 - Manuel And Clive - Recognised (4:49)
11 - Dave Angel - Artech (4:27)
12 - Acid Jesus - Move My Body (7:12)
***** ***** ***** ***** *****
Underworld - Second Toughest In The Infants (96 ^ 194mb)
When at first you don't succeed...Hyde and Smith began their musical partnership with the Kraftwerk and reggae-inspired sounds of while studying together at Cardiff Art College. In 1983 they recorded two albums for CBS Records with a proto-electroclash new romantic band whose name was a graphic squiggle, which (this being a relatively unknown band and many years before Prince became "Love Symbol") was soon given a pronunciation, Freur...doot doot .Freur disbanded in 1986. In 1987 members of Freur created the band Underworld and tried a more guitar-orientated funky electropop sound "Underneath the Radar"and Change the Weather.After a break (to concentrate on, among other things, art/design project Tomato), Hyde and Smith recruited Essex DJ Darren Emerson, and after several minor releases and remixes as Lemon Interupt and Steppin' Razor readopted the Underworld moniker.
The trio's first full-length, Dubnobasswithmyheadman, was released in 1993 to rave reviews and is still considered a landmark piece of work today. It spawned several hit singles ("Dark & Long", "Cowgirl", "Dirty Epic") and was followed a couple years later by the "Born Slippy" single and their second album, Second Toughest In The Infants (1996). The unusual name of the album as released derives from a comment made by Smith's six-year old nephew Simon Prosser when asked on his progress at school. Both the single and the album showed Underworld maturing as a trio, mixing elements of techno, house, drum and bass and pop music to spectacular effect.
Underworld's well-praised remixography also continued to grow, including artists such as Björk, Saint Etienne, Simply Red, Massive Attack and Leftfield. After licensing a remix of "Born Slippy" for the 1996 cult classic film Trainspotting, Underworld gained instant worldwide fame and found themselves touring furiously, presenting their renowned, high-energy live act worldwide. Their fame continued to run high through the release of Beaucoup Fish (1999) and Everything, Everything (2000), after which time Emerson left the group to concentrate on his DJ career.
The duo continued on, releasing the album A Hundred Days Off in 2002 and an anthology release, 1992–2002 in 2003. From 2004–2006, they took a break from the traditional album/tour cycle, and focused on soundtrack work and online digital EP releases as part of The RiverRun Project.In late 2005 they released two compilations of new songs with accompanying photographs on Underworld Live, Lovely Broken Thing and Pizza for Eggs. These were only released online, june 2006, they released their third instalment, I'm a Big Sister, and I'm a Girl, and I'm a Princess, and This Is My Horse. July 2006, they released a special retrospective mix, called The Misterons Mix, which is comprised of tracks from the three previous Riverrun releases.
Underworld added DJ Darren Price to their live lineup during this period. In 2006, Underworld and Gabriel Yared composed the music score to Anthony Minghella's film Breaking and Entering. Underworld 's latest album, Oblivion with Bells, was released on October 16th, 2007. Underworld have been experimenting and selling recordings of their live performance at the venue, 15 minutes after the show had finished, the first time they did this was a 3xCD set called Live in Tokyo in 2005. A full world tour has been announced to support the new studio album, illness prevented the planned kick off time but they've been catching up in 2008, with their tour dates in the United States, Europe, and Japan. This summer they'll be doing a number of festivals around the globe-see their mypage.
In addition to their music, Hyde and Smith are also founding members of a graphic design company, Tomato, which has done high-profile work for clients around the world as well as providing art for all of Underworld's releases. Hyde, along with John Warwicker of Tomato, has published two typographic journals as Underworld Print: Mmm... Skyscraper, I Love You (1994) and In The Belly Of Saint Paul (2003). Underworld Print began publishing the monthly Book of Jam in October 2007, which focuses on a different theme in each issue.
Underworld - Second Toughest In The Infants (96 ^ 99mb)
01 - Juanita (16:36)
------ Kiteless
-------To Dream Of Love
02 - Banstyle/Sappys Curry (15:22)
03 - Confusion The Waitress (6:47)
04 - Rowla (6:31)
Underworld - Second Toughest In The Infants 2 (^ 94mb)
05 - Pearls Girl (9:36)
06 - Air Towel (7:37)
07 - Blueski (2:55)
08 - Stagger (7:37)
-- Xs
09 - Born Slippy (NUXX) (11:40)
Underworld - Pearls Girl EP ( 96 ^ 99mb)
01 - Pearl's Girl (Short) (3:50)
02 - Oich Oich (8:31)
03 - Cherry Pie (8:21)
04 - Pearl's Girl (Carp Dreams... Koi) (10:05)
05 - Mosaic (5:00)
06 - Deep Arch (8:24)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 20, 2008
Into The Groove (36)
Hello Its Into The Rare Groove today, at least that what these Urban Classics were called at the time of their re-discovery...rare grooves . It wasn't just rappers looking, the soul/funk and jazzdance DJ's were looking out for these too, so inevatably compilations hit the market.. And these Urban Classics 1 & 2 certainly got noticed...
*****
Whether it’s sampled as breakbeats, mixed into DJ sets, resold as baby boomer nostalgia or treasured as a holy grail of crate-digging connoisseurs, vintage soul and funk has journeyed from of-the-moment sounds into the realm of timeless for several generations of music lovers. From singles to compilations to samples back to compilations, the sound of the original recordings is creating ever-louder echoes of the echo.
Soul and funk of the ’60s and ’70s had an incalculable influence on American and global popular music. Unlike rock, America’s other great post-war musical phenomenon, soul music came from specifically Afro-American cultural experiences. Its impulses included gospel and jazz, increasing rhythmic sophistication and a broader instrumental palette. Its national successes (James Brown, Sly Stone, Stevie Wonder, Isaac Hayes) expanded the artistic and commercial dreams of these soul purveyors, but for the huge majority, soul music was a regional industry: recorded by local artists, pressed on 45s, distributed through “mom & pop” stores and played almost exclusively in regional radio markets. With no national distribution or support, many recordings disappeared not long after their initial release; almost as soon as the “golden age of soul” came to an end these recordings were valued by collectors and aficionados, whose dedication helped keep the music alive.
Funk and soul came from a singles world, found new life in cut-up snippets and extended compilations, and now through the digital download. Yet this confirms the ongoing relevance of the DJ. There will always be a demand for musical concierges; it takes a dedicated individual to navigate the sheer number of musical choices available today. The role of the DJ has moved beyond crate-digging and into the role of contextualiser.
***** ***** ***** ***** *****
VA - Urban Classics 1 & 2 (87, 88, 101min ^ 241mb)
Urban Classics, the first of three volumes, is a fine snapshot of the sound of London. Side one is all James Brown rarities (at the time) and featured tracks that were barely a decade old like “Blow Your Head” and “Don’t Tell It,” which became much less obscure after being sampled in “Public Enemy #1” and “Poetry” by Boogie Down Productions. Side two was a mix of stepping soul, jazzy grooves and ballads including Roy Ayers’ “Everybody Loves the Sunshine”: still Camden Town’s unofficial anthem after 30 years. This compilation at the time was a soundtrack to a hip, culturally aware lifestyle. That called for a part 2 and one year later Urban Classics 2 saw the light. Another great set of undeniable classics from the funk and soul vaults, this time compiled by Norman Cook. The purists & collectors will probably disagree with such sought after gems as these being released as a compilation, but hey, why should they keep all these funkysheeeeeet classics to themselves ?.
VA - Urban Classics 1,2 -1 (^ 94mb)
01 - The Macks - Cross The Tracks (3:22)
02 - Jackson Sisters - I Believe In Miracles (3:00)
03 - Bobby Byrd - I Know You Got Soul (3:09)
04 - James town - Don't Tell It (3:59)
05 - Fred Wesley & The JB's - Blow Your Head (4:46)
06 - Fred Wesley - House Party (3:56)
07 - Greg Diamond Bionic Boogie - Hot Butterfly (5:24)
08 - Johnny Bristol - Hang On In There, Baby (3:56)
09 - Roy Ayers Ubiquity - Everybody Loves The Sunshine (4:01)
10 - La Toya Jackson - Camp Kuchi Kaia (3:35)
VA - Urban Classics 1,2 -2 (^ 55mb)
11 - Gloria Gaynor - This Love Affair (4:18)
12 - Johnny Bristol - Memories Don't Leave Like People Do (3:56)
13 - The JB's - The Grunt (2:51)
14 - James Brown - She's The One (3:02)
15 - Timmy Thomas - You're The Song I've Always Wanted To Sing (3:19)
16 - The Wild Magnolias - (Somebody Got) Soul, Soul Soul (6:16)
VA - Urban Classics 1,2 -3 (^ 91mb)
17 - The J.B.'s - Pass The Peas (3:15)
18 - Kool & The Gang - Funky Stuff (5:08)
19 - Foster Sylvers - Misdemeanor (2:23)
20 - Bobby Bird - Never Get Enough (3:16)
21 - Lyn Collins - Mr. Big Stuff (4:01)
22 - The Mob - I Dig Everything About You (2:31)
23 - Roy Ayers - Brother Green (5:41)
24 - Sweet Charles - Yes, It's You (3:13)
25 - Gregg Diamond - Cream (Always Rises To The Top) (4:35)
26 - James Brown - Papa Don't Make No Mess (4:30)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
*****
Whether it’s sampled as breakbeats, mixed into DJ sets, resold as baby boomer nostalgia or treasured as a holy grail of crate-digging connoisseurs, vintage soul and funk has journeyed from of-the-moment sounds into the realm of timeless for several generations of music lovers. From singles to compilations to samples back to compilations, the sound of the original recordings is creating ever-louder echoes of the echo.
Soul and funk of the ’60s and ’70s had an incalculable influence on American and global popular music. Unlike rock, America’s other great post-war musical phenomenon, soul music came from specifically Afro-American cultural experiences. Its impulses included gospel and jazz, increasing rhythmic sophistication and a broader instrumental palette. Its national successes (James Brown, Sly Stone, Stevie Wonder, Isaac Hayes) expanded the artistic and commercial dreams of these soul purveyors, but for the huge majority, soul music was a regional industry: recorded by local artists, pressed on 45s, distributed through “mom & pop” stores and played almost exclusively in regional radio markets. With no national distribution or support, many recordings disappeared not long after their initial release; almost as soon as the “golden age of soul” came to an end these recordings were valued by collectors and aficionados, whose dedication helped keep the music alive.
Funk and soul came from a singles world, found new life in cut-up snippets and extended compilations, and now through the digital download. Yet this confirms the ongoing relevance of the DJ. There will always be a demand for musical concierges; it takes a dedicated individual to navigate the sheer number of musical choices available today. The role of the DJ has moved beyond crate-digging and into the role of contextualiser.
***** ***** ***** ***** *****
VA - Urban Classics 1 & 2 (87, 88, 101min ^ 241mb)
Urban Classics, the first of three volumes, is a fine snapshot of the sound of London. Side one is all James Brown rarities (at the time) and featured tracks that were barely a decade old like “Blow Your Head” and “Don’t Tell It,” which became much less obscure after being sampled in “Public Enemy #1” and “Poetry” by Boogie Down Productions. Side two was a mix of stepping soul, jazzy grooves and ballads including Roy Ayers’ “Everybody Loves the Sunshine”: still Camden Town’s unofficial anthem after 30 years. This compilation at the time was a soundtrack to a hip, culturally aware lifestyle. That called for a part 2 and one year later Urban Classics 2 saw the light. Another great set of undeniable classics from the funk and soul vaults, this time compiled by Norman Cook. The purists & collectors will probably disagree with such sought after gems as these being released as a compilation, but hey, why should they keep all these funkysheeeeeet classics to themselves ?.
VA - Urban Classics 1,2 -1 (^ 94mb)
01 - The Macks - Cross The Tracks (3:22)
02 - Jackson Sisters - I Believe In Miracles (3:00)
03 - Bobby Byrd - I Know You Got Soul (3:09)
04 - James town - Don't Tell It (3:59)
05 - Fred Wesley & The JB's - Blow Your Head (4:46)
06 - Fred Wesley - House Party (3:56)
07 - Greg Diamond Bionic Boogie - Hot Butterfly (5:24)
08 - Johnny Bristol - Hang On In There, Baby (3:56)
09 - Roy Ayers Ubiquity - Everybody Loves The Sunshine (4:01)
10 - La Toya Jackson - Camp Kuchi Kaia (3:35)
VA - Urban Classics 1,2 -2 (^ 55mb)
11 - Gloria Gaynor - This Love Affair (4:18)
12 - Johnny Bristol - Memories Don't Leave Like People Do (3:56)
13 - The JB's - The Grunt (2:51)
14 - James Brown - She's The One (3:02)
15 - Timmy Thomas - You're The Song I've Always Wanted To Sing (3:19)
16 - The Wild Magnolias - (Somebody Got) Soul, Soul Soul (6:16)
VA - Urban Classics 1,2 -3 (^ 91mb)
17 - The J.B.'s - Pass The Peas (3:15)
18 - Kool & The Gang - Funky Stuff (5:08)
19 - Foster Sylvers - Misdemeanor (2:23)
20 - Bobby Bird - Never Get Enough (3:16)
21 - Lyn Collins - Mr. Big Stuff (4:01)
22 - The Mob - I Dig Everything About You (2:31)
23 - Roy Ayers - Brother Green (5:41)
24 - Sweet Charles - Yes, It's You (3:13)
25 - Gregg Diamond - Cream (Always Rises To The Top) (4:35)
26 - James Brown - Papa Don't Make No Mess (4:30)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 19, 2008
Alphabet Soup (J)
Hello, Alphabet Soup serves up J today and first up representing the seventies are Jethro Tull, who broke through internationally with their epic Thick As A Brick. Even after more than three decades it's kept its shine, its stream-of-consciousness lyrics embedded in classical structures and the use of an array of instruments.....Secondly , Jane's Addiction, the album that contains their breakthrough (MTV) hits, Ritual De Lo Habitual, too much for Peter Farrell, who dissolved the band after the promotour....Junior Boys were already split before they got their first record deal, after years of trying to esteblish a foothold..They supplied some MP3 music to a site and from there their name grew. Since they've released two acclaimed albums, you'll find the 2004 debut here...
***** ***** ***** ***** *****
Jethro Tull - Thick As A Brick ( 72 ^ 99mb)
The Anderson's band moved to the London area in search of more bookings, basing themselves in nearby Luton. Left by some bandmembers, Anderson and bassist Glenn Cornick joined forces with blues guitarist Mick Abrahams and his friend, drummer Clive Bunker. At first, the new band had trouble getting repeat bookings and they took to changing their name frequently to continue playing the London club circuit. Band names were often supplied by their booking agents' staff, one of whom, a history enthusiast, eventually christened them Jethro Tull after the 18th-century agriculturist who invented the seed drill. This name stuck simply by virtue of the fact that they were using it the first time a club manager (namely, John Gee of the Marquee Club, London) liked their show enough to invite them to return. They were signed to the blossoming Ellis-Wright agency, and became the third band managed by the soon-to-be Chrysalis empire.
By the time Jethro Tull released Thick As A Brick they already had released 4 albums in 3 years, with commercial success, the last of those, Aqualong had recieved much praise and showed the bands music was still developping, as it stretched the band's wings further from the blues of the first three albums, it was still basically mainstream rock. Jethro Tull took it upon themselves to write a real concept album, after Aqualong was considered to be something of a concept album..much to the surprise of the writer Ian Anderson. With Thick As A Brick the lyrics are built around a poem written by a fictitious boy, "Gerald Bostock" a.k.a. "Little Milton" (Ian Anderson himself). The album only featured one song, an epic masterpiece, lasting over 43 minutes. The epic is notable for its numerous time signature and tempo changes, as well as a large number of themes throughout the piece, resembling a typical classical symphony in this regard, rather than a typical rock song. This, set to stream-of-consciousness lyrics dense with imagery. Released in 1972, Thick As A Brick was Tull's first true prog rock offering, four years after the release of their first album. A dazzling tour de force, at once playful, profound, and challenging, without being overwhelming. The band was rewarded with great revieews and excellent sales (no 1 US album) and settled the name of Jethro Tull........35 years later...
In September 2007, Jethro Tull released CD/DVD Live At Montreux 2003. The concert was recorded on the July 4, 2003 . In addition to another busy tour schedule in 2007, Jethro Tull are also in the studio recording some new material for a new CD which is expected to be released in the summer of 2008. If it is released it will be the band's first proper new album in eight years. Some of the new songs were performed live during the recent UK acoustic tour, and 2007 Fall tour
01 - Thick As A Brick pt 1 (22:42)
02 - Thick As A Brick pt 2 (21:05)
***** ***** ***** ***** *****
Jane's Addiction - Ritual De Lo Habitual ( 90 ^ 99mb)
Jane's Addiction formed out of the ashes of frontman Perry Farrell's previous band, Psi-com. In the summer of 1985, Farrell was searching for a new bass player for the faltering Psi-com when he was introduced to Eric Avery. Farrell and Avery bonded, even though Avery never did become a full-fledged member of Farrell's disintegrating group.Later, Eric's sister introduced the duo to Stephen Perkins, whom she was dating at the time Perkins in turn suggested that his friend Dave Navarro might be a suitable guitar player for the new band, dubbed "Jane's Addiction" in honor of Farrell's housemate, Jane Bainter, who was heavily addicted to drugs.
The band became a sensation on the Los Angeles club scene, primarily headlining at Scream. They soon gained interest from a variety of record labels. Most of their catalogue was written then (86-87). While they had decided to sign with Warner Bros. Records, the band insisted on releasing their debut on an independent record label first. The first record, Jane's Addiction, was a live recording with heavy overdubs released on Triple X Records. Their major label debut Nothing's Shocking was released in 1988. The album was certified Gold and got them nominated for a Grammy Award .
With the market awakened to them the breakthrough came with the release of Ritual de lo Habitual in 1990. The singles "Stop!" and "Been Caught Stealing" topped the Billboard Modern Rock Tracks chart and the video for the latter song won the first MTV Video Music Award for Best Alternative Video. The album is roughly broken into two parts. Tracks 1-5 consist of unrelated funk-metal style songs. Tracks 6-9, as a whole are in memorium of singer Perry Farrell's deceased friend known as Xiola Bleu, who died of a heroin-overdose in 1987 at the age of 19. The album itself was weaker than it's extremely vibrant predecessor, something that must have knawed at the band and created uncertainty as to where to go, they were not supposed to follow the commercial pressures but then why not ? Well after the the first Lollapalooza festival tour Farrell had organised it became clear that it was to be the band's farewell tour.
The original cover for this album initiated some controversy from conservative record stores and political action groups. They tried to pressure Warner Brothers Records into changing the artwork, but the band would not allow it. Instead, a compromise was met that allowed production of this version as well as the Amendment version which contained an alternate cover for those who found this cover offensive .
***** ***** ***** ***** *****
Jethro Tull - Thick As A Brick ( 72 ^ 99mb)
The Anderson's band moved to the London area in search of more bookings, basing themselves in nearby Luton. Left by some bandmembers, Anderson and bassist Glenn Cornick joined forces with blues guitarist Mick Abrahams and his friend, drummer Clive Bunker. At first, the new band had trouble getting repeat bookings and they took to changing their name frequently to continue playing the London club circuit. Band names were often supplied by their booking agents' staff, one of whom, a history enthusiast, eventually christened them Jethro Tull after the 18th-century agriculturist who invented the seed drill. This name stuck simply by virtue of the fact that they were using it the first time a club manager (namely, John Gee of the Marquee Club, London) liked their show enough to invite them to return. They were signed to the blossoming Ellis-Wright agency, and became the third band managed by the soon-to-be Chrysalis empire.
By the time Jethro Tull released Thick As A Brick they already had released 4 albums in 3 years, with commercial success, the last of those, Aqualong had recieved much praise and showed the bands music was still developping, as it stretched the band's wings further from the blues of the first three albums, it was still basically mainstream rock. Jethro Tull took it upon themselves to write a real concept album, after Aqualong was considered to be something of a concept album..much to the surprise of the writer Ian Anderson. With Thick As A Brick the lyrics are built around a poem written by a fictitious boy, "Gerald Bostock" a.k.a. "Little Milton" (Ian Anderson himself). The album only featured one song, an epic masterpiece, lasting over 43 minutes. The epic is notable for its numerous time signature and tempo changes, as well as a large number of themes throughout the piece, resembling a typical classical symphony in this regard, rather than a typical rock song. This, set to stream-of-consciousness lyrics dense with imagery. Released in 1972, Thick As A Brick was Tull's first true prog rock offering, four years after the release of their first album. A dazzling tour de force, at once playful, profound, and challenging, without being overwhelming. The band was rewarded with great revieews and excellent sales (no 1 US album) and settled the name of Jethro Tull........35 years later...
In September 2007, Jethro Tull released CD/DVD Live At Montreux 2003. The concert was recorded on the July 4, 2003 . In addition to another busy tour schedule in 2007, Jethro Tull are also in the studio recording some new material for a new CD which is expected to be released in the summer of 2008. If it is released it will be the band's first proper new album in eight years. Some of the new songs were performed live during the recent UK acoustic tour, and 2007 Fall tour
01 - Thick As A Brick pt 1 (22:42)
02 - Thick As A Brick pt 2 (21:05)
***** ***** ***** ***** *****
Jane's Addiction - Ritual De Lo Habitual ( 90 ^ 99mb)
Jane's Addiction formed out of the ashes of frontman Perry Farrell's previous band, Psi-com. In the summer of 1985, Farrell was searching for a new bass player for the faltering Psi-com when he was introduced to Eric Avery. Farrell and Avery bonded, even though Avery never did become a full-fledged member of Farrell's disintegrating group.Later, Eric's sister introduced the duo to Stephen Perkins, whom she was dating at the time Perkins in turn suggested that his friend Dave Navarro might be a suitable guitar player for the new band, dubbed "Jane's Addiction" in honor of Farrell's housemate, Jane Bainter, who was heavily addicted to drugs.
The band became a sensation on the Los Angeles club scene, primarily headlining at Scream. They soon gained interest from a variety of record labels. Most of their catalogue was written then (86-87). While they had decided to sign with Warner Bros. Records, the band insisted on releasing their debut on an independent record label first. The first record, Jane's Addiction, was a live recording with heavy overdubs released on Triple X Records. Their major label debut Nothing's Shocking was released in 1988. The album was certified Gold and got them nominated for a Grammy Award .
With the market awakened to them the breakthrough came with the release of Ritual de lo Habitual in 1990. The singles "Stop!" and "Been Caught Stealing" topped the Billboard Modern Rock Tracks chart and the video for the latter song won the first MTV Video Music Award for Best Alternative Video. The album is roughly broken into two parts. Tracks 1-5 consist of unrelated funk-metal style songs. Tracks 6-9, as a whole are in memorium of singer Perry Farrell's deceased friend known as Xiola Bleu, who died of a heroin-overdose in 1987 at the age of 19. The album itself was weaker than it's extremely vibrant predecessor, something that must have knawed at the band and created uncertainty as to where to go, they were not supposed to follow the commercial pressures but then why not ? Well after the the first Lollapalooza festival tour Farrell had organised it became clear that it was to be the band's farewell tour.
The original cover for this album initiated some controversy from conservative record stores and political action groups. They tried to pressure Warner Brothers Records into changing the artwork, but the band would not allow it. Instead, a compromise was met that allowed production of this version as well as the Amendment version which contained an alternate cover for those who found this cover offensive .
01 - Stop! (4:14)
02 - No One's Leaving (3:01)
03 - Ain't No Right (3:34)
04 - Obvious (5:55)
05 - Been Caught Stealing (3:34)
06 - Three Days (10:48)
07 - Then She Did... (8:18)
08 - Of Course (7:02)
09 - Classic Girl (5:07)
***** ***** ***** ***** *****
Junior Boys - Last Exit ( 04 ^ 99mb)
Originally a duo of Jeremy Greenspan and Johnny Dark, Junior Boys created a sound that would reconcile their influences. Years of collaboration followed and a demo was produced, but after many rejections and near-misses, they were resigned to being bedroom beat constructors. Soon after, Johnny Dark left the band to pursue other interests. Eventually KIN Records heard their demo at the end of 2002 and commissioned more work from remaining member Greenspan. Hooking up with his engineer, Matt Didemus, he began again, writing more material . The first release Birthday/Last Exit came in October 2003 — a four-track EP with a remix by Fennesz which brought them near-unanimous acclaim. Their debut album, Last Exit (recorded at the end of 2003 by Greenspan and Didemus in Hamilton), was released September 21, 2004 on KIN Records. A reissue in the US on Domino featured the Manitoba mix of Birthday, a Fennesz mix of the same track, and a new track. By that time the Junior Boys buzz has spread across the web, it's distinct retrospective eighties feel got the album great reviews.
As of 2006, Junior Boys have reappeared with new releases. "Max", a new original song, was released on the compilation See You on the Moon! . Their second full-length album, So This Is Goodbye, was released in August 2006 on Domino Records. Working within comparatively streamlined song structures, the rhythmic capriciousness that so strongly informed their debut all but erased, the absence of those slippery rhythm tracks puts the focus even more squarely on Greenspan, who delivered with a record full of elegant melodies.And like the debut album, Last Exit, So this is goodbye, got excellent reviews
2007 saw the Junior Boys embarking on a North American tour, and then headed to Europe for numerous festivals, continuing into the summer. The remix EP The Dead Horse EP was released in April containing remixes of tracks from So This Is Goodbye. 
01 - More Than Real (6:39)
02 - Bellona (5:38)
03 - High Come Down (4:29)
04 - Last Exit (6:35)
05 - Neon Rider (2:08)
06 - Birthday (4:16)
07 - Under The Sun (7:02)
08 - Three Words (5:46)
09 - Teach Me How To Fight (5:31)
10 - When I'm Not Around (5:22)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 18, 2008
Eight-X (36)
Hello, Eight-X time again and first up is a bit of an interlooper, productionally however, it crosses the bridge to the eighties. With Mike Batts first soloalbum, Schizophonia, he immediately gained respect for incorporating intelligent pop, and orchestrated rock. A bit of a golden boy this Mike, as at that time 28 years old, he already had a successful writing and producing career under his belt, one that has extended to this day.......It turned out less fortunate, for the main man of the next band here, Big Country, after a good start US success faltered, and 20 years later Stuart Adamson, battling with alcolism and depression, hanged himself....his second crossing......Finally some vinyl i picked up recently (50c) a spotless album by the Dynamic Duo that went for it, and made the most of a lucky break, that finally brought them the edge of heaven. One half of the duo has scored many hits solo and established his writing, singing and production skills ,only to enter into useless battles continued against the self, a conscience can become hard to bear..Anyway "The Final" wasn't even released in the US where it was deemed "too shocking" perhaps.
***** ***** ***** ***** *****
Mike Batt - Schizophonia (77 ^ 86mb)
Michael Philip Batt (born 6 February 1949 in Southampton, England) began his career in pop music at the age of eighteen as a signed artist with Liberty Records, having answered the same advertisement as Elton John and Bernie Taupin placed by Ray Williams in the New Musical Express. The talented youth quickly became part of Liberty's production team, and in 1969 20 year Batt took over production duties, on blues great McKenna Mendelson Mainline's seminal first release, Stink. Credited on the album only as "Liberty Staff". Also in 1969, Batt released as producer/artist a Liberty single, his bouncy cover of The Beatles' "Your Mother Should Know". Batt subsequently became Head of A&R for Liberty Records. His first hits as a singer/songwriter/producer were by The Wombles, in 1974. After eight hit singles and four gold albums with The Wombles, he moved on to work with various artists as a songwriter/producer, most successfully with Steeleye Span and their most successful single and album All Around My Hat in 1975.
With Batt's solo debut, Schizophonia, he was able to realize, in a tangible way, his desire to incorporate intelligent pop, and orchestrated rock into a unified body of work. A keyboard player by trade, his true skill lies in large-ensemble arrangements that include the standard rock & roll configuration of electric guitars, bass, and drums. On Schizophonia, Batt enlists the services of several key musicians who've worked with him in the past and who would appear in future recordings of his; among them are guitarist Chris Spedding, percussionist Ray Cooper, and steel guitar player B.J. Cole. The result, an ambitious and well-conceived effort that would pave the way for several more such recordings. The follow-up Tarot Suite certainly holds its own as an artfully and literate collection of orchestrated rock & roll. The album is again driven by the creative orchestral (London Symphony Orchestra) arrangements and songwriting of Batt. "Lady of the Dawn," sung by Colin Blunstone, achieved respectable "hit" status in England.
In 1980 Mike Batt released his next album, entitled Waves. Later that year, he went off with his family aboard his boat “Braemar”, ending up in Australia after two and a half years, travelling via France, The West Indies, South America, Central America, Mexico, Los Angeles, Hawaii and Fiji. At the end of that journey, he wrote for the 50th anniversary of the Australian Broadcasting Company the musical Zero, Zero. The album The Hunting of the Snark, based on Lewis Carroll's epic nonsense poem, was recorded in 1984. It was presented as a dramatised concert at Sydney’s State Theatre in 1990, and was produced as a musical in London’s West End in 1991 He was then commissioned to write the official Anthem for the inauguration of the Channel Tunnel by The Queen, entitled "When Flags Fly Together". Batt composed and produced the four million-selling album The Violin Player with classical violinist Vanessa-Mae in 95 , the same year he made another solo album, Arabesque.
Currently, Batt is dedicating most of his time to guiding the career of Katie Melua from Georgia. Katie's album "Call Off The Search" was released on Mike's own Dramatico label in November 2003. It sold over 1.8 million copies - in the UK, making Katie the biggest selling UK female artist of 2004. Her second album, "Piece by Piece" to date has sold 3.5 million copies in Europe. Dramatico has been for the last three years, one of the top 3 UK based Indie labels, based on official sales figures. In 2008, Batt started the year with one concert in Munich and a radio-concert-tour in Germany to promote his new CD "A songwriter's tale" - a best compilation.
01 - The Ride To Agadir (6:38)
02 - Berber's Prayer (2:08)
03 - The Walls Of The World (3:20)
04 - Insh'Allah (4:58)
05 - The Fires Od Rabat (2:45)
06 - It Seemed Like A Good Idea At The Time (2:51)
07 - Bourree (1:34)
08 - Railway Hotel (3:18)
09 - Voices In The Dark (4:01)
10 - Don't Let Me Be Misunderstood (4:03)
***** ***** ***** ***** *****
Big Country - The Crossing ( 83 ^ 99mb)
The England-born Adamson formed Big Country in mid-1981 following his exit from the Scottish punk quartet the Skids, enlisting childhood friend Bruce Watson on second guitar; Clive Parker and brothers Pete and Alan Wishart completed the original lineup, but were soon replaced by bassist Tony Butler and drummer Mark Brzezicki. Signing to Polygram's Mercury imprint, the band issued its debut single, "Harvest Home," in the fall of 1982; a series of opening dates on the Jam's farewell tour increased Big Country's visibility exponentially, and the follow-up, "Fields of Fire," cracked the U.K. Top Ten.
It was rapidly followed by the album The Crossing. Powered by "In a Big Country", their only U.S. Top 40 hit single, the album was a hit in the United States. The song featured heavily engineered guitar playing, strongly reminiscent of bagpipes; Adamson and fellow guitarist, Watson, achieved this through the use of the MXR Pitch Transposer 129 Guitar Effect. Also contributing to the band's unique sound was their early virtuoso use of the e-bow, a device which allows a guitar to sound more like strings or synthesizer.
The band released the non-LP extended play single "Wonderland" in 1984 while undergoing a lengthy worldwide tour. The song, considered by some critics to be one of their finest, was a Top Ten hit (#8) in the UK singles chart but didnt connect in the US. Their second album, Steeltown, entered the charts at number one, but despite good reviews there were already rumblings that all of the band's material sounded much the same. Throughout 1984 and 1985, the band toured the UK, Europe, and, to a lesser extent, the U.S
1986's The Seer, the band's third album, was another big success in the UK, peaking at Number 2, and producing three additional Top 40 UK singles. These included "Look Away" which reached Number 7 (the band's highest charting UK single). Kate Bush provided backing vocals on the title cut, and, as was the norm for the band at the time, the album received good reviews from the music press. In the U.S., the album sold modestly better than Steeltown, reaching #59. In what some critics felt was an apparent attempt to regain their dwindling U.S. following, Big Country hooked up with producer Peter Wolf [6] for their next album, Peace in Our Time (1988), which was recorded in Los Angeles, California. It sold poorly. No Place Like Home (1991) not only effectively killed off the band's commercial hopes in the US, it nearly broke up the band. Drummer Mark Brzezicki left the band.
In 1991, the band was dropped by Phonogram, the label that had released all of their material for ten years. After that, Big Country became a minor act, popping up in the lower echelons of the charts in the UK and Europe with the release of every subsequent album. 1993's The Buffalo Skinners, recorded with yet another new drummer, Simon Phillips; the record launched a pair of British Top 30 hits, "Alone" and "Ships." Brzezicki rejoined the lineup in time for Without the Aid of a Safety Net, a live LP recorded in Glasgow at year's end. Why the Long Face followed in 1995, and after recording the acoustic effort Eclectic, Adamson relocated to Nashville in 1997, prompting Big Country to go on extended hiatus.
1999 saw the release of Big Country's eighth and final studio album, Driving to Damascus (titled in its slightly different, augmented U.S. release John Wayne's Dream). Adamson said publicly that he was disappointed that the album did not fare better on the charts, which led to depression. Later that year, he disappeared for a while before resurfacing, stating that he had just needed some time off. In November 2001, Adamson disappeared again, appeals to return didnt work, a month later, he was found dead in a room at the Best Western Plaza Hotel in Honolulu, Hawaii on December 16, 2001. The official autopsy revealed that he had hanged himself
A memorial to Adamson was held at Dunfermline's Carnegie Hall in January 2002, followed by a tribute concert at the Barrowlands in May. It brought together the remaining members of both Big Country and The Skids; Adamson's teenage children, Callum and Kirsten; as well as Steve Harley, Runrig, Simon Townshend, Midge Ure and Bill Nelson. In 2007, to celebrate 25 years of Big Country, founding members Bruce Watson, Tony Butler (now lead vocalist for the first time), and Mark Brzezicki reunited to tour Scotland and England.
***** ***** ***** ***** *****
Mike Batt - Schizophonia (77 ^ 86mb)
Michael Philip Batt (born 6 February 1949 in Southampton, England) began his career in pop music at the age of eighteen as a signed artist with Liberty Records, having answered the same advertisement as Elton John and Bernie Taupin placed by Ray Williams in the New Musical Express. The talented youth quickly became part of Liberty's production team, and in 1969 20 year Batt took over production duties, on blues great McKenna Mendelson Mainline's seminal first release, Stink. Credited on the album only as "Liberty Staff". Also in 1969, Batt released as producer/artist a Liberty single, his bouncy cover of The Beatles' "Your Mother Should Know". Batt subsequently became Head of A&R for Liberty Records. His first hits as a singer/songwriter/producer were by The Wombles, in 1974. After eight hit singles and four gold albums with The Wombles, he moved on to work with various artists as a songwriter/producer, most successfully with Steeleye Span and their most successful single and album All Around My Hat in 1975.
With Batt's solo debut, Schizophonia, he was able to realize, in a tangible way, his desire to incorporate intelligent pop, and orchestrated rock into a unified body of work. A keyboard player by trade, his true skill lies in large-ensemble arrangements that include the standard rock & roll configuration of electric guitars, bass, and drums. On Schizophonia, Batt enlists the services of several key musicians who've worked with him in the past and who would appear in future recordings of his; among them are guitarist Chris Spedding, percussionist Ray Cooper, and steel guitar player B.J. Cole. The result, an ambitious and well-conceived effort that would pave the way for several more such recordings. The follow-up Tarot Suite certainly holds its own as an artfully and literate collection of orchestrated rock & roll. The album is again driven by the creative orchestral (London Symphony Orchestra) arrangements and songwriting of Batt. "Lady of the Dawn," sung by Colin Blunstone, achieved respectable "hit" status in England.
In 1980 Mike Batt released his next album, entitled Waves. Later that year, he went off with his family aboard his boat “Braemar”, ending up in Australia after two and a half years, travelling via France, The West Indies, South America, Central America, Mexico, Los Angeles, Hawaii and Fiji. At the end of that journey, he wrote for the 50th anniversary of the Australian Broadcasting Company the musical Zero, Zero. The album The Hunting of the Snark, based on Lewis Carroll's epic nonsense poem, was recorded in 1984. It was presented as a dramatised concert at Sydney’s State Theatre in 1990, and was produced as a musical in London’s West End in 1991 He was then commissioned to write the official Anthem for the inauguration of the Channel Tunnel by The Queen, entitled "When Flags Fly Together". Batt composed and produced the four million-selling album The Violin Player with classical violinist Vanessa-Mae in 95 , the same year he made another solo album, Arabesque.
Currently, Batt is dedicating most of his time to guiding the career of Katie Melua from Georgia. Katie's album "Call Off The Search" was released on Mike's own Dramatico label in November 2003. It sold over 1.8 million copies - in the UK, making Katie the biggest selling UK female artist of 2004. Her second album, "Piece by Piece" to date has sold 3.5 million copies in Europe. Dramatico has been for the last three years, one of the top 3 UK based Indie labels, based on official sales figures. In 2008, Batt started the year with one concert in Munich and a radio-concert-tour in Germany to promote his new CD "A songwriter's tale" - a best compilation.
01 - The Ride To Agadir (6:38)
02 - Berber's Prayer (2:08)
03 - The Walls Of The World (3:20)
04 - Insh'Allah (4:58)
05 - The Fires Od Rabat (2:45)
06 - It Seemed Like A Good Idea At The Time (2:51)
07 - Bourree (1:34)
08 - Railway Hotel (3:18)
09 - Voices In The Dark (4:01)
10 - Don't Let Me Be Misunderstood (4:03)
***** ***** ***** ***** *****
Big Country - The Crossing ( 83 ^ 99mb)
The England-born Adamson formed Big Country in mid-1981 following his exit from the Scottish punk quartet the Skids, enlisting childhood friend Bruce Watson on second guitar; Clive Parker and brothers Pete and Alan Wishart completed the original lineup, but were soon replaced by bassist Tony Butler and drummer Mark Brzezicki. Signing to Polygram's Mercury imprint, the band issued its debut single, "Harvest Home," in the fall of 1982; a series of opening dates on the Jam's farewell tour increased Big Country's visibility exponentially, and the follow-up, "Fields of Fire," cracked the U.K. Top Ten.
It was rapidly followed by the album The Crossing. Powered by "In a Big Country", their only U.S. Top 40 hit single, the album was a hit in the United States. The song featured heavily engineered guitar playing, strongly reminiscent of bagpipes; Adamson and fellow guitarist, Watson, achieved this through the use of the MXR Pitch Transposer 129 Guitar Effect. Also contributing to the band's unique sound was their early virtuoso use of the e-bow, a device which allows a guitar to sound more like strings or synthesizer.
The band released the non-LP extended play single "Wonderland" in 1984 while undergoing a lengthy worldwide tour. The song, considered by some critics to be one of their finest, was a Top Ten hit (#8) in the UK singles chart but didnt connect in the US. Their second album, Steeltown, entered the charts at number one, but despite good reviews there were already rumblings that all of the band's material sounded much the same. Throughout 1984 and 1985, the band toured the UK, Europe, and, to a lesser extent, the U.S
1986's The Seer, the band's third album, was another big success in the UK, peaking at Number 2, and producing three additional Top 40 UK singles. These included "Look Away" which reached Number 7 (the band's highest charting UK single). Kate Bush provided backing vocals on the title cut, and, as was the norm for the band at the time, the album received good reviews from the music press. In the U.S., the album sold modestly better than Steeltown, reaching #59. In what some critics felt was an apparent attempt to regain their dwindling U.S. following, Big Country hooked up with producer Peter Wolf [6] for their next album, Peace in Our Time (1988), which was recorded in Los Angeles, California. It sold poorly. No Place Like Home (1991) not only effectively killed off the band's commercial hopes in the US, it nearly broke up the band. Drummer Mark Brzezicki left the band.
In 1991, the band was dropped by Phonogram, the label that had released all of their material for ten years. After that, Big Country became a minor act, popping up in the lower echelons of the charts in the UK and Europe with the release of every subsequent album. 1993's The Buffalo Skinners, recorded with yet another new drummer, Simon Phillips; the record launched a pair of British Top 30 hits, "Alone" and "Ships." Brzezicki rejoined the lineup in time for Without the Aid of a Safety Net, a live LP recorded in Glasgow at year's end. Why the Long Face followed in 1995, and after recording the acoustic effort Eclectic, Adamson relocated to Nashville in 1997, prompting Big Country to go on extended hiatus.
1999 saw the release of Big Country's eighth and final studio album, Driving to Damascus (titled in its slightly different, augmented U.S. release John Wayne's Dream). Adamson said publicly that he was disappointed that the album did not fare better on the charts, which led to depression. Later that year, he disappeared for a while before resurfacing, stating that he had just needed some time off. In November 2001, Adamson disappeared again, appeals to return didnt work, a month later, he was found dead in a room at the Best Western Plaza Hotel in Honolulu, Hawaii on December 16, 2001. The official autopsy revealed that he had hanged himself
A memorial to Adamson was held at Dunfermline's Carnegie Hall in January 2002, followed by a tribute concert at the Barrowlands in May. It brought together the remaining members of both Big Country and The Skids; Adamson's teenage children, Callum and Kirsten; as well as Steve Harley, Runrig, Simon Townshend, Midge Ure and Bill Nelson. In 2007, to celebrate 25 years of Big Country, founding members Bruce Watson, Tony Butler (now lead vocalist for the first time), and Mark Brzezicki reunited to tour Scotland and England.
01 - In A Big Country (4:44)
02 - Inwards (4:36)
03 - Chance (4:25)
04 - 1000 Stars (3:53)
05 - The Storm (6:18)
06 - Harvest Home (4:20)
07 - Lost Patrol (4:50)
08 - Close Action (4:15)
09 - Fields Of Fire (3:32)
10 - Porrohman (7:51)
***** ***** ***** ***** *****
Wham! - The Final ( 85 , 79min ^ 179mb)
Wham! formed in 1981 by George Michael, Andrew Ridgeley, and David Morrison. George met Wham!'s other half, Andrew Ridgeley, at school in the London suburb of Bushey, and in 1979 they started performing together as part of the ska-based band the Executive. When that group dissolved, they wrote songs, made demos, and rushed into a recording contract with the equally eager independent label Innervision. The first record to be released by the band was "Wham Rap!". It was a double-A side with a Social Mix and Anti-social Mix. The record was banned for general release in the UK due to the profanity in the Anti-social Mix. In October 1982, their song "Young Guns (Go For It!)" was issued. As luck would have a spot would open on BBC's Top of the Pops and they got to perform their bubbling single which subsequently has the girls running for the shop and landed Wham ! their first hit (#3)
Wham! followed up with the reissue "Wham Rap! (Enjoy What You Do)", subsequently they released "Bad Boys", and "Club Tropicana", a satire of the Club 18-30 scene. Each song came with a memorable music video. By the end of 1983, Wham! was rivaling Duran Duran and Culture Club as Britain's biggest pop act. Their first album Fantastic reached #1. Driven by Ridgeley, the duo changed their image, and Wham! returned in May 1984 with an updated, cutting-edge pop image quickly copied by other pop bands. Ridgeley changed the band's look from "moody in leather jackets" to smiles and fashionable clothing, with an aim to promote themselves more as sex symbols rather than spokespeople for a disaffected generation. The next single Wake Me Up Before You Go Go, a song Michael wrote reached to the top of the charts around the world.
Although some critics felt that Wham! represented bubblegum pop, many people started to appreciate Michael's proven ability as a songwriter and capable vocalist. The next single "Careless Whisper" was issued as a George Michael solo piece, yet unlike any Wham! single since "Wham Rap!," it was co-written by Ridgeley. The song quickly reached #1. In the autumn of 1984, Wham! came back as a duo with "Freedom", another chart-topper. In November, they released their second album, Make It Big, which coasted to #1 on the album charts. The band set off on another arena tour at the end of 1984. George contributed to the Band Aid project, with Michael providing vocals as the song usurped their own Christmas release, "Last Christmas"/"Everything She Wants", the single became the highest-selling single ever to peak at #2 in the UK charts. As such, Wham! donated all their royalties to the Ethiopian famine appeal to coincide with the fundraising intentions of Band Aid, the song which beat them to the top spot.
In April 1985, Wham! took a break from recording to embark on an enormous world tour including a groundbreaking 10-day visit to China. It culminated in a concert at the Worker's Gymnasium in Beijing in front of 10,000 people. Director Lindsay Anderson documented the tour in his film Foreign Skies. Michael desired to create music targeted to a more sophisticated audience than the duo's primarily teenage fanbase. Therefore, Michael and Ridgeley announced the breakup of Wham! in the spring of 1986, destined to take place after a farewell single and album, along with a historic grand finale concert at Wembley Stadium on June 28, 1986, called The Final. The farewell single was "The Edge of Heaven" which reached #1 in June 1986. The duo's last album was a double-LP collection of all the singles to date, mostly the extended versions, and was also called The Final (released in North America as the severely pared-down Music from the Edge of Heaven with alternate tracks). Wham! then said goodbye to their audience (73,000 of whom attended the eight-hour event) . The band had been together five years, selling close to 20 million albums and 10 to 15 million singles.
Wham! - The Final ( ^ 99mb)
01 - Wham Rap! (Enjoy What You Do) (6:36)
02 - Young Guns (Go For It) (5:07)
03 - Bad Boys (4:51)
04 - Club Tropicana (4:17)
05 - Wake Me Up Before You Go Go (3:47)
06 - Careless Whisper (Extended Mix) (6:21)
07 - Freedom (5:14)
08 - Last Christmas (Pudding Mix) (6:35)
Wham! - The Final ( ^ 80mb)
09 - Everything She Wants (Remix) (6:23)
10 - I'm Your Man (Extended Stimulation) (6:45)
11 - Blue (Armed With Love) (3:49)
12 - A Different Corner (3:53)
13 - Battlestations (5:21)
14 - Where Did Your Heart Go? (5:37)
15 - The Edge Of Heaven (4:23)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 17, 2008
Around The World (36)
Hello Around the World is going classical for the last time, with what can be considered night ambient or nocturnal, even if life in those days wasn't as stressy they did like to chill out some aswell. A nocturne is usually a musical composition that is inspired by, or evocative of, the night, nocturnes are generally thought of as being tranquil, often expressive and lyrical, and sometimes rather gloomy. The nocturne was cultivated primarily in the nineteenth century. The first nocturnes to be written under the specific title were by the Irish composer John Field, generally viewed as the father of the Romantic nocturne.
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John Field (July 26, 1782 – January 23, 1837) was Ireland's greatest composer even if his music has largely disappeared. He is best known for being the first composer to write nocturnes. Field was born in Dublin in 1782, the eldest son of Protestant Irish parents. He first studied the piano under his grandfather, who was a professional organist, and later under Tommaso Giordani. He made his debut at the age of nine. His family moved to London in 1793, where his father secured for him an apprenticeship with the pianist and piano manufacturer Muzio Clementi. By the time he was seventeen, Field had already premiered his First Piano Concerto (he wrote seven of them); it was one of the last acts of his apprenticeship. He was lionized as a performer for several years before turning to composition, beginning with his first set of piano sonatas, published in 1801.
In 1801 Field accompanied Clementi on a tour of Paris and Vienna. When Clementi moved to Russia, Field followed him there, continuing his employment demonstrating his pianos. Field established his own concert career in Russia, and by 1806 was dividing his time between Moscow and Saint Petersburg, settling in the latter city after his marriage to a French woman in 1810. His teaching proved lucrative, and his lifestyle became somewhat extravagant, living as something of a bon vivant. By 1831 his health deteriorated, and suffering from a painful cancer of the rectum he travelled back to London for medical attention. After treatment he returned to Russia by way of France and Italy, spending nine months in a hospital in Naples. Helped by a Russian aristocratic family, he returned to Moscow in 1835, where he composed his last few nocturnes in the sixteen months remaining to him.
Field is best remembered for his eighteen nocturnes which are single movement impromptu compositions for piano that maintain a single mood throughout. He is also the founder of the piano nocturne. The first three of these date from 1812. These pieces are further notable for their influence on Frédéric Chopin, who further developped the format and went on to write 21 nocturnes himself.
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Roberte Mamou - John Field 15 Nocturnes ( 94 ^ 137mb)
02 - No.2 in C minor (2:52)
03 - No.3 in A flat major (4:02)
04 - No.4 in A major (5:11)
05 - No.5 in B flat major (2:36)
06 - No.6 in F major (4:31)
07 - No.7 in C major (5:07)
08 - No.8 in A major (4:15)
09 - No.9 in E flat major (3:18)
10 - No.10 in E minor (3:18)
11 - No.11 in E flat major (5:37)
12 - No.12 in G major (2:52)
13 - No.13 in D minor (3:34)
14 - No.14 in C major (9:06)
15 - No.15 in C major (5:01)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
*****
John Field (July 26, 1782 – January 23, 1837) was Ireland's greatest composer even if his music has largely disappeared. He is best known for being the first composer to write nocturnes. Field was born in Dublin in 1782, the eldest son of Protestant Irish parents. He first studied the piano under his grandfather, who was a professional organist, and later under Tommaso Giordani. He made his debut at the age of nine. His family moved to London in 1793, where his father secured for him an apprenticeship with the pianist and piano manufacturer Muzio Clementi. By the time he was seventeen, Field had already premiered his First Piano Concerto (he wrote seven of them); it was one of the last acts of his apprenticeship. He was lionized as a performer for several years before turning to composition, beginning with his first set of piano sonatas, published in 1801.
In 1801 Field accompanied Clementi on a tour of Paris and Vienna. When Clementi moved to Russia, Field followed him there, continuing his employment demonstrating his pianos. Field established his own concert career in Russia, and by 1806 was dividing his time between Moscow and Saint Petersburg, settling in the latter city after his marriage to a French woman in 1810. His teaching proved lucrative, and his lifestyle became somewhat extravagant, living as something of a bon vivant. By 1831 his health deteriorated, and suffering from a painful cancer of the rectum he travelled back to London for medical attention. After treatment he returned to Russia by way of France and Italy, spending nine months in a hospital in Naples. Helped by a Russian aristocratic family, he returned to Moscow in 1835, where he composed his last few nocturnes in the sixteen months remaining to him.
Field is best remembered for his eighteen nocturnes which are single movement impromptu compositions for piano that maintain a single mood throughout. He is also the founder of the piano nocturne. The first three of these date from 1812. These pieces are further notable for their influence on Frédéric Chopin, who further developped the format and went on to write 21 nocturnes himself.
***** ***** ***** ***** *****
Roberte Mamou - John Field 15 Nocturnes ( 94 ^ 137mb)
The Tunisian-born pianist Roberte Mamou was trained in her own country, Paris and Antwerp.She's based in Europe, and has worked mostly in Belgium. Her multi-faceted and colourful musical personality emerges magically from the instrument when she plays, in a breathtaking alchemy which owes something to the flavours and scents of Tunisia where she spent her childhood. The experience of ten years as vocal coach at the La Monnaie Royal Opera in Brussels is also discernible, but perhaps what comes across most is the love and passion which she has always felt for music in all its forms. As a soloist Roberte Mamou has appeared with some of the greatest orchestras and ensembles.
02 - No.2 in C minor (2:52)
03 - No.3 in A flat major (4:02)
04 - No.4 in A major (5:11)
05 - No.5 in B flat major (2:36)
06 - No.6 in F major (4:31)
07 - No.7 in C major (5:07)
08 - No.8 in A major (4:15)
09 - No.9 in E flat major (3:18)
10 - No.10 in E minor (3:18)
11 - No.11 in E flat major (5:37)
12 - No.12 in G major (2:52)
13 - No.13 in D minor (3:34)
14 - No.14 in C major (9:06)
15 - No.15 in C major (5:01)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 16, 2008
Foundation (8)
Hello, all good things come to an end , and so today the last part of the Foundation Trilogy is coming up..enjoy
Last week
Now that the Mule has conquered the Foundation he stands as the most powerful force in the galaxy, as he is the sole controller of nuclear technologies and weapons; the Second Foundation is the only real threat to his eventual rule over the entire galaxy. The Mule promises that he will find the Second Foundation, after an extensive sweep turns up nothing. The Second Foundation manage to trick the Mule to follow a hot lead and show up in person at a backwater in the galaxy with his fleet, that destroys the decoy world, meanwhile it comes to a showdown with the First Speaker of the Second Foundation, who succeeds to destabalize the Mule and telepathically modify him and make him forget about his drive and status, meanwhile the rest is freed of the Mule's control.......
In the last part, the second foundation needs to cover its tracks again before it can rise
Foundation Trilogy 8 (Star's End) ( 37mb)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Last week
Now that the Mule has conquered the Foundation he stands as the most powerful force in the galaxy, as he is the sole controller of nuclear technologies and weapons; the Second Foundation is the only real threat to his eventual rule over the entire galaxy. The Mule promises that he will find the Second Foundation, after an extensive sweep turns up nothing. The Second Foundation manage to trick the Mule to follow a hot lead and show up in person at a backwater in the galaxy with his fleet, that destroys the decoy world, meanwhile it comes to a showdown with the First Speaker of the Second Foundation, who succeeds to destabalize the Mule and telepathically modify him and make him forget about his drive and status, meanwhile the rest is freed of the Mule's control.......
In the last part, the second foundation needs to cover its tracks again before it can rise
Foundation Trilogy 8 (Star's End) ( 37mb)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 15, 2008
Sundaze (36)
Hello, Sundaze again and this time the focus is on the soundscape and sample pioneer Holger Czukay, one of the founders of krautrockmasters Can ...first up his second solo album On The Way To The Peak Of Normal where he extends the work from his first album Movies...being someone who loves the collaboration format ..in the late eighties he released 2 ambient soundscapes with David Sylvian..both are up here..
*****
A founding member of the enormously influential Krautrock group Can, Holger Czukay was one of the pivotal underground figures of his era; over the course of his long, expansive career, Czukay successfully bridged the gap between pop and the avant-garde, pioneering the use of samples and exploring the significance of world music on Western culture.
Czukay was born in Danzig (now Gdansk) on March 24, 1938. After falling in love with music at a young age, he spent his formative years studying to be a composer and conductor, but his ideas were frequently too radical for mainstream tastes; after being disqualified from one jazz festival for his "unclassifiable music," he was later expelled from Berlin's Music Academy for similar artistic insolence. He studied music under avant-garde composer Karlheinz Stockhausen from 1963 to 1966, where he continued to refine his ideas, and soon became a teacher himself. Initially Czukay had little interest in rock music, but this changed when a student, Michael Karoli played him The Beatles' 1967 song "I Am The Walrus," opening his ears to music by rock experimentalists like the Velvet Underground and Frank Zappa.
After picking up the bass, Czukay teamed with Karoli, fellow Stockhausen protege Irmin Schmidt, drummer Jaki Liebezeit and American-born vocalist Malcolm Mooney, and in early 1968 the group Inner Space was formed. Quickly renamed Can, in 1969 they released their debut Monster Movie, the first in a series of visionary albums establishing the band as one of the truly seminal artists of the period. At much the same time, Czukay teamed with Rolf Dammers to release an LP titled Canaxis 5, instituting both primitive sampling techniques (achieved with tape splices) and worldbeat influences; sculpted from thousands of recordings dubbed from short-wave radio broadcasts, the album employed samples from a number of international sources, and consequently positioned Czukay as an early proponent of world music appropriation.
After 1976's Flow Motion, Can disbanded, and three years later Czukay issued his debut solo effort Movies, a marked refinement of his short-wave sonic collage techniques, which became his trademark . The use of shortwave radio sounds and his early pioneering of sampling, in those days involving the painstaking cutting and splicing of magnetic tapes. He would tape-record various sounds and snippets from shortwave and incorporate them into his compositions. In addition to critical raves, "Movies" won considerable interest throughout the musical community, and Czukay subsequently began work on a number of outside projects, he teamed with Jaki Liebezeit and bassist Jah Wobble for the LP Full Circle and the club hit "How Much Are They." Through Wobble, Czukay also met the Japanese singer Phew, and along with Liebezeit and producer Conny Plank they recorded the 1982 album Phew.
Czukay's next official solo release was 1982's On the Way to the Peak of Normal, another collaboration with Wobble assembled from sessions with the Dusseldorf-based band SYPH. 1984's Der Osten Ist Rot and 1987's Rome Remains Rome (featuring the controversial "Blessed Easter," which contained a sample of Pope John Paul II) followed, although Czukay spent the majority of the mid-decade involved in a variety of production work. In 1988 he teamed with David Sylvian for the lovely Plight and Premonition; which the duo followed up the next year with Flux + Mutability, Czukay re-formed Can to record a new studio LP, Rite Time. Czukay used shortwave as a live, interactive musical instrument on 1991's Radio Wave Surfer, a method of composition he termed radio painting. Apart from that and 1993's Moving Pictures, Czukay spent much of the 1990s removed from performing, nevertheless in 97 he released a live album, "Clash" . He mainly focused instead on production work before releasing Good Morning Story (his first studio album in six years) in 1999. This was followed by La Luna (2000) Linear City 2001 , an internet project working on a a recording of Sudanese Zar ceremonies. And time and Tide (2001).
***** ***** ***** ***** *****
Holger Czukay - On The Way To The Peak Of Normal ( 81 ^ 92mb)
After Movies, Czukay continued exploring the methods of sampling and laid-back jamming on this follow-up. The opening track, the side-long "Ode to Perfume/Fragrance" coasts along on some heavily twangy guitar, short-wave static, treated vocals, and drunken trumpet, all in a hypnotic late-night groove. This first half of the album is played entirely by Czukay, except for Jaki Liebezeit's trademark metronomic drumming, and in many ways it's a revelation. This is when the album most obviously picks up where 'Movies' let off, but the snippets of TV and radio are largely absent, barring a brief vocal sample in the first couple of minutes. Fragrance picks the theme back up and works in some vocoder to interesting effect. The whole thing has a slightly funky motorik feel, and makes an excellent soundtrack for a workout (Czukay himself recommended listening to it on headphones while roller skating!). The title track was recorded with members of S.Y.P.H., and is an atmospheric piece with a drum machine beat and fragments of radio interference fleshing out the minimal improvisation. The album closes with the dark, mysterious Hiss 'n' Listen, featuring Jah Wobble on bass and whispered vocals by Czukay.
01 - Ode To Perfume (18:00)
02 - On The Way To The Peak Of Normal (7:33)
03 - Witches' Multiplication Table (4:51)
04 - Two Bass Shuffle (2:15)
05 - Hiss 'n' Listen (3:50)
***** ***** ***** ***** *****
David Sylvian and Holger Czukay are fairly eclectic and diverse musicians. In the European ambient scene, they are fixtures.
With Plight & Premonition they deliver some pure soundscaping, ambience that contains little flecks and fragments of other sonic encounters, like glimpsing little details in the landscape as you speed along in a perpetual twilight, dark, lush, droning, and chasm-deep. Flux & Mutability is a complete contrast to its predecessor, it overflows with dreamy synth tones and pleasant atmospheres. It's a radiant ambience that still doesn't captivate all your attention, but creeps into your consciousness before you realize what's happened. "Flux" is "a big, bright, colorful world" and "Mutability" is "a new beginning...in the offing." These pieces are deep, expansive atmospheres with eerie samples and vacuous walls of sound. The second piece features only guitars, keyboards, and an African flute. The first piece has a much wider sound. It is a safe bet that it has the only ambient flugelhorn ever (by Markus Stockhausen). The real essence of this disc comes from the sound design, mixing, and processing. Aural mysticism at a very high level of expression - perfect for meditating or just chilling.
David Sylvian - Holger Czukay - Plight & Premonition ( 88 ^ 77mb)
1 - Plight (The Spiralling Of Winter Ghosts) (18:30)
2 - Premonition (Giant Empty Iron Vessel) (16:21)
David Sylvian - Holger Czukay - Flux & Mutability ( 89 ^ 74mb)
3 - Flux (A Big, Bright, Colourful World) (16:52)
4 - Mutability ("A New Beginning Is In The Offing") (21:02
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
*****
A founding member of the enormously influential Krautrock group Can, Holger Czukay was one of the pivotal underground figures of his era; over the course of his long, expansive career, Czukay successfully bridged the gap between pop and the avant-garde, pioneering the use of samples and exploring the significance of world music on Western culture.
Czukay was born in Danzig (now Gdansk) on March 24, 1938. After falling in love with music at a young age, he spent his formative years studying to be a composer and conductor, but his ideas were frequently too radical for mainstream tastes; after being disqualified from one jazz festival for his "unclassifiable music," he was later expelled from Berlin's Music Academy for similar artistic insolence. He studied music under avant-garde composer Karlheinz Stockhausen from 1963 to 1966, where he continued to refine his ideas, and soon became a teacher himself. Initially Czukay had little interest in rock music, but this changed when a student, Michael Karoli played him The Beatles' 1967 song "I Am The Walrus," opening his ears to music by rock experimentalists like the Velvet Underground and Frank Zappa.
After picking up the bass, Czukay teamed with Karoli, fellow Stockhausen protege Irmin Schmidt, drummer Jaki Liebezeit and American-born vocalist Malcolm Mooney, and in early 1968 the group Inner Space was formed. Quickly renamed Can, in 1969 they released their debut Monster Movie, the first in a series of visionary albums establishing the band as one of the truly seminal artists of the period. At much the same time, Czukay teamed with Rolf Dammers to release an LP titled Canaxis 5, instituting both primitive sampling techniques (achieved with tape splices) and worldbeat influences; sculpted from thousands of recordings dubbed from short-wave radio broadcasts, the album employed samples from a number of international sources, and consequently positioned Czukay as an early proponent of world music appropriation.
After 1976's Flow Motion, Can disbanded, and three years later Czukay issued his debut solo effort Movies, a marked refinement of his short-wave sonic collage techniques, which became his trademark . The use of shortwave radio sounds and his early pioneering of sampling, in those days involving the painstaking cutting and splicing of magnetic tapes. He would tape-record various sounds and snippets from shortwave and incorporate them into his compositions. In addition to critical raves, "Movies" won considerable interest throughout the musical community, and Czukay subsequently began work on a number of outside projects, he teamed with Jaki Liebezeit and bassist Jah Wobble for the LP Full Circle and the club hit "How Much Are They." Through Wobble, Czukay also met the Japanese singer Phew, and along with Liebezeit and producer Conny Plank they recorded the 1982 album Phew.
Czukay's next official solo release was 1982's On the Way to the Peak of Normal, another collaboration with Wobble assembled from sessions with the Dusseldorf-based band SYPH. 1984's Der Osten Ist Rot and 1987's Rome Remains Rome (featuring the controversial "Blessed Easter," which contained a sample of Pope John Paul II) followed, although Czukay spent the majority of the mid-decade involved in a variety of production work. In 1988 he teamed with David Sylvian for the lovely Plight and Premonition; which the duo followed up the next year with Flux + Mutability, Czukay re-formed Can to record a new studio LP, Rite Time. Czukay used shortwave as a live, interactive musical instrument on 1991's Radio Wave Surfer, a method of composition he termed radio painting. Apart from that and 1993's Moving Pictures, Czukay spent much of the 1990s removed from performing, nevertheless in 97 he released a live album, "Clash" . He mainly focused instead on production work before releasing Good Morning Story (his first studio album in six years) in 1999. This was followed by La Luna (2000) Linear City 2001 , an internet project working on a a recording of Sudanese Zar ceremonies. And time and Tide (2001).
***** ***** ***** ***** *****
Holger Czukay - On The Way To The Peak Of Normal ( 81 ^ 92mb)
After Movies, Czukay continued exploring the methods of sampling and laid-back jamming on this follow-up. The opening track, the side-long "Ode to Perfume/Fragrance" coasts along on some heavily twangy guitar, short-wave static, treated vocals, and drunken trumpet, all in a hypnotic late-night groove. This first half of the album is played entirely by Czukay, except for Jaki Liebezeit's trademark metronomic drumming, and in many ways it's a revelation. This is when the album most obviously picks up where 'Movies' let off, but the snippets of TV and radio are largely absent, barring a brief vocal sample in the first couple of minutes. Fragrance picks the theme back up and works in some vocoder to interesting effect. The whole thing has a slightly funky motorik feel, and makes an excellent soundtrack for a workout (Czukay himself recommended listening to it on headphones while roller skating!). The title track was recorded with members of S.Y.P.H., and is an atmospheric piece with a drum machine beat and fragments of radio interference fleshing out the minimal improvisation. The album closes with the dark, mysterious Hiss 'n' Listen, featuring Jah Wobble on bass and whispered vocals by Czukay.
01 - Ode To Perfume (18:00)
02 - On The Way To The Peak Of Normal (7:33)
03 - Witches' Multiplication Table (4:51)
04 - Two Bass Shuffle (2:15)
05 - Hiss 'n' Listen (3:50)
***** ***** ***** ***** *****
David Sylvian and Holger Czukay are fairly eclectic and diverse musicians. In the European ambient scene, they are fixtures.
With Plight & Premonition they deliver some pure soundscaping, ambience that contains little flecks and fragments of other sonic encounters, like glimpsing little details in the landscape as you speed along in a perpetual twilight, dark, lush, droning, and chasm-deep. Flux & Mutability is a complete contrast to its predecessor, it overflows with dreamy synth tones and pleasant atmospheres. It's a radiant ambience that still doesn't captivate all your attention, but creeps into your consciousness before you realize what's happened. "Flux" is "a big, bright, colorful world" and "Mutability" is "a new beginning...in the offing." These pieces are deep, expansive atmospheres with eerie samples and vacuous walls of sound. The second piece features only guitars, keyboards, and an African flute. The first piece has a much wider sound. It is a safe bet that it has the only ambient flugelhorn ever (by Markus Stockhausen). The real essence of this disc comes from the sound design, mixing, and processing. Aural mysticism at a very high level of expression - perfect for meditating or just chilling.
David Sylvian - Holger Czukay - Plight & Premonition ( 88 ^ 77mb)
1 - Plight (The Spiralling Of Winter Ghosts) (18:30)
2 - Premonition (Giant Empty Iron Vessel) (16:21)
David Sylvian - Holger Czukay - Flux & Mutability ( 89 ^ 74mb)
3 - Flux (A Big, Bright, Colourful World) (16:52)
4 - Mutability ("A New Beginning Is In The Offing") (21:02
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 14, 2008
Rhotation (36) Into BPM
Hello, Rhotation 36 and Into BPM kicks off with a UK band that named itself after a phenomenal Dutch soccer striker, who had to retire as 3 times European Player of the Year, so maybe thats why the band retired too after he officially retired 2 years later in 95, Marco Van Basten. Little did they know that years later he would return as successful coach who tonight beat France 4-1 after routing worldchampions Italy 3-0 four days earlier at the European soccer Championship. Well it inspired me to pick the Leftfield inspired Van Basten album Perimitive..... Dave Angel was led into music from an early age and has sublimated his influences of Jazz, Soul and Funk into his own Techno style. Classics is a 96 compilation of his earlier 12"and EP's....To provide some background to all that a 96 compilation released by a popular Belgian dance radio show, Cybercafé. Some great tracks to be had if you didnt score them previously already...
***** ***** ***** ***** *****
Van Basten - Perimitive ( 95 * 99mb)
There's always a first, after posting a 1000 acts, here's one that left Google mute. Van Basten are Gary Webster (keyboards, computers, digital), Martin Reilly (keyboards, computers, galaxi), and Gary Everatt (xylophone, mute trombone). They've released 5 12" before their album Perimitive in 95, the following year another 3 12" and then silence, zilch nothing on the members either...? Well John Peel liked their Progressive House / Trance and invited Van Basten to do a session 14/11/1995. Their label Brute records went out of business a decade ago...so if anyone has something to add , feel free and please comment...
01 - London Coma (3:36)
02 - Black Dragon (6:27)
03 - Battlestar Science (4:31)
04 - Charged (7:55)
05 - You Can Fight (5:56)
06 - King Of The Death Posture (Rmx) (7:05)
07 - Tube Station (3:55)
08 - Blood Wars (5:54)
09 - Explosion Road (6:32)
10 - National Anaesthetic (5:07)
11 - Perimitive (Parts 1 & 2) (11:52)
***** ***** ***** ***** *****
Dave Angel - Classics ( 96 ^ 138mb)
Nicholas Gooden aka Dave Angel was born in Chelsea, grew up in Clapham and was into music by the age of 8. When his Jamaican father, a Jazz musician, influenced him deeply, and taught him to play drums. He spent little time in school and preferred the music room to the classroom. Bt the age of 12 he would play his first jamsession with his dad.
Dj-ing at Radio Phase One(London pirate station) alongside the likes of Grooverider and Fabio, the odd party and club here and there as funk-dj until the TB303 came in his life when he realised this is the music of now and he decided to get in on it.
One day, Dave found a very primitive Casio keyboard at a mate’s house and borrowed it, feeling it was the time for his first steps. He built a dark bassline that he put together with two drum sequences from different tracks recorded with his double tape deck. He let it loose on “Sweet Dreams” of Eurythmics, taking the familiar tune on a dark and atmospheric journey into house. That was it, the beginning of his majestic career. His Nightmare Mix became a thrilling tune reaching 23rd in the English charts.
Not long after that, Dave received many invitations and gained much respect from the europeans and became part of the Phaze One team with the drum & bass DJs Fabio and Grooverider (who use to play from house to hardcore at that time). The doors were also opened for his producer career. His excellent following productions (like the EPs The Family EP” by Apollo, and “Royal Techno EP” by Rotation Records), showed Dave’s philosophy, which was built under the influences of Jazz, Soul and Funk. One of the “greatest techno artists from outside Detroit”, as he was considered, released magnificent tunes for labels such as Black Market, Love, Rotation, and specially the Belgian R&S, where some of his great tracks can be found ( like here “Classics”, his '96 singles resume).
The year before he released through K7! one of the best mixed CDs ever: “X-Mix-4 - Beyond The Heavens”, which included some of the amazing classics from all over the World such as Chez Damier’s “Help Myself”, F2’s “Dominica” or even his remix for Sun Electric’s “Entrance” The second half of the nineties brought Dave closer to funk than Jazz on a new optic called “techfunk” when he released tracks from the long play “Globetrotting“ such as “Tokyo Stealth Fighter”, “This is Disco” and “Funk Music”, as well as the other mixed compilation: “39 Flavours Of Tech Funk”.
Over the years that followed, Dave gained a central position on the international scene, releasing several more mix albums , and making appearances at the biggest events and festivals, he has become a major icon in international techno.
01 - Bounce Back (5:09)
02 - Sighting (5:37)
03 - Jungle Love (5:47)
04 - Trip To Darkness (4:52)
05 - Free Flow (5:35)
06 - Fallen Destiny (6:15)
07 - Endless Motions (6:39)
08 - Brother From Jazz (6:22)
09 - Down Deep (5:55)
10 - Lust (5:33)
11 - Dimension Of Drums (4:50)
12 - Great Daine (4:48)
***** ***** ***** ***** *****
VA - Cybercafé, Techno Dub Dance ( 96, 115min, 199mb)
The concept and name, Cybercafé, was invented at the beginning of 1994 by Ivan Pope. Commissioned to develop an Internet event for an arts weekend at the Institute of Contemporary Arts (ICA) in London. Pope wrote a proposal outlining the concept of a café with Internet access from the tables. Cybercafé was a Belgian radio program (a cooperation of Radio 21 and Ex Machina) about things World Wide Web which a year later became a tv show.
VA - Cybercafé, Techno Dub Dance (99mb)
01 - Orb, The - Little Fluffy Clouds (8:25)
02 - Leftfield - Afro-Left (7:32)
03 - Prodigy - Voodoo People (6:26)
04 - Ken Ishii - Extra (Luke Slater Remix) (6:26)
05 - Dave Angel - Airborne (6:02)
06 - Stacey Pullen - Psychotic Funk (7:35)
07 - Ian Pooley - My Anthem (7:28)
08 - Laurent Garnier - Astral Dreams (Headphone Mix) (7:52)
VA - Cybercafé, Techno Dub Dance 2 (99mb)
09 - Tata Box Inhibitors - Plasmids (Placid Mix) (11:30)
10 - Ballistic Brothers - I'll Fly Away (5:19)
11 - Biosphere - Novelty Waves (Original Mix) (6:22)
12 - Subsurfing - Frozen Ants (7:10)
13 - Aphex Twin - Digeridoo (7:09)
14 - Kitachi - Spirit (Hip Hop Dub) (5:17)
15 - Sabres Of Paradise, The - Smokebelch II (12:42)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
***** ***** ***** ***** *****
Van Basten - Perimitive ( 95 * 99mb)
There's always a first, after posting a 1000 acts, here's one that left Google mute. Van Basten are Gary Webster (keyboards, computers, digital), Martin Reilly (keyboards, computers, galaxi), and Gary Everatt (xylophone, mute trombone). They've released 5 12" before their album Perimitive in 95, the following year another 3 12" and then silence, zilch nothing on the members either...? Well John Peel liked their Progressive House / Trance and invited Van Basten to do a session 14/11/1995. Their label Brute records went out of business a decade ago...so if anyone has something to add , feel free and please comment...
01 - London Coma (3:36)
02 - Black Dragon (6:27)
03 - Battlestar Science (4:31)
04 - Charged (7:55)
05 - You Can Fight (5:56)
06 - King Of The Death Posture (Rmx) (7:05)
07 - Tube Station (3:55)
08 - Blood Wars (5:54)
09 - Explosion Road (6:32)
10 - National Anaesthetic (5:07)
11 - Perimitive (Parts 1 & 2) (11:52)
***** ***** ***** ***** *****
Dave Angel - Classics ( 96 ^ 138mb)
Nicholas Gooden aka Dave Angel was born in Chelsea, grew up in Clapham and was into music by the age of 8. When his Jamaican father, a Jazz musician, influenced him deeply, and taught him to play drums. He spent little time in school and preferred the music room to the classroom. Bt the age of 12 he would play his first jamsession with his dad.
Dj-ing at Radio Phase One(London pirate station) alongside the likes of Grooverider and Fabio, the odd party and club here and there as funk-dj until the TB303 came in his life when he realised this is the music of now and he decided to get in on it.
One day, Dave found a very primitive Casio keyboard at a mate’s house and borrowed it, feeling it was the time for his first steps. He built a dark bassline that he put together with two drum sequences from different tracks recorded with his double tape deck. He let it loose on “Sweet Dreams” of Eurythmics, taking the familiar tune on a dark and atmospheric journey into house. That was it, the beginning of his majestic career. His Nightmare Mix became a thrilling tune reaching 23rd in the English charts.
Not long after that, Dave received many invitations and gained much respect from the europeans and became part of the Phaze One team with the drum & bass DJs Fabio and Grooverider (who use to play from house to hardcore at that time). The doors were also opened for his producer career. His excellent following productions (like the EPs The Family EP” by Apollo, and “Royal Techno EP” by Rotation Records), showed Dave’s philosophy, which was built under the influences of Jazz, Soul and Funk. One of the “greatest techno artists from outside Detroit”, as he was considered, released magnificent tunes for labels such as Black Market, Love, Rotation, and specially the Belgian R&S, where some of his great tracks can be found ( like here “Classics”, his '96 singles resume).
The year before he released through K7! one of the best mixed CDs ever: “X-Mix-4 - Beyond The Heavens”, which included some of the amazing classics from all over the World such as Chez Damier’s “Help Myself”, F2’s “Dominica” or even his remix for Sun Electric’s “Entrance” The second half of the nineties brought Dave closer to funk than Jazz on a new optic called “techfunk” when he released tracks from the long play “Globetrotting“ such as “Tokyo Stealth Fighter”, “This is Disco” and “Funk Music”, as well as the other mixed compilation: “39 Flavours Of Tech Funk”.
Over the years that followed, Dave gained a central position on the international scene, releasing several more mix albums , and making appearances at the biggest events and festivals, he has become a major icon in international techno.
01 - Bounce Back (5:09)
02 - Sighting (5:37)
03 - Jungle Love (5:47)
04 - Trip To Darkness (4:52)
05 - Free Flow (5:35)
06 - Fallen Destiny (6:15)
07 - Endless Motions (6:39)
08 - Brother From Jazz (6:22)
09 - Down Deep (5:55)
10 - Lust (5:33)
11 - Dimension Of Drums (4:50)
12 - Great Daine (4:48)
***** ***** ***** ***** *****
VA - Cybercafé, Techno Dub Dance ( 96, 115min, 199mb)
The concept and name, Cybercafé, was invented at the beginning of 1994 by Ivan Pope. Commissioned to develop an Internet event for an arts weekend at the Institute of Contemporary Arts (ICA) in London. Pope wrote a proposal outlining the concept of a café with Internet access from the tables. Cybercafé was a Belgian radio program (a cooperation of Radio 21 and Ex Machina) about things World Wide Web which a year later became a tv show.
VA - Cybercafé, Techno Dub Dance (99mb)
01 - Orb, The - Little Fluffy Clouds (8:25)
02 - Leftfield - Afro-Left (7:32)
03 - Prodigy - Voodoo People (6:26)
04 - Ken Ishii - Extra (Luke Slater Remix) (6:26)
05 - Dave Angel - Airborne (6:02)
06 - Stacey Pullen - Psychotic Funk (7:35)
07 - Ian Pooley - My Anthem (7:28)
08 - Laurent Garnier - Astral Dreams (Headphone Mix) (7:52)
VA - Cybercafé, Techno Dub Dance 2 (99mb)
09 - Tata Box Inhibitors - Plasmids (Placid Mix) (11:30)
10 - Ballistic Brothers - I'll Fly Away (5:19)
11 - Biosphere - Novelty Waves (Original Mix) (6:22)
12 - Subsurfing - Frozen Ants (7:10)
13 - Aphex Twin - Digeridoo (7:09)
14 - Kitachi - Spirit (Hip Hop Dub) (5:17)
15 - Sabres Of Paradise, The - Smokebelch II (12:42)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 12, 2008
Alphabet Soup (I)
Hello, Alphabet Soup, meets the I , which doesnt offer the widest of choice but these next albums have it in them nevertheless. 77 was a busy year for Iggy Pop , he released no less then 3 albums that year, Kill City , rapped up his Stooges time. Bowie acted again as a real buddy for the Jean Genie, they wrote and recorded two albums together, ive posted The Idiot in Rhotation 6 , but Iggy never stays introverted for long and with Lust For Life he blew anyone away after the droning of Massproduction (finaltrack the idiot). The passenger turned out to become another classic ( oops how about that for a B-side).....Irish' Into Paradise loved Echo & The Bunnymen, maybe thats why they asked initial labelmates The Sound-frontman Adrian Borland to produce their first and second album. The result a cross between U2 and the Sound , though at the time U2 had moved on soundwise.. Well they left some great music but by 93 dissolved, however they did score some great points...Finally Interpol...Why is it that the lemming musicpress always drools over bands from New York, five years ago i saw them perform and i wondered is this for real..the Joy Division touch, but the guys didnt even look a band, i got the impression there were four bands on stage that jammed..most odd, too my surprise none of the reviews i've read mentions 9/11, this event -to me at least- lies at the basis of the density and gloom of Turn on the Bright Lights, sublimated aggression.....
***** ***** ***** ***** *****
Iggy Pop - Lust For Life (77 ^ 99mb)
James Newell Osterberg, Jr. (born April 21, 1947), better known by his stage name Iggy Pop. Iggy Pop began his music career as a drummer in different high school bands in Ann Arbor, Michigan. One band was the Iguanas, where he acquired the name Iggy.After he dropped out of the University of Michigan James moved to Chicago to learn more about blues. Inspired by Chicago blues as well as bands like The Sonics and The MC5, he formed the Psychedelic Stooges and began calling himself Iggy. The seeds of Pop's stage persona were sown when Pop saw The Doors perform in 1967 at the University of Michigan. Pop was amazed by the stage antics and antagonism displayed by singer Jim Morrison, who's extreme behavior inspired the young Pop to push the boundaries of stage performance. Later, while inventing the stage-dive in Detroit,rolling around in broken glass, exposing himself to the crowd, and vomiting on stage, among many other exploits, Iggy himself would inspire others. The Stooges' first two albums, The Stooges, produced by John Cale, and Fun House, sold poorly. Iggy meanwhile got hooked on heroin and the band collapsed.
David Bowie helped to rejuvenate Iggy Pop's career by producing an album with him. The recording sessions produced the punk rock landmark Raw Power, in 1973. Still Iggy's drug problem persisted. The Stooges' last show ended in a fight between the band and a group of bikers, documented on the album Metallic K.O.. Drug abuse put his career on hold for a couple of years. After the second breakup of the Stooges, Iggy Pop made some recordings with James Williamson, but these were not released until 1977 (as Kill City). Iggy was unable to control his drug use and checked himself into a mental institution to try to clean up. Bowie was one of his few visitors there, and he continued to support his friend and collaborator. In 1976, Bowie took him along as his companion on the Station to Station tour. Bowie and Iggy Pop relocated to West Berlin to wean themselves off their addictions.
Although issued after Low, the opening installment of Bowie's so-called "Berlin Trilogy", the pair began writing and recording songs for The Idiot in mid-1976, before Bowie started work on his own album. As such, The Idiot has been claimed as heralding the unofficial beginning of Bowie's Berlin period, being compared particularly to Low and "Heroes" in its electronic effects, treated instrument sounds, introspective lyrics and overall mood. A departure from the hard rock of his former band The Stooges, The Idiot is regarded by critics as one of Pop’s best works, to lessen the confusion Pop quickly released a follow up..again with Bowie's writing in the wings, Lust For Life, it spawned two of his biggest hits, the titletrack and The Passenger.
The Lust for Life sessions took place soon after the completion of a concert tour in support of the The Idiot album, the tour ending on 16 April 1977.[Pop has stated, "David and I had determined that we would record that album very quickly, which we wrote, recorded, and mixed in eight days, and because we had done it so quickly, we had a lot of money left over from the advance, which we split." The singer slept little during its making. Lust for Life is generally considered to be more of an Iggy Pop record than the Bowie-dominated The Idiot, being less experimental musically and having more of a rock and roll flavor. However some of its themes were similarly dark, as in "The Passenger", one of Pop’s "most haunting" tracks, inspired by a Jim Morrison poem that saw "modern life as a journey by car". It has been covered by Nick Cave, Bauhaus, Siouxsie and the Banshees, Michael Hutchence. Ultimately Iggy Pop managed to channel the aggressive power of his work with the Stooges with the intelligence and perception of The Idiot, and the result was the best of both worlds; smart, funny, edgy, and hard-rocking....
01 - Lust For Life (5:07)
02 - Sixteen (2:22)
03 - Some Weird Sin (3:36)
04 - The Passenger (4:37)
05 - Tonight (3:33)
06 - Success (4:20)
07 - Turn Blue (6:48)
08 - Neighborhood Threat (3:21)
09 - Fall In Love With Me (6:24)
***** ***** ***** ***** *****
Into Paradise - Churchtown (91 ^ 99mb)
Into Paradise were a group from Dublin, Ireland whose influences included Joy Division and Echo and the Bunnymen. They formed in 1986 as 'Backwards into Paradise', and released their debut EP 'Blue Light' in 1989 on the independent label Setanta. Soon after came the EP 'Change' and the band's first full-length album, 'Under the Water'. During this period they became notorious for gigs which often ended with fighting between bandmembers.
The group's debut, released in 1990 and produced by ex-Sound frontman Adrian Borland, found Into Paradise--singer/guitarist Dave Long, guitarist/keyboardist James Eadie, bassist Rachel Tighe and drummer Ronan Clarke--owing a heavy debt to the Bunnymen's landmark 1980 LP, Crocodiles. The shame was that a few genuinely good tracks got buried in the band's attempt at homage. However, someone kicked Into Paradise firmly in the collective rear just in time for the release of Churchtown the following year--the group sounded newly-energized on uptempo, "Churchtown" is just a straight forward rock album - nothing really fancy with this one however the songs are just incredible. Singer Dave Long spills his heart out over the 12 tracks , "Rain Comes Down" blasts your bloody speakers off the wall. Produced again by Borland, Churchtown showed off a large-scale dramatic sweep, augmented by consistently strong, attractive melodies.
The band followed that triumph with a pair of U.K.-only EPs--Down All The Days (1992) and For No One (1993)--before disappearing from view shortly afterwards.
The eight-song, 33-minute Down All the Days is by far Into Paradise's best and most consistent effort. The tighter format is a big plus, letting the quartet avoid the filler that dotted its first two releases. "Sleep," the invitingly atmospheric centerpiece, continues the band's tradition of hooking plaintively beautiful tunes to the direst of lyrics — in this case, Long's self-doubt over a hopeless affair. The seven-track For No One covers no new ground ("Letting Go," "Don't Let Me Down," "Move Over," "Move Up, Move Out")
01 - Rain Come Down (3:48)
02 - Burns My Skin (3:45)
03 - Yesterday's Men (3:55)
04 - I'm Still Waiting (3:07)
05 - Winter (4:32)
06 - Bring Me Up (3:12)
07 - All Down From Here (2:52)
08 - Angel (4:04)
09 - Dreaming (3:23)
10 - Dive (3:24)
11 - Tears In Your Eyes (2:57)
12 - Gently Falls (4:32)
***** ***** ***** ***** *****
Interpol - Turn On The Bright Lights (02 ^ 99mb)
The roots of the band stem from New York University, where all of the original line-up were students. Guitarist Daniel Kessler, eager to start a band, met drummer Greg Drudy on campus, Carlos Dengler ( bass) in a history class and ran into Paul Banks, remembered them meeting in Paris and asked him to become lead singer. In 2000, after releasing the Fukd I.D. #3 EP, Greg Drudy left the band, and Kessler recruited Sam Fogarino, whom he knew through Fogarino’s job at a local vintage clothing store. After self-releasing several EPs between 1998 - 2001, in early 2002 the band signed to indie label Matador, an independent label famous for breaking highly respected bands such as Pavement. The first release, a self-titled EP containing rerecorded versions of PDA and NYC was released June 2002 to widespread critical acclaim in the indie music scene, which built anticipation for the full-length album.
They didnt have to wait long, 11 weeks later Turn on the Bright Lights was released in August, again on Matador, and is widely considered one of the best albums of that year, it even became Pitchfork Media's "Album of the Year." Though much of Turn on the Bright Lights plays on the heady solemnity of post-punk-meets-modern-isolation, there are songs that toy with other influences. The gripping "PDA", burns with the intelligent rage so characteristic of The Fall; "The New" has the bruising emotion of Echo & the Bunnymen. And the album ends with "Leif Erikson", which, like its Viking namesake, sails the album toward the serene potential of another world. The album turned out to be what modern followers of post-punk have been waiting for. It is the album that makes all the hub-bub about the New York City music scene justified; it is the album that makes the time we're living through feel like an era rather than a haphazard, disconnected series of events. Interpol absorbed several decades of great music and produced something familiar, yet fresh and new.
The band regrouped in late 2003 to begin sessions for the follow-up album, again decamping to Tarquin Studios to record. On September 28, 2004, Antics was released on Matador. The album achieved far greater commercial success than Turn on the Bright Lights, perhaps due to the lighter, more accessible arrangements and bigger hooks. Though Interpol couldn't be expected to surpass their previous heights, the band has wisely ignored a shortsighted perception of their career which dictates that where Bright Lights was an audacious plunge from a great height, Antics is the crucial landing. And so Antics garnered much critical acclaim again and was once more a popular choice on critics' Top 10 lists for 2004 Interpol toured once again after the release of the album, playing more dates than ever before and at bigger venues, the tour stretched on for almost 18 months..
Interpols third album arrives belatedly on the back of persistent rumours of a split and a reportedly 'tempestuous genesis'. In the interim, drummer Sam Fogarino started a new band, the Setting Suns, with Adam Franklin of Nineties shoegazing outfit Swervedriver, while newly mustachioed bassist Carlos D was recently seen on a Guardian website blog rhapsodising about the 'gorgeous and irresistible power' of symphony orchestras. All of which could have made for a distracted-sounding major label debut from a band verging on the kind of superstardom you feel should have been theirs years ago. Our Love to Admire was recorded at Electric Lady Studios in Greenwich Village and The Magic Shop Studios in New York City and released July 10, 2007 on Capitol Records.
Happily, that 'tempestuous genesis' sounds like a storm in a teacup - Our Love to Admire fleshes out the dark edges of Interpol's sound to create a polished, muscular-sounding record that teems with life and bristling potency. It was the first time they have included keyboards in the arrangements from the start of the songwriting process. As a result, the album is more atmospheric and diverse than its predecessors. That might come as a disappointment to those who enjoyed the brittle existentialism of the first record, but it makes for an electrifying listen in its own right. Still the reviews turned out a mixed bag.
01 - Untitled (3:56)
02 - Obstacle 1 (4:11)
03 - NYC (4:19)
04 - PDA (4:59)
05 - Say Hello To the Angels (4:28)
06 - Hands Away (3:05)
07 - Obstacle 2 (3:47)
08 - Stella Was A Diver And She Was Always Down (6:27)
09 - Roland (3:35)
10 - The New (6:07)
11 - Leif Erikson (4:00)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
***** ***** ***** ***** *****
Iggy Pop - Lust For Life (77 ^ 99mb)
James Newell Osterberg, Jr. (born April 21, 1947), better known by his stage name Iggy Pop. Iggy Pop began his music career as a drummer in different high school bands in Ann Arbor, Michigan. One band was the Iguanas, where he acquired the name Iggy.After he dropped out of the University of Michigan James moved to Chicago to learn more about blues. Inspired by Chicago blues as well as bands like The Sonics and The MC5, he formed the Psychedelic Stooges and began calling himself Iggy. The seeds of Pop's stage persona were sown when Pop saw The Doors perform in 1967 at the University of Michigan. Pop was amazed by the stage antics and antagonism displayed by singer Jim Morrison, who's extreme behavior inspired the young Pop to push the boundaries of stage performance. Later, while inventing the stage-dive in Detroit,rolling around in broken glass, exposing himself to the crowd, and vomiting on stage, among many other exploits, Iggy himself would inspire others. The Stooges' first two albums, The Stooges, produced by John Cale, and Fun House, sold poorly. Iggy meanwhile got hooked on heroin and the band collapsed.
David Bowie helped to rejuvenate Iggy Pop's career by producing an album with him. The recording sessions produced the punk rock landmark Raw Power, in 1973. Still Iggy's drug problem persisted. The Stooges' last show ended in a fight between the band and a group of bikers, documented on the album Metallic K.O.. Drug abuse put his career on hold for a couple of years. After the second breakup of the Stooges, Iggy Pop made some recordings with James Williamson, but these were not released until 1977 (as Kill City). Iggy was unable to control his drug use and checked himself into a mental institution to try to clean up. Bowie was one of his few visitors there, and he continued to support his friend and collaborator. In 1976, Bowie took him along as his companion on the Station to Station tour. Bowie and Iggy Pop relocated to West Berlin to wean themselves off their addictions.
Although issued after Low, the opening installment of Bowie's so-called "Berlin Trilogy", the pair began writing and recording songs for The Idiot in mid-1976, before Bowie started work on his own album. As such, The Idiot has been claimed as heralding the unofficial beginning of Bowie's Berlin period, being compared particularly to Low and "Heroes" in its electronic effects, treated instrument sounds, introspective lyrics and overall mood. A departure from the hard rock of his former band The Stooges, The Idiot is regarded by critics as one of Pop’s best works, to lessen the confusion Pop quickly released a follow up..again with Bowie's writing in the wings, Lust For Life, it spawned two of his biggest hits, the titletrack and The Passenger.
The Lust for Life sessions took place soon after the completion of a concert tour in support of the The Idiot album, the tour ending on 16 April 1977.[Pop has stated, "David and I had determined that we would record that album very quickly, which we wrote, recorded, and mixed in eight days, and because we had done it so quickly, we had a lot of money left over from the advance, which we split." The singer slept little during its making. Lust for Life is generally considered to be more of an Iggy Pop record than the Bowie-dominated The Idiot, being less experimental musically and having more of a rock and roll flavor. However some of its themes were similarly dark, as in "The Passenger", one of Pop’s "most haunting" tracks, inspired by a Jim Morrison poem that saw "modern life as a journey by car". It has been covered by Nick Cave, Bauhaus, Siouxsie and the Banshees, Michael Hutchence. Ultimately Iggy Pop managed to channel the aggressive power of his work with the Stooges with the intelligence and perception of The Idiot, and the result was the best of both worlds; smart, funny, edgy, and hard-rocking....
01 - Lust For Life (5:07)
02 - Sixteen (2:22)
03 - Some Weird Sin (3:36)
04 - The Passenger (4:37)
05 - Tonight (3:33)
06 - Success (4:20)
07 - Turn Blue (6:48)
08 - Neighborhood Threat (3:21)
09 - Fall In Love With Me (6:24)
***** ***** ***** ***** *****
Into Paradise - Churchtown (91 ^ 99mb)
Into Paradise were a group from Dublin, Ireland whose influences included Joy Division and Echo and the Bunnymen. They formed in 1986 as 'Backwards into Paradise', and released their debut EP 'Blue Light' in 1989 on the independent label Setanta. Soon after came the EP 'Change' and the band's first full-length album, 'Under the Water'. During this period they became notorious for gigs which often ended with fighting between bandmembers.
The group's debut, released in 1990 and produced by ex-Sound frontman Adrian Borland, found Into Paradise--singer/guitarist Dave Long, guitarist/keyboardist James Eadie, bassist Rachel Tighe and drummer Ronan Clarke--owing a heavy debt to the Bunnymen's landmark 1980 LP, Crocodiles. The shame was that a few genuinely good tracks got buried in the band's attempt at homage. However, someone kicked Into Paradise firmly in the collective rear just in time for the release of Churchtown the following year--the group sounded newly-energized on uptempo, "Churchtown" is just a straight forward rock album - nothing really fancy with this one however the songs are just incredible. Singer Dave Long spills his heart out over the 12 tracks , "Rain Comes Down" blasts your bloody speakers off the wall. Produced again by Borland, Churchtown showed off a large-scale dramatic sweep, augmented by consistently strong, attractive melodies.
The band followed that triumph with a pair of U.K.-only EPs--Down All The Days (1992) and For No One (1993)--before disappearing from view shortly afterwards.
The eight-song, 33-minute Down All the Days is by far Into Paradise's best and most consistent effort. The tighter format is a big plus, letting the quartet avoid the filler that dotted its first two releases. "Sleep," the invitingly atmospheric centerpiece, continues the band's tradition of hooking plaintively beautiful tunes to the direst of lyrics — in this case, Long's self-doubt over a hopeless affair. The seven-track For No One covers no new ground ("Letting Go," "Don't Let Me Down," "Move Over," "Move Up, Move Out")
01 - Rain Come Down (3:48)
02 - Burns My Skin (3:45)
03 - Yesterday's Men (3:55)
04 - I'm Still Waiting (3:07)
05 - Winter (4:32)
06 - Bring Me Up (3:12)
07 - All Down From Here (2:52)
08 - Angel (4:04)
09 - Dreaming (3:23)
10 - Dive (3:24)
11 - Tears In Your Eyes (2:57)
12 - Gently Falls (4:32)
***** ***** ***** ***** *****
Interpol - Turn On The Bright Lights (02 ^ 99mb)
The roots of the band stem from New York University, where all of the original line-up were students. Guitarist Daniel Kessler, eager to start a band, met drummer Greg Drudy on campus, Carlos Dengler ( bass) in a history class and ran into Paul Banks, remembered them meeting in Paris and asked him to become lead singer. In 2000, after releasing the Fukd I.D. #3 EP, Greg Drudy left the band, and Kessler recruited Sam Fogarino, whom he knew through Fogarino’s job at a local vintage clothing store. After self-releasing several EPs between 1998 - 2001, in early 2002 the band signed to indie label Matador, an independent label famous for breaking highly respected bands such as Pavement. The first release, a self-titled EP containing rerecorded versions of PDA and NYC was released June 2002 to widespread critical acclaim in the indie music scene, which built anticipation for the full-length album.
They didnt have to wait long, 11 weeks later Turn on the Bright Lights was released in August, again on Matador, and is widely considered one of the best albums of that year, it even became Pitchfork Media's "Album of the Year." Though much of Turn on the Bright Lights plays on the heady solemnity of post-punk-meets-modern-isolation, there are songs that toy with other influences. The gripping "PDA", burns with the intelligent rage so characteristic of The Fall; "The New" has the bruising emotion of Echo & the Bunnymen. And the album ends with "Leif Erikson", which, like its Viking namesake, sails the album toward the serene potential of another world. The album turned out to be what modern followers of post-punk have been waiting for. It is the album that makes all the hub-bub about the New York City music scene justified; it is the album that makes the time we're living through feel like an era rather than a haphazard, disconnected series of events. Interpol absorbed several decades of great music and produced something familiar, yet fresh and new.
The band regrouped in late 2003 to begin sessions for the follow-up album, again decamping to Tarquin Studios to record. On September 28, 2004, Antics was released on Matador. The album achieved far greater commercial success than Turn on the Bright Lights, perhaps due to the lighter, more accessible arrangements and bigger hooks. Though Interpol couldn't be expected to surpass their previous heights, the band has wisely ignored a shortsighted perception of their career which dictates that where Bright Lights was an audacious plunge from a great height, Antics is the crucial landing. And so Antics garnered much critical acclaim again and was once more a popular choice on critics' Top 10 lists for 2004 Interpol toured once again after the release of the album, playing more dates than ever before and at bigger venues, the tour stretched on for almost 18 months..
Interpols third album arrives belatedly on the back of persistent rumours of a split and a reportedly 'tempestuous genesis'. In the interim, drummer Sam Fogarino started a new band, the Setting Suns, with Adam Franklin of Nineties shoegazing outfit Swervedriver, while newly mustachioed bassist Carlos D was recently seen on a Guardian website blog rhapsodising about the 'gorgeous and irresistible power' of symphony orchestras. All of which could have made for a distracted-sounding major label debut from a band verging on the kind of superstardom you feel should have been theirs years ago. Our Love to Admire was recorded at Electric Lady Studios in Greenwich Village and The Magic Shop Studios in New York City and released July 10, 2007 on Capitol Records.
Happily, that 'tempestuous genesis' sounds like a storm in a teacup - Our Love to Admire fleshes out the dark edges of Interpol's sound to create a polished, muscular-sounding record that teems with life and bristling potency. It was the first time they have included keyboards in the arrangements from the start of the songwriting process. As a result, the album is more atmospheric and diverse than its predecessors. That might come as a disappointment to those who enjoyed the brittle existentialism of the first record, but it makes for an electrifying listen in its own right. Still the reviews turned out a mixed bag.
01 - Untitled (3:56)
02 - Obstacle 1 (4:11)
03 - NYC (4:19)
04 - PDA (4:59)
05 - Say Hello To the Angels (4:28)
06 - Hands Away (3:05)
07 - Obstacle 2 (3:47)
08 - Stella Was A Diver And She Was Always Down (6:27)
09 - Roland (3:35)
10 - The New (6:07)
11 - Leif Erikson (4:00)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 11, 2008
Eight-X (35)
Hello, another Eight-X, so whats cooking..well two new names to the blog, starter Echo & The Bunnymen has passed the Eight-X gate 3 months ago with ther debut album and today with their third, Porcupine ..im not sure if they felt besieged by predators, or reviewers after their second album fell somewhat thru the cracks, whatever with Porcupine they established themselves...Second a Dutch band Nasmak who had been lauded (but not payed) the years before and when they put in all they had learned music-technically they were shunned by the (arty farty)avantgarde, still Silhoutte is a good album, Japan folded as they couldnt follow up on 81 Tin Drum, Nasmak here lacks David Sylvian.....Finally, the Tin Tin Twin detectives they had a string of hits in the early/mid eighties with surprisng unassuming music but with in general good percussive work. Five million people got Into The Gap, this overcrowding caused main man Tom Bailey a nervous breakdown when he was working on the follow up ("will it fit ?, will it fit ?) And yet, The Thompson Twins made their mark and went their own way ....
***** ***** ***** ***** *****
Echo And The Bunnymen - Porcupine (83 ^ 99mb)
The Bunnymen grew out of the Crucial Three, a late-'70s trio featuring vocalist Ian McCulloch, Pete Wylie, and Julian Cope. Cope and Wylie left the group by the end of 1977, forming the Teardrop Explodes and Wah!, respectively. McCulloch met guitarist Will Sergeant in the summer of 1978 and the pair began recording demos with a drum machine that the duo called "Echo." Adding bassist Les Pattinson, the band made its live debut at the Liverpool club Eric's at the end of 1978, calling itself Echo & the Bunnymen. In March of 1979, the group released its first single, "Pictures on My Wall"/"Read It in Books," on the local Zoo record label. The single and their popular live performances led to a contract with Korova. After signing the contract, the group discarded the drum machine, adding drummer Pete de Freitas.
Their debut album, Crocodile, was produced by The Chameleons and Ian Broudie. Echo's brilliant, often harrowing debut album beginning with the dramatic, building climb of "Going Up," at once showcases four individual players sure of their own gifts and their ability to bring it all together to make things more than the sum of their parts. Will Sergeant in particular is a revelation -- plays the electric guitar as just that, electric not acoustic, dedicated to finding out what can be done with it while never using it as an excuse to bend frets.
The group's third album, Porcupine, is a solid outing, a noticeably better listen than its predecessor, Heaven Up Here. Songs are intriguing and elaborate, often featuring swooping, howling melodic lines. Arrangements here owe a lot to 1960s psychedelia and feature lots of reverb, washed textures, intricate production touches, and altered guitar sounds. Ian McCulloch's vocals are yearning, soaring, and hyper-expressive here, almost to the point of being histrionic, most notably on "Clay," "Ripeness," and the title track. Driving bass and drums lend the songs urgency and keep the music from collapsing into self-indulgence.
With their 4th album Ocean Rain came not only critical succeess and sales , it started off a rut, big trouble with Warner(label)when they finally did come together again Pete de Freitas had left the band, but later returned and everything was rerecorded. in the end the epynomous album had taken 3 years. It was unsurprisingly not that well recieved, by now it was 1987. A year later McCulloch quit the band in 1988 and de Freitas was killed in a motorcycle accident in mid-1989. The remaining members werent really able to resurrect the band... In 1994 McCulloch and Sergeant began working together again under the name Electrafixion; in 1997 Pattinson rejoined the duo, meaning the three surviving members of the original Bunnymen lineup were now working together again. Rather than continue as Electrafixion, the trio resurrected the Echo & the Bunnymen name and released the album Evergreen (1997) and since What Are You Going to Do with Your Life? (1999), Flowers (2001) and Siberia (2005). Ian McCulloch has announced The Fountain as the title of the new Echo & the Bunnyman album due in 2008.
01 - The Cutter (3:50)
02 - Back Of Love (3:13)
03 - My White Devil (4:38)
04 - Clay (4:08)
05 - Porcupine (5:46)
06 - Heads Will Roll (3:29)
07 - Ripeness (4:42)
08 - Higher Hell (4:57)
09 - Gods Will Be Gods (5:21)
10 - In Bluer Skies (4:16)
***** ***** ***** ***** *****
Nasmak - Silhouette (83 ^ 95mb)
Nasmak and friends were from the South of the country Nuenen,near Philips's researchlabs and headquarters (at the time) they were interested in repetitive structures, but their music was less harsh and mechanical, more fluid and danceable. Initially in 78 they sang in dutch and were called Nasmaak (after taste) They dropped the dutch and an a and so Nasmak came about. Their first record (on Plurex) Nasmak Plus Instruments/Instruments Plus Nasmak(1980), was hailed by John Peel as the best continental record of the year. Nasmak was the first Dutch band to do a Peel session. They combined traditional gitar/bass/drums with Truus de Groot, playing the unpredictable 'crackling box' noise(s)and tapes, yes bit of an art band..from the provence no less...Well their efforts were well recieved national aswell as international. All members had their own side-projects, such as + Instruments (Truus de Groot with varying personnel including Lee Ranaldo from Sonic Youth)
In 81 Truus de Groot leaves for New York, where she, together with drummer David Linton en gitarist Lee Renaldo , further develops her band + Instruments. Nasmak goes on and they release two double cassettes Indecent Exposure 1 & 2 (Music For Brass, Woodwinds, Drums & Violins) en Indecent Exposure 3 & 4 (The Smell Remains). In 82 they release 4ourclicks, an original and hypnotic album which gets rave reviews.
Their third album, Duel (83) is more melodic and less well recieved, Joop van Brakel (gitar) left shortly before the release. On their fourth and final album, Silhoutte, Nasmak tried a more smoother sound, the end result was certainly not bad. it dissapointed their hard core fans who had them down as avant garde..but that dont pay any bills. It's true certainly looking back that the influence of Talking Heads and specially Japan loomed large over this album, but hey so what! They had come a long way in just 6 years and after the promotour in 84 it was all over for Nasmak. ..Were it not for the internet..hefty prices are payed for their rareties like this 81 Flexi
01 - Visions (3:34)
02 - Walk Away (3:35)
03 - Air (4:35)
04 - Disturbance (3:48)
05 - Silhouette (3:59)
06 - Crystal Clear (3:45)
07 - Don't Be Anxious (4:02)
08 - Below (3:41)
09 - Believe In Woman (4:09)
10 - Womb (3:39)
***** ***** ***** ***** *****
Thompson Twins - Into The Gap (84 ^ 99mb)
The Thompson Twins was formed 1977 in Sheffield, England by three friends - Tom Bailey (bass), Pete Dodd (vocals and guitar) and John Roog (guitar). The name came from the twin detecives in Hergé's comic book series "Adventures of Tintin". In 1979 they moved to London with very little money, they lived as squatters in Lillieshall Road, London. Future Thompson Twins' member Alannah Currie lived in another squat in the same street — which is how she met Bailey.Drummer Chris Bell replaced "Pod" Podgorski who had decided to stay in the north. Early 1980 Tom Bailey took over lead vocals from Pete Dodd. .
By 1981, the line-up was Bailey, Dodd, Roog and three new members: Chris Bell on drums, Joe Leeway on congas and percussion, and Jane Shorter on saxophone. This line-up recorded the first Thompson Twins album A Product of ... (Participation). Currie, who had been hanging out with the band for a few years, played and sang on the first album, but was not yet a full member.
March 1982 they released the album ''Set'' - produced by Steve Lillywhite - and the single ''In The Name Of Love''. Which becomes one of the biggest US dance songs of the decade, spending five weeks topping the Billboard charts. Now as a three-piece, the new Thompson Twins released their first album in February 1983. ''Quick Step And Side Kick'' (''Side Kicks'' in North America) - produced by Alex Sadkin. They release "Lies" and "Love On Your Side", which became the band's first UK Top 10 single, followed with "We Are Detective" (another Top 10 UK hit) and "Watching".
At the end of 1983, a new single, "Hold Me Now", was released. A simple love song with gentle guitar lines, it marked a clear break from the Thompson Twins' previously dance-oriented sound. The song was an international chart success, peaking at number three in the US and becoming their biggest American hit, and also hitting number four in their native UK. In January 1984 they released their second album as a threesome, ''Into The Gap'', which produced the additional hits ''Doctor! Doctor!'', ''You Take Me Up'' and ''Sister Of Mercy''. By the end of 1984 ''Into The Gap'' sold over 5,000,000 copies worldwide.
Tom collapses from nervous exhaustion producing the follow-up LP and the album and tour is post-poned and Nile Rodgers is brought in to help finish the job. September 1985 finally sees the release of ''Here's To Future Days''. It contains the hits ''Don't Mess With Doctor Dream'', ''Lay Your Hands On Me'' and ''King For A Day''. Upon finishing the world tour in early 1986, Joe Leeway leaves the Thompson Twins to pursue a solo career. Thompson Twins now became the duo their name had always implied. After doing the title track to the movie sountrack for ''Nothing In Common'', The Thompson Twins release their first album as a duo in 1987, ''Close To The Bone''. The single ''Get That Love'' was a top 40 hit.
Bailey and Currie had been romantically involved since 1980, and had their first child eight years later. The Twins signed a record deal with Warner Bros and in October 1989 the fruits of this labour produce the album ''Big Trash'' with the hit ''Sugar Daddy''. In September 1991, Tom Bailey and Alannah Currie released an album titled ''Queer''. Masquerading as ''Feedback Max'' in the U.K., the first single ''Come Inside'' reached #1 in the Dance Charts before people discovered that ''Feedback Max'' was actually the Twins in disguise. In 1993 the Twins finally formally disbanded, and Bailey and Currie teamed up with engineer Keith Fernley to forge a new musical direction under the name of ''Babble''. Babble's first album, entitled ''The Stone'', is a mixture of tribal, trance and ambient music. Then they also released a second album named ''Ether''.
In 1999, Bailey produced and played keyboards on the hit album "Mix" by the New Zealand band Stellar, and won the "producer of the year" award at the New Zealand equivalent of the Grammys. He has also arranged soundtracks and has provided instrumental music for several films. In the mid 1990s, Currie gave up the music business to set up her own glass-casting studio in Auckland. After her sister died of Creutzfeldt-Jakob disease, Currie founded a group in New Zealand called "Mothers Against Genetic-Engineering in Food and the Environment" (also known as MADGE) which soon had thousands of members. Bailey and Currie split up in 2003, and are now divorced. They both left New Zealand and live separately in Britain, but are still close friends.
01 - Doctor! Doctor! (4:33)
02- You Take Me Up (4:20)
03 - Day After Day (3:43)
04 - Sister Of Mercy (5:00)
05 - No Peace For The Wicked (4:00)
06 - The Gap (4:39)
07 - Hold Me Now (4:40)
08 - Storm On The Sea (5:22)
09 - Who Can Stop The Rain (5:36)
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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 !
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Echo And The Bunnymen - Porcupine (83 ^ 99mb)
The Bunnymen grew out of the Crucial Three, a late-'70s trio featuring vocalist Ian McCulloch, Pete Wylie, and Julian Cope. Cope and Wylie left the group by the end of 1977, forming the Teardrop Explodes and Wah!, respectively. McCulloch met guitarist Will Sergeant in the summer of 1978 and the pair began recording demos with a drum machine that the duo called "Echo." Adding bassist Les Pattinson, the band made its live debut at the Liverpool club Eric's at the end of 1978, calling itself Echo & the Bunnymen. In March of 1979, the group released its first single, "Pictures on My Wall"/"Read It in Books," on the local Zoo record label. The single and their popular live performances led to a contract with Korova. After signing the contract, the group discarded the drum machine, adding drummer Pete de Freitas.
Their debut album, Crocodile, was produced by The Chameleons and Ian Broudie. Echo's brilliant, often harrowing debut album beginning with the dramatic, building climb of "Going Up," at once showcases four individual players sure of their own gifts and their ability to bring it all together to make things more than the sum of their parts. Will Sergeant in particular is a revelation -- plays the electric guitar as just that, electric not acoustic, dedicated to finding out what can be done with it while never using it as an excuse to bend frets.
The group's third album, Porcupine, is a solid outing, a noticeably better listen than its predecessor, Heaven Up Here. Songs are intriguing and elaborate, often featuring swooping, howling melodic lines. Arrangements here owe a lot to 1960s psychedelia and feature lots of reverb, washed textures, intricate production touches, and altered guitar sounds. Ian McCulloch's vocals are yearning, soaring, and hyper-expressive here, almost to the point of being histrionic, most notably on "Clay," "Ripeness," and the title track. Driving bass and drums lend the songs urgency and keep the music from collapsing into self-indulgence.
With their 4th album Ocean Rain came not only critical succeess and sales , it started off a rut, big trouble with Warner(label)when they finally did come together again Pete de Freitas had left the band, but later returned and everything was rerecorded. in the end the epynomous album had taken 3 years. It was unsurprisingly not that well recieved, by now it was 1987. A year later McCulloch quit the band in 1988 and de Freitas was killed in a motorcycle accident in mid-1989. The remaining members werent really able to resurrect the band... In 1994 McCulloch and Sergeant began working together again under the name Electrafixion; in 1997 Pattinson rejoined the duo, meaning the three surviving members of the original Bunnymen lineup were now working together again. Rather than continue as Electrafixion, the trio resurrected the Echo & the Bunnymen name and released the album Evergreen (1997) and since What Are You Going to Do with Your Life? (1999), Flowers (2001) and Siberia (2005). Ian McCulloch has announced The Fountain as the title of the new Echo & the Bunnyman album due in 2008.
01 - The Cutter (3:50)
02 - Back Of Love (3:13)
03 - My White Devil (4:38)
04 - Clay (4:08)
05 - Porcupine (5:46)
06 - Heads Will Roll (3:29)
07 - Ripeness (4:42)
08 - Higher Hell (4:57)
09 - Gods Will Be Gods (5:21)
10 - In Bluer Skies (4:16)
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Nasmak - Silhouette (83 ^ 95mb)
Nasmak and friends were from the South of the country Nuenen,near Philips's researchlabs and headquarters (at the time) they were interested in repetitive structures, but their music was less harsh and mechanical, more fluid and danceable. Initially in 78 they sang in dutch and were called Nasmaak (after taste) They dropped the dutch and an a and so Nasmak came about. Their first record (on Plurex) Nasmak Plus Instruments/Instruments Plus Nasmak(1980), was hailed by John Peel as the best continental record of the year. Nasmak was the first Dutch band to do a Peel session. They combined traditional gitar/bass/drums with Truus de Groot, playing the unpredictable 'crackling box' noise(s)and tapes, yes bit of an art band..from the provence no less...Well their efforts were well recieved national aswell as international. All members had their own side-projects, such as + Instruments (Truus de Groot with varying personnel including Lee Ranaldo from Sonic Youth)
In 81 Truus de Groot leaves for New York, where she, together with drummer David Linton en gitarist Lee Renaldo , further develops her band + Instruments. Nasmak goes on and they release two double cassettes Indecent Exposure 1 & 2 (Music For Brass, Woodwinds, Drums & Violins) en Indecent Exposure 3 & 4 (The Smell Remains). In 82 they release 4ourclicks, an original and hypnotic album which gets rave reviews.
Their third album, Duel (83) is more melodic and less well recieved, Joop van Brakel (gitar) left shortly before the release. On their fourth and final album, Silhoutte, Nasmak tried a more smoother sound, the end result was certainly not bad. it dissapointed their hard core fans who had them down as avant garde..but that dont pay any bills. It's true certainly looking back that the influence of Talking Heads and specially Japan loomed large over this album, but hey so what! They had come a long way in just 6 years and after the promotour in 84 it was all over for Nasmak. ..Were it not for the internet..hefty prices are payed for their rareties like this 81 Flexi
01 - Visions (3:34)
02 - Walk Away (3:35)
03 - Air (4:35)
04 - Disturbance (3:48)
05 - Silhouette (3:59)
06 - Crystal Clear (3:45)
07 - Don't Be Anxious (4:02)
08 - Below (3:41)
09 - Believe In Woman (4:09)
10 - Womb (3:39)
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Thompson Twins - Into The Gap (84 ^ 99mb)
The Thompson Twins was formed 1977 in Sheffield, England by three friends - Tom Bailey (bass), Pete Dodd (vocals and guitar) and John Roog (guitar). The name came from the twin detecives in Hergé's comic book series "Adventures of Tintin". In 1979 they moved to London with very little money, they lived as squatters in Lillieshall Road, London. Future Thompson Twins' member Alannah Currie lived in another squat in the same street — which is how she met Bailey.Drummer Chris Bell replaced "Pod" Podgorski who had decided to stay in the north. Early 1980 Tom Bailey took over lead vocals from Pete Dodd. .
By 1981, the line-up was Bailey, Dodd, Roog and three new members: Chris Bell on drums, Joe Leeway on congas and percussion, and Jane Shorter on saxophone. This line-up recorded the first Thompson Twins album A Product of ... (Participation). Currie, who had been hanging out with the band for a few years, played and sang on the first album, but was not yet a full member.
March 1982 they released the album ''Set'' - produced by Steve Lillywhite - and the single ''In The Name Of Love''. Which becomes one of the biggest US dance songs of the decade, spending five weeks topping the Billboard charts. Now as a three-piece, the new Thompson Twins released their first album in February 1983. ''Quick Step And Side Kick'' (''Side Kicks'' in North America) - produced by Alex Sadkin. They release "Lies" and "Love On Your Side", which became the band's first UK Top 10 single, followed with "We Are Detective" (another Top 10 UK hit) and "Watching".
At the end of 1983, a new single, "Hold Me Now", was released. A simple love song with gentle guitar lines, it marked a clear break from the Thompson Twins' previously dance-oriented sound. The song was an international chart success, peaking at number three in the US and becoming their biggest American hit, and also hitting number four in their native UK. In January 1984 they released their second album as a threesome, ''Into The Gap'', which produced the additional hits ''Doctor! Doctor!'', ''You Take Me Up'' and ''Sister Of Mercy''. By the end of 1984 ''Into The Gap'' sold over 5,000,000 copies worldwide.
Tom collapses from nervous exhaustion producing the follow-up LP and the album and tour is post-poned and Nile Rodgers is brought in to help finish the job. September 1985 finally sees the release of ''Here's To Future Days''. It contains the hits ''Don't Mess With Doctor Dream'', ''Lay Your Hands On Me'' and ''King For A Day''. Upon finishing the world tour in early 1986, Joe Leeway leaves the Thompson Twins to pursue a solo career. Thompson Twins now became the duo their name had always implied. After doing the title track to the movie sountrack for ''Nothing In Common'', The Thompson Twins release their first album as a duo in 1987, ''Close To The Bone''. The single ''Get That Love'' was a top 40 hit.
Bailey and Currie had been romantically involved since 1980, and had their first child eight years later. The Twins signed a record deal with Warner Bros and in October 1989 the fruits of this labour produce the album ''Big Trash'' with the hit ''Sugar Daddy''. In September 1991, Tom Bailey and Alannah Currie released an album titled ''Queer''. Masquerading as ''Feedback Max'' in the U.K., the first single ''Come Inside'' reached #1 in the Dance Charts before people discovered that ''Feedback Max'' was actually the Twins in disguise. In 1993 the Twins finally formally disbanded, and Bailey and Currie teamed up with engineer Keith Fernley to forge a new musical direction under the name of ''Babble''. Babble's first album, entitled ''The Stone'', is a mixture of tribal, trance and ambient music. Then they also released a second album named ''Ether''.
In 1999, Bailey produced and played keyboards on the hit album "Mix" by the New Zealand band Stellar, and won the "producer of the year" award at the New Zealand equivalent of the Grammys. He has also arranged soundtracks and has provided instrumental music for several films. In the mid 1990s, Currie gave up the music business to set up her own glass-casting studio in Auckland. After her sister died of Creutzfeldt-Jakob disease, Currie founded a group in New Zealand called "Mothers Against Genetic-Engineering in Food and the Environment" (also known as MADGE) which soon had thousands of members. Bailey and Currie split up in 2003, and are now divorced. They both left New Zealand and live separately in Britain, but are still close friends.
01 - Doctor! Doctor! (4:33)
02- You Take Me Up (4:20)
03 - Day After Day (3:43)
04 - Sister Of Mercy (5:00)
05 - No Peace For The Wicked (4:00)
06 - The Gap (4:39)
07 - Hold Me Now (4:40)
08 - Storm On The Sea (5:22)
09 - Who Can Stop The Rain (5:36)
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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 10, 2008
Around The World (35)
Hello, Around the Worldmusics goes back, way back into time..., not sure how to classify this..its been around for more than a 1000 years and supposedly not that much has changed after Charlemagne and the Pope, in a cynical division of absolute power, made it compulsary and punishable by death to sing any other way. These days one can do anything with it, and it worked wonders as background music to erotica...well there's no beats here and the experts argue about the rhythm-if any, make your own noise with it...
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Gregorian chant is a form of monophonic liturgical chant of Western Christianity that accompanied the celebration of Mass and other ritual services. This vast repertory of chants is the oldest music known as it is the first repertory to have been adequately notated in the 10th century. In general, the chants were learnt by the viva voce method, that is by following the given example orally, which took many years of experience in the Schola Cantorum. Gregorian chant originated in Monastic life, in which singing the 'Divine Service' nine times a day at the proper hours was upheld according to the Rule of St. Benedict. Singing psalms made up a large part of the life in a monastic community, while a smaller group and soloists sang the chants. In its long history Gregorian Chant has been subjected to many gradual changes.
Gregorian chant was organized, codified, and notated mainly in the Frankish lands of western and central Europe during the 12th and 13th centuries, with later additions and redactions, but the texts and many of the melodies have antecedents going back several centuries earlier. The chant bearing Gregory I 's name arose from a later Carolingian synthesis of Roman and Gallican chant and that at that time the attribution to the Pope was a 'marketing ruse' to invest it with a pedigree of Holy Inspiration in efforts to create one liturgic protocol that would be practised throughout the entire Empire. One Empire, one Church, one Chant - imposing Unity was a central issue in Carolingian days. It appeared in a remarkably uniform state across Europe within a short time. Charlemagne, once elevated to Holy Roman Emperor, aggressively spread Gregorian chant throughout his empire to consolidate religious and secular power, requiring the clergy to use the new repertory on pain of death. From English and German sources, Gregorian chant spread north to Scandinavia, Iceland and Finland. In 885, Pope Stephen V banned the Slavonic liturgy, leading to the ascendancy of Gregorian chant in Eastern Catholic lands including Poland, Moravia, Slovakia, and Austria.
Gregorian chants are organized into eight modes. Typical melodic features include characteristic incipits and cadences, the use of reciting tones around which the other notes of the melody revolve, and a vocabulary of musical motifs woven together through a process called centonization to create families of related chants. Gregorian chant was traditionally sung by choirs of men and boys in churches, or by women and men of religious orders in their chapels. It is the music of the Roman Rite, performed in the Mass and the monastic Office. Although Gregorian chant is no longer obligatory, the Roman Catholic Church still officially considers it the music most suitable for worship
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Schola Cantotum - Gregorian Chant (94 ^ 141mb)
01 - Requiem Mass - Introitus (1:57)
02 - Requiem Mass - Kyrie (1:43)
03 - Requiem Mass - Graduale (3:04)
04 - Requiem Mass - Tractus (2:22)
05 - Requiem Mass - Sequentia (5:31)
06 - Requiem Mass - Offertorium (3:47)
07 - Requiem Mass - Sanctus (0:48)
08 - Requiem Mass - Agnus Dei (0:46)
09 - Requiem Mass - Communio (0:48)
10 - Hymns From Office Of The Dead - Invatorium (5:18)
11 - Hymns From Office Of The Dead - Responsorium (3:05)
12 - Hymns From Office Of The Dead - Canticum Zachariae (4:10)
13 - Hymns From Office Of The Dead - Responsorium (5:22)
14 - Hymns From Office Of The Dead - Antifoon (1:02)
15 - Passiontide - Hymne (1:03)
16 - Passiontide - Responsorium (2:30)
17 - Passiontide - Graduale (2:35)
18 - Passiontide - Communio (1:11 )
19 - Passiontide - Improperia (5:37)
20 - White Sunday Mass - Introitus (3:23)
21 - White Sunday Mass - Kyrie I (1:59)
22 - White Sunday Mass - Gloria I (3:10)
23 - White Sunday Mass - Alleluia (1:34)
24 - White Sunday Mass - Alleluia. (1:58)
25 - White Sunday Mass - Sequentia (2:28)
26 - White Sunday Mass - Offertorium (1:39)
27 - White Sunday Mass - Sanctus I (1:20)
28 - White Sunday Mass - Agnus Dei I (1:18)
29 - White Sunday Mass - Communio (1:04)
Schola Cantotum - Gegorian Chant (94 * 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 !
*****
Gregorian chant is a form of monophonic liturgical chant of Western Christianity that accompanied the celebration of Mass and other ritual services. This vast repertory of chants is the oldest music known as it is the first repertory to have been adequately notated in the 10th century. In general, the chants were learnt by the viva voce method, that is by following the given example orally, which took many years of experience in the Schola Cantorum. Gregorian chant originated in Monastic life, in which singing the 'Divine Service' nine times a day at the proper hours was upheld according to the Rule of St. Benedict. Singing psalms made up a large part of the life in a monastic community, while a smaller group and soloists sang the chants. In its long history Gregorian Chant has been subjected to many gradual changes.
Gregorian chant was organized, codified, and notated mainly in the Frankish lands of western and central Europe during the 12th and 13th centuries, with later additions and redactions, but the texts and many of the melodies have antecedents going back several centuries earlier. The chant bearing Gregory I 's name arose from a later Carolingian synthesis of Roman and Gallican chant and that at that time the attribution to the Pope was a 'marketing ruse' to invest it with a pedigree of Holy Inspiration in efforts to create one liturgic protocol that would be practised throughout the entire Empire. One Empire, one Church, one Chant - imposing Unity was a central issue in Carolingian days. It appeared in a remarkably uniform state across Europe within a short time. Charlemagne, once elevated to Holy Roman Emperor, aggressively spread Gregorian chant throughout his empire to consolidate religious and secular power, requiring the clergy to use the new repertory on pain of death. From English and German sources, Gregorian chant spread north to Scandinavia, Iceland and Finland. In 885, Pope Stephen V banned the Slavonic liturgy, leading to the ascendancy of Gregorian chant in Eastern Catholic lands including Poland, Moravia, Slovakia, and Austria.
Gregorian chants are organized into eight modes. Typical melodic features include characteristic incipits and cadences, the use of reciting tones around which the other notes of the melody revolve, and a vocabulary of musical motifs woven together through a process called centonization to create families of related chants. Gregorian chant was traditionally sung by choirs of men and boys in churches, or by women and men of religious orders in their chapels. It is the music of the Roman Rite, performed in the Mass and the monastic Office. Although Gregorian chant is no longer obligatory, the Roman Catholic Church still officially considers it the music most suitable for worship
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Schola Cantotum - Gregorian Chant (94 ^ 141mb)
01 - Requiem Mass - Introitus (1:57)
02 - Requiem Mass - Kyrie (1:43)
03 - Requiem Mass - Graduale (3:04)
04 - Requiem Mass - Tractus (2:22)
05 - Requiem Mass - Sequentia (5:31)
06 - Requiem Mass - Offertorium (3:47)
07 - Requiem Mass - Sanctus (0:48)
08 - Requiem Mass - Agnus Dei (0:46)
09 - Requiem Mass - Communio (0:48)
10 - Hymns From Office Of The Dead - Invatorium (5:18)
11 - Hymns From Office Of The Dead - Responsorium (3:05)
12 - Hymns From Office Of The Dead - Canticum Zachariae (4:10)
13 - Hymns From Office Of The Dead - Responsorium (5:22)
14 - Hymns From Office Of The Dead - Antifoon (1:02)
15 - Passiontide - Hymne (1:03)
16 - Passiontide - Responsorium (2:30)
17 - Passiontide - Graduale (2:35)
18 - Passiontide - Communio (1:11 )
19 - Passiontide - Improperia (5:37)
20 - White Sunday Mass - Introitus (3:23)
21 - White Sunday Mass - Kyrie I (1:59)
22 - White Sunday Mass - Gloria I (3:10)
23 - White Sunday Mass - Alleluia (1:34)
24 - White Sunday Mass - Alleluia. (1:58)
25 - White Sunday Mass - Sequentia (2:28)
26 - White Sunday Mass - Offertorium (1:39)
27 - White Sunday Mass - Sanctus I (1:20)
28 - White Sunday Mass - Agnus Dei I (1:18)
29 - White Sunday Mass - Communio (1:04)
Schola Cantotum - Gegorian Chant (94 * 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 !
Jun 9, 2008
Foundation (7)
Hello, the penultimate episode of Foundation coming up, but first..
Still under the guise of a refugee clown, the Mule travels with the Darells, along with psychologist Ebling Mis, to the Great Library of Trantor. The Darells and Mis seek to contact the Second Foundation, which they believe will be able to defeat the Mule. The Mule, on the other hand, wishes to know the location of the Second Foundation so that he can use the First Foundation's technology to destroy it.
While at the Great Library, the Mule surreptitiously stimulates Ebling Mis's mind, allowing him to make powerful insights. Unfortunately for Mis, the Mule's actions cause his health to deteriorate very quickly. As Mis lies dying, he tells Toran, Bayta, and the Mule that he knows where the Second Foundation is. Just before he reveals the Second Foundation's location, however, Bayta kills him. (Bayta had shortly before realized that the renegade clown was actually the Mule, and killed Mis to prevent him from revealing the Second Foundation's whereabouts to the Mule.) Defeated, the Mule leaves the Darells on Trantor to reign over the Foundation and the rest of his new empire. Bayta tells the Mule that while the First Foundation was made to master physical sciences, the Second Foundation was centered on the science of psychology and mentalics; in a sense, Seldon did predict the Mule, or at least, anticipated that something unexpected like the Mule might happen, and set up the Second Foundation as a direct countermeasure to a hypothetical individual with mental or telepathic powers like the Mule. The Mule admits that had he found out where the Second Foundation was from Mis, he would have destroyed it before they could develop a counter-strategy, but now he doesn't know where it is, and the Second Foundation has been bought enough time to develop a counter-strategy to the Mule. Now that the Mule has conquered the Foundation (as well as the pathetic remnants of the Galactic Empire) he stands as the most powerful force in the galaxy, as he is the sole controller of nuclear technologies and weapons; the Second Foundation is the only real threat to his eventual rule over the entire galaxy. The Mule promises that he will find the Second Foundation, while Bayta asserts that he will not have enough time before the Second Foundation reacts.
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Foundation Trilogy 7 (The Mule Finds) (39mb)
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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 !
Still under the guise of a refugee clown, the Mule travels with the Darells, along with psychologist Ebling Mis, to the Great Library of Trantor. The Darells and Mis seek to contact the Second Foundation, which they believe will be able to defeat the Mule. The Mule, on the other hand, wishes to know the location of the Second Foundation so that he can use the First Foundation's technology to destroy it.
While at the Great Library, the Mule surreptitiously stimulates Ebling Mis's mind, allowing him to make powerful insights. Unfortunately for Mis, the Mule's actions cause his health to deteriorate very quickly. As Mis lies dying, he tells Toran, Bayta, and the Mule that he knows where the Second Foundation is. Just before he reveals the Second Foundation's location, however, Bayta kills him. (Bayta had shortly before realized that the renegade clown was actually the Mule, and killed Mis to prevent him from revealing the Second Foundation's whereabouts to the Mule.) Defeated, the Mule leaves the Darells on Trantor to reign over the Foundation and the rest of his new empire. Bayta tells the Mule that while the First Foundation was made to master physical sciences, the Second Foundation was centered on the science of psychology and mentalics; in a sense, Seldon did predict the Mule, or at least, anticipated that something unexpected like the Mule might happen, and set up the Second Foundation as a direct countermeasure to a hypothetical individual with mental or telepathic powers like the Mule. The Mule admits that had he found out where the Second Foundation was from Mis, he would have destroyed it before they could develop a counter-strategy, but now he doesn't know where it is, and the Second Foundation has been bought enough time to develop a counter-strategy to the Mule. Now that the Mule has conquered the Foundation (as well as the pathetic remnants of the Galactic Empire) he stands as the most powerful force in the galaxy, as he is the sole controller of nuclear technologies and weapons; the Second Foundation is the only real threat to his eventual rule over the entire galaxy. The Mule promises that he will find the Second Foundation, while Bayta asserts that he will not have enough time before the Second Foundation reacts.
***** ***** ***** ***** *****
Foundation Trilogy 7 (The Mule Finds) (39mb)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 8, 2008
Sundaze (35)
Hello, another Sundaze coming up and today there's something special brewing, yes you're going on a trip...... a roadtrip, thru the Outback, the wide open skies, the scorching heat, unnumourable stars in the chilled night expanse. Mysterious movers thru the lands, singing of Dreamtime....Steve Roach returned to this world with this album....
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Steve Roach - Dreamtime Return ( 88, 130min ^ 299mb)
Roach a onetime professional motorbike racer born in California in 1955, -- inspired by the music of Tangerine Dream, Klaus Schulze, and Vangelis -- taught himself to play synthesizer at the age of 20 Seven years later he debuted with the album Now, his early work was quite reminiscent of his inspirations, but with 1984's Structures from Silence his music began taking enormous strides, the album's expansive and mysterious atmosphere inspired directly by the the beauty and power of the earth's landscapes to create lush, meditative soundscapes influential on the emergence of ambient and trance. Subsequent works including 1986's three-volume Quiet Music series honed Roach's approach, his dense, swirling textures and hypnotic rhythms akin to environmental sound sculptures.
In 1988, inspired by the Peter Weir film The Last Wave, Roach journeyed to the Australian outback, with field recordings of aboriginal life inspiring his acknowledged masterpiece, the double-album Dreamtime Return. Which is certainly one of the most important ambient releases of the last 30 years and most likely Roach's strongest and most representative work. Dreamtime Return's effortless fusion of tribal and electronic instrumentation is ageless and doesn't sound at all dated. Each track blends seamlessly into the next and though this album is epic to say the least, it never becomes boring, static, or saccharine. The Aboriginal elements are tasteful and never exploitative like so many faux ethnic ambient and psy-trance releases from the early to mid-nineties.
After relocating to the desert outskirts of Tuscon, Arizona, Roach established his own recording studio, Timeroom, and in the years to follow grew increasingly prolific, creating both as a solo artist and in tandem with acts including Robert Rich, Michael Stearns, Jorge Reyes and Kevin Braheny -- in all, close to two dozen major works in the 1990s alone, all of them located at different points on the space-time continuum separating modern technology and primitive music. His album roster from that decade includes: Strata (1991), Artifacts (1994), Well of Souls (1995), Amplexus (1997), and Dust to Dust (1998). Early Man was released on Projekt in early 2001, followed by one of his many collaborations with Vidna Obmana. His ability to create organic time-altering soundscapes reached a high point on the 2003 four-CD opus Mystic Chords & Sacred Spaces, and has continued since 2006 in his prodigious Immersion series. Recent releases Possible Planet and New Life Dreaming show a return to a more open, breathing sound.
Steve Roach - Dreamtime Return I ( 88 ^ 154mb)
01 - Towards The Dream (7:09)
02 - The Continent (4:49)
03 - Songline (3:10)
04 - Airtribe Meets The Dream Ghost (7:00)
05 - A Circular Ceremony (11:20)
06 - The Other Side (13:16)
07 - Magnificent Gallery (6:11)
08 - Truth In Passing (8:44)
09 - Australian Dawn (The Quiet Earth Cries Inside) (6:17)
*****
Steve Roach - Dreamtime Return II ( 88 ^ 145mb)
10 - Looking For Safety (31:21)
11 - Through A Strong Eye (6:50)
12 - The Ancient Day (6:05)
13 - Red Twilight With The Old Ones (9:53)
14 - The Return (8:33)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
*****
Steve Roach - Dreamtime Return ( 88, 130min ^ 299mb)
Roach a onetime professional motorbike racer born in California in 1955, -- inspired by the music of Tangerine Dream, Klaus Schulze, and Vangelis -- taught himself to play synthesizer at the age of 20 Seven years later he debuted with the album Now, his early work was quite reminiscent of his inspirations, but with 1984's Structures from Silence his music began taking enormous strides, the album's expansive and mysterious atmosphere inspired directly by the the beauty and power of the earth's landscapes to create lush, meditative soundscapes influential on the emergence of ambient and trance. Subsequent works including 1986's three-volume Quiet Music series honed Roach's approach, his dense, swirling textures and hypnotic rhythms akin to environmental sound sculptures.
In 1988, inspired by the Peter Weir film The Last Wave, Roach journeyed to the Australian outback, with field recordings of aboriginal life inspiring his acknowledged masterpiece, the double-album Dreamtime Return. Which is certainly one of the most important ambient releases of the last 30 years and most likely Roach's strongest and most representative work. Dreamtime Return's effortless fusion of tribal and electronic instrumentation is ageless and doesn't sound at all dated. Each track blends seamlessly into the next and though this album is epic to say the least, it never becomes boring, static, or saccharine. The Aboriginal elements are tasteful and never exploitative like so many faux ethnic ambient and psy-trance releases from the early to mid-nineties.
After relocating to the desert outskirts of Tuscon, Arizona, Roach established his own recording studio, Timeroom, and in the years to follow grew increasingly prolific, creating both as a solo artist and in tandem with acts including Robert Rich, Michael Stearns, Jorge Reyes and Kevin Braheny -- in all, close to two dozen major works in the 1990s alone, all of them located at different points on the space-time continuum separating modern technology and primitive music. His album roster from that decade includes: Strata (1991), Artifacts (1994), Well of Souls (1995), Amplexus (1997), and Dust to Dust (1998). Early Man was released on Projekt in early 2001, followed by one of his many collaborations with Vidna Obmana. His ability to create organic time-altering soundscapes reached a high point on the 2003 four-CD opus Mystic Chords & Sacred Spaces, and has continued since 2006 in his prodigious Immersion series. Recent releases Possible Planet and New Life Dreaming show a return to a more open, breathing sound.
Steve Roach - Dreamtime Return I ( 88 ^ 154mb)
01 - Towards The Dream (7:09)
02 - The Continent (4:49)
03 - Songline (3:10)
04 - Airtribe Meets The Dream Ghost (7:00)
05 - A Circular Ceremony (11:20)
06 - The Other Side (13:16)
07 - Magnificent Gallery (6:11)
08 - Truth In Passing (8:44)
09 - Australian Dawn (The Quiet Earth Cries Inside) (6:17)
*****
Steve Roach - Dreamtime Return II ( 88 ^ 145mb)
10 - Looking For Safety (31:21)
11 - Through A Strong Eye (6:50)
12 - The Ancient Day (6:05)
13 - Red Twilight With The Old Ones (9:53)
14 - The Return (8:33)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 6, 2008
Into the Groove (34)
Hello, last week at Into The Groove , the focus was on the first contender for the title Queen Of Soul, Etta James. However, todays Queen gets at least as many if not more votes, Aretha Franklin. Daughter of a Baptist minister, singing gospels in church came naturally, giving birth to two sons before the age of sixteen must have raised some eyebrows. However it didnt derail her singing career, in fact she packed up and went to New York to persue a singing career away from the gospel..Not that the first women to be inducted into the Rock and Roll Hall of Fame had success come easy, in fact it took another six years and a label change for her to land her first big hit, Respect...indeed. From then on things went crescendo...some meager years in the late seventies and early eighties before she scored some global hits in a row. She was the first black woman to appear on the cover of Time magazine...doesall that make her the Queen of Soul ? Hmmm, having at thing against flying doesn't help and dare i say she failed as godmother to Whitney Houston, and didnt experience the highs and lows that an drug addicted Etta James all conquered, so on the basis of all that my vote goes to Etta. Today however is about Aretha , 43 tracks .... a 2,5 hours compilation of her hits..."What you want, baby i got it...."
*****
Franklin was born on March 25, 1942, in Memphis, Tennessee to the Rev. C. L. Franklin, a Baptist minister, and Barbara Siggers Franklin. Aretha's parents had a troubled relationship and they separated when Aretha was six. Her mother died of a heart attack when she was ten. Adept at the piano as well as having a gifted voice, Franklin became a child prodigy. With her sisters Carolyn and Erma (both of whom would also have recording careers), she sang at the Detroit church of her father, Reverend C.L. Franklin, while growing up in the 1950s. By the age of fourteen, she signed a record deal with Checker Records, where her father recorded his sermons and gospel vocal recordings and issued The Gospel Soul of Aretha Franklin in 1956.
Teenage pregnancies derailed Franklin's gospel career but despite having two children by the time she was 17, Franklin left Detroit for New York aged 18 in search of fame and fortune, leaving her sons in the care of their grandmother. Instead of performing gospel and inspired by the successes of idols Dinah Washington and Sam Cooke, Aretha decided to secure herself a deal as a pop artist, she signed with Columbia Records in 1960. Her recordings during that time reflected a jazz influence inspired by Washington and moved away from her gospel roots. Franklin initially scored a few hits on Columbia , however, by the end of 1966, with little commercial success in six years with Columbia and desperate for a sound, she accepted an offer to sign with Atlantic Records. According to Franklin years later, "they made me sit down on the piano and the hits came."
In 1967 Franklin issued her first Atlantic single, "I Never Loved A Man (The Way I Love You)", a blues ballad that introduced listeners to her gospel style. Her next single, "Respect", firmly launched Franklin to superstardom. Written and originally recorded by Otis Redding, Franklin's feminist version of the song became her signature tune for life hitting #1 on both the R&B and the Pop charts and helping her Atlantic debut album, I Never Loved A Man The Way I Love You, reach million-seller status. Much of that success is due to producer Jerry Wexler, who finally unleashed the soulful intensity so long kept under wraps during her Columbia tenure. In early 1968 Franklin won her first two Grammies (for "Respect"), including the first Grammy awarded in the "Best Female R&B Vocal Performance" category, she went on to win it eight times in a row.
By the end of the 1960s, Franklin's position as The Queen of Soul was firmly established. Her albums were also hot sellers; one in particular, 1972's Amazing Grace, eventually sold over two million US copies. By 1975, however, with the expanding exposure of Disco and the popularity of fellow Atlantic artist Roberta Flack, relations between Franklin and Atlantic Records were starting to strain. As a result, Aretha was recording poor material such as 1975's listless You album, and her record sales declined dramatically. Her later period Atlantic albums including Sweet Passion, Almighty Fire and La Diva were critical as well as sales failures and to top it off Franklin owed major debts to the IRS for failure to pay back taxes. Her recording contract with Atlantic ran out at the end of 1979 and neither Aretha nor the company had any desire to renew it. On June 10, 1979, Franklin's minister father, the Rev. C.L. Franklin, was seriously wounded during what was said to be an attempted robbery at his Linwood Avenue home in Detroit, leaving him in a comatose state in which he remained until he died in the summer of 1984.
In 1980, Franklin's career was given a much-needed boost thanks to a cameo appearance on The Blues Brothers, singing Think as Mrs. Matt Murphy. That same year, Clive Davis signed Aretha to his Arista Records. It was the spectacular 1982 album, Jump To It, produced by longtime admirer Luther Vandross, and the title-track 45 that gave Aretha renewed R&B chart-topping and pop success.The album enjoyed a long run at #1 on Billboard's R&B Albums chart, it won an American Music Award, was nominated for a Grammy and was certified Gold in early 1983 . The following year Franklin and Vandross collaborated again on the disappointing Get It Right. But in 1985, Franklin's sound was commercialized into a glossy pop sound on , Who's Zoomin' Who?. Yielding smash hits like the Motown-influenced "Freeway of Love" , the title track and her duet with rock duo Eurythmics, "Sisters Are Doing It For Themselves", the album became the first Platinum certification of Aretha's entire career, reintroducing her sound to a younger generation of fans.
In 1986, Franklin did nearly as well with an album simply titled Aretha which yielded her first number-one pop single in two decades with the George Michael duet, "I Knew You Were Waiting (For Me)". The album is noteworthy for the striking cover which was Andy Warhol's last work before his death. When Aretha was taken out of print, it had sold over nine million copies worldwide. Aretha returned to gospel in 1987 with her album One Lord, One Faith, One Baptism which was recorded live at her New Bethel Baptist Church in Detroit. However, the disc was a far cry from her 1972 effort Amazing Grace and had middling sales. Subsequent follow-ups such as 1989's Through The Storm and 1991's What You See Is What You Sweat sold poorly and failed to produce any major mainstream hits. Her career got a slight boost in 1993 when she scored a dance-club hit with "Deeper Love" off the Sister Act 2: Back In The Habit soundtrack. In 1994, she scored another hit with the Babyface-produced ballad, "Willing To Forgive" which hit the Top 5 of Billboard's R&B chart and #26 on the Hot 100.
Franklin returned to prominence with her 1998 album, A Rose Is Still A Rose. The album's mixture of urban contemporary, hip-hop soul and soul was a departure from Franklin's previous material. The title track, produced by Lauryn Hill, gave her a smash hit on the R&B and Pop charts and earned a gold single while the album was certified gold also, the first time since 1986's Aretha that any of the singer's albums went gold. Since, Franklin has continued recording if only sporadically. Her most recent release was 2003's So Damn Happy, which included the Grammy-winning track "Wonderful". Shortly after its release, Franklin left Arista Records after twenty-three years with the company. She has since started her own label, Aretha Records, and plans to issue her long-promised new album, A Woman Falling Out Of Love in 2008.
***** ***** ***** ***** *****
Aretha Franklin - The Very Best Of Aretha Franklin - Respect ( 03, 155min. ^ 299mb)
An amazing number of Aretha compilations have been released , more then 60 this millenium (7,5 years), more then the 36 years before that put together....ah yes every music exec is trying to make some money of Aretha . I wonder if any of them ever donated some money to institutions that support teenage mothers, respect ? i doubt it...
Aretha Franklin - The Very Best Of 1 (^99mb)
01 - Respect (2:24)
02 - Think (2:16)
03 - Spanish Harlem (3:29)
04 - (You Make Me Feel Like) A Natural Woman (2:44)
05 - I Say A Little Prayer (3:32)
06 - Son Of A Preacher Man (3:16)
07 - I Never Loved A Man (2:49)
08 - Chain Of Fools (2:46)
09 - Don't Play That Song (2:58)
10 - Angel (4:27)
11 - Border Song (Holy Moses) (3:19)
12 - Rock Steady (3:11)
13 - See Saw (2:43)
14 - The House That Jack Built (2:18)
15 - Oh No Not My Baby (2:50)
16 - Until You Come Back To Me (3:24)
17 - Good Times (2:05)
Aretha Franklin - The Very Best Of 2 (^99mb)
18 - Since You've Been Gone (2:22)
19 - You're All I Need To Get By (3:34)
20 - Ain't Nothing Like The Real Thing (3:47)
21 - Do Right Woman - Do Right Man (3:12)
22 - Share Your Love With Me (3:18)
23 - Something He Can Feel (6:14)
24 - Ain't No Way (4:13)
25 - Sisters Are Doin' It For Themselves (4:14)
26 - I Knew You Were Waiting (4:00)
27 - Through The Storm (4:20)
28 - Love All The Hurt Away (4:07)
29 - Willing To Forgive (4:08)
30 - Let It Be (3:28)*
Aretha Franklin - The Very Best Of 3 (^99mb)
31- Never Let Me Go (2:51)
32 - Night Time Is The Right Time (4:45)
33 - Call Me (3:52)
34 - Drown In My Tears (4:03)
35 - People Get Ready (3:41)
36 - My Song (3:29)
37 - Dark End Of The Street (4:39)
38 - Today I Sing The Blues (4:21)
39 - A Rose Is Still A Rose (3:58)
40 - Who's Zoomin' Who? (4:41)
41 - Freeway Of Love (4:10)
42 - Day Dreaming (3:56)
43 - Bridge Over Troubled Water (5:34)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
*****
Franklin was born on March 25, 1942, in Memphis, Tennessee to the Rev. C. L. Franklin, a Baptist minister, and Barbara Siggers Franklin. Aretha's parents had a troubled relationship and they separated when Aretha was six. Her mother died of a heart attack when she was ten. Adept at the piano as well as having a gifted voice, Franklin became a child prodigy. With her sisters Carolyn and Erma (both of whom would also have recording careers), she sang at the Detroit church of her father, Reverend C.L. Franklin, while growing up in the 1950s. By the age of fourteen, she signed a record deal with Checker Records, where her father recorded his sermons and gospel vocal recordings and issued The Gospel Soul of Aretha Franklin in 1956.
Teenage pregnancies derailed Franklin's gospel career but despite having two children by the time she was 17, Franklin left Detroit for New York aged 18 in search of fame and fortune, leaving her sons in the care of their grandmother. Instead of performing gospel and inspired by the successes of idols Dinah Washington and Sam Cooke, Aretha decided to secure herself a deal as a pop artist, she signed with Columbia Records in 1960. Her recordings during that time reflected a jazz influence inspired by Washington and moved away from her gospel roots. Franklin initially scored a few hits on Columbia , however, by the end of 1966, with little commercial success in six years with Columbia and desperate for a sound, she accepted an offer to sign with Atlantic Records. According to Franklin years later, "they made me sit down on the piano and the hits came."
In 1967 Franklin issued her first Atlantic single, "I Never Loved A Man (The Way I Love You)", a blues ballad that introduced listeners to her gospel style. Her next single, "Respect", firmly launched Franklin to superstardom. Written and originally recorded by Otis Redding, Franklin's feminist version of the song became her signature tune for life hitting #1 on both the R&B and the Pop charts and helping her Atlantic debut album, I Never Loved A Man The Way I Love You, reach million-seller status. Much of that success is due to producer Jerry Wexler, who finally unleashed the soulful intensity so long kept under wraps during her Columbia tenure. In early 1968 Franklin won her first two Grammies (for "Respect"), including the first Grammy awarded in the "Best Female R&B Vocal Performance" category, she went on to win it eight times in a row.
By the end of the 1960s, Franklin's position as The Queen of Soul was firmly established. Her albums were also hot sellers; one in particular, 1972's Amazing Grace, eventually sold over two million US copies. By 1975, however, with the expanding exposure of Disco and the popularity of fellow Atlantic artist Roberta Flack, relations between Franklin and Atlantic Records were starting to strain. As a result, Aretha was recording poor material such as 1975's listless You album, and her record sales declined dramatically. Her later period Atlantic albums including Sweet Passion, Almighty Fire and La Diva were critical as well as sales failures and to top it off Franklin owed major debts to the IRS for failure to pay back taxes. Her recording contract with Atlantic ran out at the end of 1979 and neither Aretha nor the company had any desire to renew it. On June 10, 1979, Franklin's minister father, the Rev. C.L. Franklin, was seriously wounded during what was said to be an attempted robbery at his Linwood Avenue home in Detroit, leaving him in a comatose state in which he remained until he died in the summer of 1984.
In 1980, Franklin's career was given a much-needed boost thanks to a cameo appearance on The Blues Brothers, singing Think as Mrs. Matt Murphy. That same year, Clive Davis signed Aretha to his Arista Records. It was the spectacular 1982 album, Jump To It, produced by longtime admirer Luther Vandross, and the title-track 45 that gave Aretha renewed R&B chart-topping and pop success.The album enjoyed a long run at #1 on Billboard's R&B Albums chart, it won an American Music Award, was nominated for a Grammy and was certified Gold in early 1983 . The following year Franklin and Vandross collaborated again on the disappointing Get It Right. But in 1985, Franklin's sound was commercialized into a glossy pop sound on , Who's Zoomin' Who?. Yielding smash hits like the Motown-influenced "Freeway of Love" , the title track and her duet with rock duo Eurythmics, "Sisters Are Doing It For Themselves", the album became the first Platinum certification of Aretha's entire career, reintroducing her sound to a younger generation of fans.
In 1986, Franklin did nearly as well with an album simply titled Aretha which yielded her first number-one pop single in two decades with the George Michael duet, "I Knew You Were Waiting (For Me)". The album is noteworthy for the striking cover which was Andy Warhol's last work before his death. When Aretha was taken out of print, it had sold over nine million copies worldwide. Aretha returned to gospel in 1987 with her album One Lord, One Faith, One Baptism which was recorded live at her New Bethel Baptist Church in Detroit. However, the disc was a far cry from her 1972 effort Amazing Grace and had middling sales. Subsequent follow-ups such as 1989's Through The Storm and 1991's What You See Is What You Sweat sold poorly and failed to produce any major mainstream hits. Her career got a slight boost in 1993 when she scored a dance-club hit with "Deeper Love" off the Sister Act 2: Back In The Habit soundtrack. In 1994, she scored another hit with the Babyface-produced ballad, "Willing To Forgive" which hit the Top 5 of Billboard's R&B chart and #26 on the Hot 100.
Franklin returned to prominence with her 1998 album, A Rose Is Still A Rose. The album's mixture of urban contemporary, hip-hop soul and soul was a departure from Franklin's previous material. The title track, produced by Lauryn Hill, gave her a smash hit on the R&B and Pop charts and earned a gold single while the album was certified gold also, the first time since 1986's Aretha that any of the singer's albums went gold. Since, Franklin has continued recording if only sporadically. Her most recent release was 2003's So Damn Happy, which included the Grammy-winning track "Wonderful". Shortly after its release, Franklin left Arista Records after twenty-three years with the company. She has since started her own label, Aretha Records, and plans to issue her long-promised new album, A Woman Falling Out Of Love in 2008.
***** ***** ***** ***** *****
Aretha Franklin - The Very Best Of Aretha Franklin - Respect ( 03, 155min. ^ 299mb)
An amazing number of Aretha compilations have been released , more then 60 this millenium (7,5 years), more then the 36 years before that put together....ah yes every music exec is trying to make some money of Aretha . I wonder if any of them ever donated some money to institutions that support teenage mothers, respect ? i doubt it...
Aretha Franklin - The Very Best Of 1 (^99mb)
01 - Respect (2:24)
02 - Think (2:16)
03 - Spanish Harlem (3:29)
04 - (You Make Me Feel Like) A Natural Woman (2:44)
05 - I Say A Little Prayer (3:32)
06 - Son Of A Preacher Man (3:16)
07 - I Never Loved A Man (2:49)
08 - Chain Of Fools (2:46)
09 - Don't Play That Song (2:58)
10 - Angel (4:27)
11 - Border Song (Holy Moses) (3:19)
12 - Rock Steady (3:11)
13 - See Saw (2:43)
14 - The House That Jack Built (2:18)
15 - Oh No Not My Baby (2:50)
16 - Until You Come Back To Me (3:24)
17 - Good Times (2:05)
Aretha Franklin - The Very Best Of 2 (^99mb)
18 - Since You've Been Gone (2:22)
19 - You're All I Need To Get By (3:34)
20 - Ain't Nothing Like The Real Thing (3:47)
21 - Do Right Woman - Do Right Man (3:12)
22 - Share Your Love With Me (3:18)
23 - Something He Can Feel (6:14)
24 - Ain't No Way (4:13)
25 - Sisters Are Doin' It For Themselves (4:14)
26 - I Knew You Were Waiting (4:00)
27 - Through The Storm (4:20)
28 - Love All The Hurt Away (4:07)
29 - Willing To Forgive (4:08)
30 - Let It Be (3:28)*
Aretha Franklin - The Very Best Of 3 (^99mb)
31- Never Let Me Go (2:51)
32 - Night Time Is The Right Time (4:45)
33 - Call Me (3:52)
34 - Drown In My Tears (4:03)
35 - People Get Ready (3:41)
36 - My Song (3:29)
37 - Dark End Of The Street (4:39)
38 - Today I Sing The Blues (4:21)
39 - A Rose Is Still A Rose (3:58)
40 - Who's Zoomin' Who? (4:41)
41 - Freeway Of Love (4:10)
42 - Day Dreaming (3:56)
43 - Bridge Over Troubled Water (5:34)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 5, 2008
Alphabet Soup (H)
Hello, Alphabet Soup serves up H today. That means seventies icon Steve Harley, who sadly tended to overplay his hand when he let Cockney Rebel mk I go, even if he landed his biggest hit after that. Oh well such is life, overcompensating uncertainties can get in the way. ...next up a Dutch band from The Hague, Hallo Venray. Singer/guitarist Henk Koorn was told he sounded like Neil Young , it took him a decade to live record an album with Young covers and only because he was doing a side project with the partyband Supertroopers doing ABBA covers. To rap that all up his other sideproject Dakota Love Beach (great name) released a heavy psychedelic rock album, fin de siecle activities i would think. Anyway the one here is their breakthrough album in the Netherlands with the obstinate title, The More I Laugh, The Hornier Due Gets !.......Finally The Hidden Camera's from Canada displaying their assertive gayness with a great indie album..
***** ***** ***** ***** *****
Steve Harley and The Cockney Rebel - Best of ( 72min.^ 172mb)
Steve Harley (born Steven Nice, 27 February 1951), grew up in London's New Cross area. He was stricken with polio at age two and spent the better part of his adolescence in and out of hospitals. After trying his hand at journalism, his musical career began in the late 1960s when he was busking (with John Crocker) and performing his own songs, some of which were later recorded by him and the band. The original Cockney Rebel was formed when Harley hooked up with his former folk music partner, John Crocker (fiddle / mandolin / guitar) in 1972. They auditioned drummer Stuart Elliott, bassist Paul Jeffreys, and keyboardist Milton Reame-James. They were signed to EMI after playing just five gigs. Their first single "Sebastian", a soaring rock epic ballad, was an immediate success in Europe, though failed to score in the UK Singles Chart. Their debut album, The Human Menagerie, was released in 1973 to critical acclaim
Harley regarded the band as little more than accompaniment to his own agenda, and already there were signs that things would not last, despite having a big hit with their second single, "Judy Teen". What followed was the album The Psychomodo, an adventurous and ambitious production which showed that there was real talent in the group. A second single from the album, "Mr. Soft", was also a big hit. The band was voted the "Most Outstanding New Act" of 1974. By this time the problems within the band had already reached a head, and all the musicians, with the exception of Stuart Elliott, quit at the end of a highly successful UK tour.
In 1974, the third album, The Best Years of Our Lives was made, produced by Alan Parsons. This included the track "Make Me Smile (Come Up and See Me)" which would go on to be a UK Number one single and the band's biggest selling hit. Steve Harley followed up with an even more ambitious and artsy outing. Unfortunately, Timeless Flight neglects the strong pop hooks, much of Timeless Flight finds Harley getting bogged down in deliberately impenetrable wordplay and songs that, despite slick arrangements, are rather hookless. With the next album , Love's a Prima Donna, he regained some ground as it launched a Top Ten hit with the Beatles' cover "Here Comes the Sun." .But in the wake of 1977's Face to Face -- A Live Recording, Harley again disbanded Cockney Rebel and relocated to the U.S., recording the better part of Hobo With a Grin in Los Angeles before returning to Britain. 1979's The Candidate failed to restore his commercial lustre even when the Tamla Motown-inspired single "Freedom's Prisoner" was recieved well and bubbled just under the UK Top 40. Harley began touring again with his old Cockney Rebel songs in the late 1980s and 1990s.
Harley has released several solo albums since – Yes You Can in 1992, Poetic Justice in 1996.When his recording of "Mr. Soft" experienced a rebirth thanks to its use in a television commercial, Harley assembled a hits collection of the same name. Soon after he formed a new incarnation of Cockney Rebel and regularly toured into the following decade. 1999's Stripped to Bare Bones documents an acoustic set recorded the year previous. Yes You Can was re-issued in summer 2000.
Most recently, in 2005, The Quality of Mercy came out, the first since the 1970s to be released with the Cockney Rebel name.
Sad factoid, Cockney Rebel's original bass player, Paul Avron Jeffreys and his bride were among the victims on Pan Am Flight 103 in 1988, they were on their honeymoon.
01 - Make Me Smile - Come Up And See Me (4:01)
02 - Love - Compared With You (4:21)
03 - Judy Teen (3:41)
04 - Mr. Raffles - Man, It Was Mean (4:34)
05 - Mr. Soft (3:20)
06 - Sebastian (6:56)
07 - That's My Life In Your Hands (3:49)
08 - Here Comes The Sun (2:57)
09 - All Men Are Hungry (4:47)
10 - Roll The Dice (3:26)
11 - The Best Years Of Our Lives (5:45)
12 - Star For A Week - Dino (4:37)
13 - Rain In Venice (4:51)
14 - The Last Time I Saw You (5:38)
15 - Psychomodo (4:04)
16 - Irresistable - Remix (5:12)
extra lite
Steve Harley and The Cockney Rebel - Best of ( * 99mb)
***** ***** ***** ***** *****
Hallo Venray - The More I Laugh, The Hornier Due Gets! (91 ^ 99mb)
Hallo Venray is founded in 1987 by Henk Koorn and Anno Houwing, soon after Dim Veldhuisen(drums) and Peter Konings (bass) joined, initially they sang in Dutch but that changed with the changing of the gitar guards, Toon Moerland stepped in, and in this line up they release the debut album You Don’t Hit a Guy With Glasses On in 1989. The following year the next album King is released. It is with the band’s third record The More I Laugh, The Hornier Due Gets that the band gets their due. Released in 1992 this album receives a lot of airplay on the Dutch national radio stations. The band tours extensively in their home country, with Pinkpop ( a 60,000 people festival) as crowning achievement.
A Million Planes to Fly (1993), the band’s fourth record builds on this success. The band plays a number of international shows. In 94 an acoustic radio session is released.In 1995 the band’s popularity has waned and the album Merry-Go-Round fails to live up to the success of the two previous albums. Two years later Hallo Venray releases a self-titled album. This album shows off a more modern sound with samples and electronic instruments. After this album the band becomes less active. In 1998 drummer Dim Veldhuizen leaves, he is replaced by Henk Jonkers.
1999 they release a livealbum with Neil Young covers, Roll Another Number'. The group’s members dedicate their time to side projects in the following years (Supertroopers and Dakota Love Beach each release an album and tour). But with 2001’s album I’m Not a Senseless Person, At Least I Don’t Want To Be Hallo Venray returns and sounds as vital as ever. Two years later they release a live album recorded in Rotterdam, Gallons & Gasoline. That year the band signs with Excelsior Recordings. Together with that label’s staff producer Frans Hagenaars, the band initiates recordings in November 2003. Two years later this results in the release of Vegetables and Fruit. The cd is presented in Paradiso, Amsterdam on January 23. This show lauds in an extensive club tour through the Netherlands. Currently they're recording a new album.
01 - The Summer Is Gone (2:36)
02 - Slow Change (4:03)
03 - Not So Long (4:41)
04 - Mr. Bigshot (2:42)
05 - Tuck, The Man (7:03)
06 - Eugene (4:21)
07 - Be Someone (4:52)
08 - The Heart And The Soul (5:08)
09 - The Road (4:37)
10 - Japanese Cars (1:36)
11 - Las Vegas (6:49)
***** ***** ***** ***** *****
Hidden Cameras - The Smell Of Our Own ( 03 ^99mb)
Fronted by singer-songwriter Joel Gibb, the band consists of a varying roster of musicians who play what Gibb once described as "gay church folk music". A mix of queer politics, explicit sexuality, symphonic indie pop, and theatrical spectacle that borders on the religious. The band's first album was released independently in 2001 on EvilEvil, Ecce Homo -- a collection of four-track demos introduced a stripped-down version of the Hidden Cameras' witty, acoustic-based songwriting, which drew comparisons to the Magnetic Fields and Belle & Sebastian.
Ecce Homo also caught the ear of Rough Trade, whose signing of Gibb made the Hidden Cameras the first Canadian artist on the label in its 25-year history. Meanwhile, the group's elaborate live performances, which include up to 30 go-go dancers, strippers, and musicians, as well as videos, projected lyrics, and heavy audience participation, won the group a widespread and devoted following in Canada.
2003's Rough Trade debut, The Smell of Our Own, reflected some of the group's more elaborate sound more so than Ecce Homo did and spread the Hidden Cameras' subversively catchy music further afield. Joel Gibb and company not only celebrate sex and its accompanying smells and stains, but inflate them to divine status on their second album. This album brings back indie music's libido, which is certainly worth something; it's also possible that if the Cameras' music sounded as radical as its lyrics are, it wouldn't be nearly as well-received.
In 2004, they released their third album, Mississauga Goddam (Toronto suburb of Gibb's youth), on Rough Trade and also on EvilEvil in Canada. Their EP, The arms of his 'ill' , was released by California label Absolutely Kosher Records in the same year, and features jacket art specially created by Paul P. and G.B. Jones. Awoo, their 2006 recording was released on Rough Trade in Europe, EvilEvil in Canada and, in the U.S., on the Arts & Crafts label. The Hidden Cameras are featured on the soundtrack of the John Cameron Mitchell film Shortbus, which premiered in 2006.
01 - Golden Streams (4:29)
02 - Ban Marriage (4:20)
03 - A Miracle (2:56)
04 - The Animals Of Prey (4:05)
05 - Smells Like Happiness (3:09)
06 - Day Is Dawning (5:08)
07 - Boys Of Melody (5:01)
08 - Shame (5:28)
09 - Breathe On It (2:53)
10 - The Man That I Am With My Man (4:38)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
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Steve Harley and The Cockney Rebel - Best of ( 72min.^ 172mb)
Steve Harley (born Steven Nice, 27 February 1951), grew up in London's New Cross area. He was stricken with polio at age two and spent the better part of his adolescence in and out of hospitals. After trying his hand at journalism, his musical career began in the late 1960s when he was busking (with John Crocker) and performing his own songs, some of which were later recorded by him and the band. The original Cockney Rebel was formed when Harley hooked up with his former folk music partner, John Crocker (fiddle / mandolin / guitar) in 1972. They auditioned drummer Stuart Elliott, bassist Paul Jeffreys, and keyboardist Milton Reame-James. They were signed to EMI after playing just five gigs. Their first single "Sebastian", a soaring rock epic ballad, was an immediate success in Europe, though failed to score in the UK Singles Chart. Their debut album, The Human Menagerie, was released in 1973 to critical acclaim
Harley regarded the band as little more than accompaniment to his own agenda, and already there were signs that things would not last, despite having a big hit with their second single, "Judy Teen". What followed was the album The Psychomodo, an adventurous and ambitious production which showed that there was real talent in the group. A second single from the album, "Mr. Soft", was also a big hit. The band was voted the "Most Outstanding New Act" of 1974. By this time the problems within the band had already reached a head, and all the musicians, with the exception of Stuart Elliott, quit at the end of a highly successful UK tour.
In 1974, the third album, The Best Years of Our Lives was made, produced by Alan Parsons. This included the track "Make Me Smile (Come Up and See Me)" which would go on to be a UK Number one single and the band's biggest selling hit. Steve Harley followed up with an even more ambitious and artsy outing. Unfortunately, Timeless Flight neglects the strong pop hooks, much of Timeless Flight finds Harley getting bogged down in deliberately impenetrable wordplay and songs that, despite slick arrangements, are rather hookless. With the next album , Love's a Prima Donna, he regained some ground as it launched a Top Ten hit with the Beatles' cover "Here Comes the Sun." .But in the wake of 1977's Face to Face -- A Live Recording, Harley again disbanded Cockney Rebel and relocated to the U.S., recording the better part of Hobo With a Grin in Los Angeles before returning to Britain. 1979's The Candidate failed to restore his commercial lustre even when the Tamla Motown-inspired single "Freedom's Prisoner" was recieved well and bubbled just under the UK Top 40. Harley began touring again with his old Cockney Rebel songs in the late 1980s and 1990s.
Harley has released several solo albums since – Yes You Can in 1992, Poetic Justice in 1996.When his recording of "Mr. Soft" experienced a rebirth thanks to its use in a television commercial, Harley assembled a hits collection of the same name. Soon after he formed a new incarnation of Cockney Rebel and regularly toured into the following decade. 1999's Stripped to Bare Bones documents an acoustic set recorded the year previous. Yes You Can was re-issued in summer 2000.
Most recently, in 2005, The Quality of Mercy came out, the first since the 1970s to be released with the Cockney Rebel name.
Sad factoid, Cockney Rebel's original bass player, Paul Avron Jeffreys and his bride were among the victims on Pan Am Flight 103 in 1988, they were on their honeymoon.
01 - Make Me Smile - Come Up And See Me (4:01)
02 - Love - Compared With You (4:21)
03 - Judy Teen (3:41)
04 - Mr. Raffles - Man, It Was Mean (4:34)
05 - Mr. Soft (3:20)
06 - Sebastian (6:56)
07 - That's My Life In Your Hands (3:49)
08 - Here Comes The Sun (2:57)
09 - All Men Are Hungry (4:47)
10 - Roll The Dice (3:26)
11 - The Best Years Of Our Lives (5:45)
12 - Star For A Week - Dino (4:37)
13 - Rain In Venice (4:51)
14 - The Last Time I Saw You (5:38)
15 - Psychomodo (4:04)
16 - Irresistable - Remix (5:12)
extra lite
Steve Harley and The Cockney Rebel - Best of ( * 99mb)
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Hallo Venray - The More I Laugh, The Hornier Due Gets! (91 ^ 99mb)
Hallo Venray is founded in 1987 by Henk Koorn and Anno Houwing, soon after Dim Veldhuisen(drums) and Peter Konings (bass) joined, initially they sang in Dutch but that changed with the changing of the gitar guards, Toon Moerland stepped in, and in this line up they release the debut album You Don’t Hit a Guy With Glasses On in 1989. The following year the next album King is released. It is with the band’s third record The More I Laugh, The Hornier Due Gets that the band gets their due. Released in 1992 this album receives a lot of airplay on the Dutch national radio stations. The band tours extensively in their home country, with Pinkpop ( a 60,000 people festival) as crowning achievement.
A Million Planes to Fly (1993), the band’s fourth record builds on this success. The band plays a number of international shows. In 94 an acoustic radio session is released.In 1995 the band’s popularity has waned and the album Merry-Go-Round fails to live up to the success of the two previous albums. Two years later Hallo Venray releases a self-titled album. This album shows off a more modern sound with samples and electronic instruments. After this album the band becomes less active. In 1998 drummer Dim Veldhuizen leaves, he is replaced by Henk Jonkers.
1999 they release a livealbum with Neil Young covers, Roll Another Number'. The group’s members dedicate their time to side projects in the following years (Supertroopers and Dakota Love Beach each release an album and tour). But with 2001’s album I’m Not a Senseless Person, At Least I Don’t Want To Be Hallo Venray returns and sounds as vital as ever. Two years later they release a live album recorded in Rotterdam, Gallons & Gasoline. That year the band signs with Excelsior Recordings. Together with that label’s staff producer Frans Hagenaars, the band initiates recordings in November 2003. Two years later this results in the release of Vegetables and Fruit. The cd is presented in Paradiso, Amsterdam on January 23. This show lauds in an extensive club tour through the Netherlands. Currently they're recording a new album.
01 - The Summer Is Gone (2:36)
02 - Slow Change (4:03)
03 - Not So Long (4:41)
04 - Mr. Bigshot (2:42)
05 - Tuck, The Man (7:03)
06 - Eugene (4:21)
07 - Be Someone (4:52)
08 - The Heart And The Soul (5:08)
09 - The Road (4:37)
10 - Japanese Cars (1:36)
11 - Las Vegas (6:49)
***** ***** ***** ***** *****
Hidden Cameras - The Smell Of Our Own ( 03 ^99mb)
Fronted by singer-songwriter Joel Gibb, the band consists of a varying roster of musicians who play what Gibb once described as "gay church folk music". A mix of queer politics, explicit sexuality, symphonic indie pop, and theatrical spectacle that borders on the religious. The band's first album was released independently in 2001 on EvilEvil, Ecce Homo -- a collection of four-track demos introduced a stripped-down version of the Hidden Cameras' witty, acoustic-based songwriting, which drew comparisons to the Magnetic Fields and Belle & Sebastian.
Ecce Homo also caught the ear of Rough Trade, whose signing of Gibb made the Hidden Cameras the first Canadian artist on the label in its 25-year history. Meanwhile, the group's elaborate live performances, which include up to 30 go-go dancers, strippers, and musicians, as well as videos, projected lyrics, and heavy audience participation, won the group a widespread and devoted following in Canada.
2003's Rough Trade debut, The Smell of Our Own, reflected some of the group's more elaborate sound more so than Ecce Homo did and spread the Hidden Cameras' subversively catchy music further afield. Joel Gibb and company not only celebrate sex and its accompanying smells and stains, but inflate them to divine status on their second album. This album brings back indie music's libido, which is certainly worth something; it's also possible that if the Cameras' music sounded as radical as its lyrics are, it wouldn't be nearly as well-received.
In 2004, they released their third album, Mississauga Goddam (Toronto suburb of Gibb's youth), on Rough Trade and also on EvilEvil in Canada. Their EP, The arms of his 'ill' , was released by California label Absolutely Kosher Records in the same year, and features jacket art specially created by Paul P. and G.B. Jones. Awoo, their 2006 recording was released on Rough Trade in Europe, EvilEvil in Canada and, in the U.S., on the Arts & Crafts label. The Hidden Cameras are featured on the soundtrack of the John Cameron Mitchell film Shortbus, which premiered in 2006.
01 - Golden Streams (4:29)
02 - Ban Marriage (4:20)
03 - A Miracle (2:56)
04 - The Animals Of Prey (4:05)
05 - Smells Like Happiness (3:09)
06 - Day Is Dawning (5:08)
07 - Boys Of Melody (5:01)
08 - Shame (5:28)
09 - Breathe On It (2:53)
10 - The Man That I Am With My Man (4:38)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 4, 2008
Eight-X (34)
Hello, Eight-X time again and today we have 3 solo artists (in name). First off a lady that was noted by me because of her John Cougar cover , i need a lover and years later Love is a Battlefield before researching i had no idea she had been so successful in the States, which makes me an European as she hasn't been such an item over here. I bought the album recently as now and then i scour for eighties vinyl again these days ( how come i wonder). In The Heat Of The Night is a pretty potent rock album of its time...Captain Sensible Lifestyles brings back the fun and satire to the everincreasing weightyness of the surviving first generation punk/wave bands , his own The Damned being one of them. Serious but light hearted, btw in 2006 he's formed The Blah ! Party, aiming to "give all politicians a kick up the jacksie"... .. finally Billy Idol with a string of eighties hits, after his first band, Generation X, collapsed, he did very well until his relationship with Perry Lister ended shortly after the birth of their son....The eighties were over and when he released Cyberpunk, inspired by computers / networks when revalidating from a motorbicycle crash , he was dropped from the MTV rostrum that had championed him for a decade..a close call with death after an OD in 94 and Billy disappeared from the limelight In 2001 a greatest hits album was released that unexpectedly sold very well , it led to Idol's first new album in nearly twelve years, Devil's Playground.
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Pat Benatar - In The Heat Of The Night ( 79 ^ 98mb)
Born Patricia Andrzejewski on January 10, 1953, in Greenpoint, Brooklyn, the singer was raised in the nearby town of Lindenhurst on Long Island, NY. After graduating in 1971 Pat Andrzejewski married her high school sweetheart Dennis Benatar that same year and took his name. Benatar began singing regularly in the New York City area by the '70s, where she was signed by Chrysalis Records. Backed by a stellar band led by guitarist Neil Geraldo that provided the perfect accompaniment that was able to effortlessly alternate between rockers and ballads. Benatar divorced in 1979 and married band leader/lead guitarist Neil Giraldo February 20, 1982.
Her single "Heartbreaker" was released in late 1979 and was an immediate hit, climbing to #23 in the U.S. Her debut LP, In the Heat of the Night, was even more successful, reaching #12 and establishing Benatar as a new force in rock. It solidified her place in a class of women who were taking the rock world by storm in the late '70s. In the Heat of the Night was an album that obviously had its share of filler, but the one-two punch of "Heartbreaker" and the John Cougar Mellencamp classic "I Need a Lover" leading off the album made enough of a statement to put her on the pop charts. The remainder of the album packs enough grit and solid songwriting (especially the Blondie-esque "So Sincere") that it remains an impressive debut and foreshadows a glimpse of great things to come.
1980's Crimes of Passion, more than delivered on the debut's promise and it's often considered to be the finest recording of her career. "Hit Me With Your Best Shot" was her first single to break the U.S. Top 10 and eventually sold more than four million copies in the United States . The album reached U.S. #2 in January 1981 and a month later, Benatar won her first Grammy Award for "Best Female Rock Vocal Performance" of 1980. Benatar's first (and as yet only) U.S. chart-topper was the LP Precious Time, released in August 1981. It was also her first to chart in the UK. The album's lead single, "Fire and Ice", was another big hit and would win Benatar her second Grammy Award, this time for "Best Female Rock Vocal Performance" of 1981.Get Nervous was released in late 1982. The album was another smash, reaching US #4, and the single, Shadows of the Night, would garner Benatar yet another Grammy, again for "Best Female Rock Vocal Performance" of 1982. By 1983, Benatar had established a reputation for singing about "tough" subject matters, best exemplified by one of the biggest hits of her career, "Love Is a Battlefield" , released in December 1983. By then her sound had mellowed from hard rock to more atmospheric pop, obviously she picked up her fourth consecutive Grammy for it.
After all that exposure 1984's Tropico didnt reach platinum and neither did, 1985's Seven the Hard Way, and 1988's Wide Awake in Dreamland. By the end of the decade, it appeared as though Benatar had fallen of the face of the Earth as the hits seemed to dry up. During the 1990s Pat Benatar released 3 original albums. "True Love" was a jump blues record, released in 1991 and featured the blues band Roomful of Blues, backing up Pat Benatar, Neil Giraldo and Myron Grombacher. The album reached gold status without any radio airplay . "Gravity's Rainbow" was released in 1993 and was a return to the AOR genre. "Everybody Lay Down" was released as a single to rock radio and went all the way to #3. Chrysalis was sold to EMI records and Pat Benatar had become pregnant , it was the last album recorded for Chrysalis records.
"Innamorata" was released in 1997 on the CMC International record label. A single video was produced for "Strawberry Wine(Life is Sweet)". In August 2003, Benatar returned to recording with Go (Vanguard), it revisited the arena rock/MOR sound that had defined Benatar's career, and was accompanied by an extensive tour. Although billed as a solo artist, Benatar recorded and toured with a consistent set of band members over most of her career, who contributed greatly to the writing and producing of songs
01 - Heartbreaker (3:24)
02 - I Need A Lover (3:25)
03 - If You Think You Know How To Love Me (4:16)
04 - In The Heat Of The Night (5:15)
05 - My Clone Sleeps Alone (3:22)
06 - We Live For Love (3:52)
07 - Rated X (3:13)
08 - Don't Let It Show (3:57
09 - No You Don't (3:15)
10 - So Sincere (3:23)
--Xs
11 - Love is a Battlefield (5:23) ( ' 83)
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Captain Sensible - Sensible Lifestyles ( ^ 99mb)
Captain Sensible (born Raymond Burns, 24 April 1954) grew up in Croydon, England, his signature headwear is a red beret. Originally a member of the Johnny Moped band, Sensible joined The Damned in 1976 on the suggestion of his work colleague Rat Scabies, the band's drummer, filling a number of positions during his tenure (including bassist, lead guitarist and keyboardist), and eventually becoming the band's main songwriter following the departure of Brian James. He left in the 1980s to concentrate on solo projects, but rejoined in 1996 after Scabies left, and co-wrote Grave Disorder, the band's first new studio album for 12 years, in 2001. He continues to tour with the band today.
In the early 1980s, Captain Sensible was signed to A&M as a solo artist, and he had a number one British hit with the old musical number "Happy Talk." He followed it up with an original, "Glad It's All Over," an anti-war song about the Falklands; for a time, he was also hooked up with Robyn Hitchcock. By this time, his status as a member of the Damned made him a regular topic of coverage in the British music press, and he became well-known for various beliefs, including devoted vegetarianism and an opposition to war, which he presented in bitingly satirical fashion. Captain Sensible proved more charming than any other veteran of the punk scene. His vegetarian-oriented single "Wot" was a success, and over the next few years, he recorded a series of albums, Power of Love, Revolution Now, and The Universe of Geoffrey Brown, that were good sellers and critical favorites, though only in England . He and his band -- Paul Gray on bass, Malcolm Dixon on organ and synthesizer, and Garrie Dreadful on drums -- became famous for their live shows, which were spiced by the Captain's savage wit. In 1994, he released Live at the Milky Way, the best album of his solo career and one of the finest live albums of the era. .
Previously a member of the Green Party, in 2006 Sensible formed the Blah! Party, for which he continues to serve as leader. An avowed "protest party" aiming to "give all politicians a kick up the jacksie", it entered into a sponsorship deal with Seabrook Crisps in September 2006.
01 - Rough Justice (5:29)
02 - Revolution Now (4:21)
03 - Jet Boy Jet Girl (3:24)
04 - A Riot on Eastbourne River (4:51)
05 - The Kamikaze Millionaire (5:27)
06 - Smash It Up (3:01)
07 - Happy Talk (3:27)
08 - Can You Hear Me (4:03)
09 - A Sporting Life (3:29)
10 - Wot (5:49)
11 - Smash It Up Pt. 4 (3:04)
12 - I Get So Excited (3:54)
13 - Street of Shame (3:58)
14 - So Far Out (6:28)
15 - Glad It's All Over (3:37)
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Billy Idol - Greatest Hits ( ^ 153mb)
William ( 11/30 55) was the first child born to Bill and Joan Broad, shortly after the family moved to Rockville Centre, Long Island, New York. The Broads returned to England after four years of living in the United States. He enrolled at Sussex University and took classes in English and Philosophy in September 1975. He soon immersed in the upcoming punkscene and became part of a Sex Pistols fan club called the Bromley Contingent. A year later and he quit school for a career in music. When thinking about a stage name he remembered a teachers sneer.."Billy is idle" into Billy Idol. In 1976, Idol and Tony James formed a band with John Towe and started playing shows. The band was named after the 1965 book Generation X. The band became a big deal throughout London and eventually record companies started showing up at shows. Generation X was an image-conscious band. They were more about the image than they were about the music. They signed to Chrysalis Records in 1977, even though Generation X took a lot of punk elements and added them into their sound and image, they were often seen as being too "commercial." Meanwhile they were the first punk band to appear on the BBC's "Top of the Pops" program. The band was on the rise, touring in countries like Japan.
By 1981, the band shortened their name to simply "Gen X" and released the single "Dancing With Myself" in the UK. It failed to become the big hit the band was waiting for. The new album was called Kiss Me Deadly. In 1980, the band embarked on a short but successful UK tour to promote the album. Generation X couldn't hold itself together and the members soon parted ways. Producer Keith Forsey and Bill Aucoin took hold of Billy Idol's career and quickly moved him to New York in hopes of capturing an American audience.The punk era had come and gone, and "New Wave" was taking over. Idol issued the 1981 EP Don't Stop (a cover of Tommy James' '60s hit "Mony Mony" and a pair of remixed Generation X tracks), which helped the singer score another record deal with his former band's label, Chrysalis. Idol was introduced to Steve Stevens by manager Bill Aucoin they hit it off, and Idol issued a self-titled debut in July of 1982. A pair of eye-catching videos for the tracks "White Wedding" and "Dancing With Myself" (the latter a remake of a Generation X composition) scored major air time on MTV.
In 1983, "Dancing With Myself" was released in the U.S. in an effort to introduce Idol to American audiences not yet as familiar with him. It was played in heavy rotation on MTV for six months. The "Dancing With Myself" video sparked a whole new era of feature film directors that would try their hand at directing music videos. Idol's second LP, Rebel Yell (1983) was a blockbuster success, and established his superstar status in the United States and in Canada with hits like "Eyes Without a Face", "Flesh For Fantasy", and the title cut; Idol also became very popular in Europe thanks to this album and its singles, particularly in Germany, Italy, Switzerland and later in his native UK.
But with massive success came its many distractions, which prevented Idol from issuing a new studio album until three years after Rebel Yell. 1987's Whiplash Smile was another sizeable hit on the strength of such hits as "To Be a Lover" and "Sweet Sixteen," but failed to live up to the lofty expectations set by his previous releases. Steve Stevens parted ways with Idol after Whiplash Smile. He claims that Idol's music was getting too synthesised and sequenced. Idol ran into trouble when he was busted by undercover police in New York City for carrying crack cocaine. Lister and Idol wanted to get "clean" ( heroin and cocaine), and start a new life, the two decided it would be best to move from New York to LA. When longtime girlfriend Perry Lister gave birth to their son, "Willem Wolfe Broad" Idol was still seeing other women ( the Hollywood nightlife), and even obtained a second house for his affairs. Lister eventually left Idol in favor of a normal life.
In 1989, following his breakup with Lister, Idol found his way to Thailand and let it all hang out...a quarter of a million dollars later he was thru dancing with himself again and went back to work on Charmed Life, a title undoubtely inspired by him surviving a serious motorcycle crash without lasting troubles. Against his doctors' orders, Idol decided to tour behind the Charmed Life album. Billy could be seen walking with a cane onstage. He got his personal jewellery maker, "Robin the Hammer" to customise a silver gauntlet for him. The gauntlet has "La Vie Enchantee" etched in the wrist. Robin also designed a large cross/knife necklace that can be seen in the "Cradle of Love" video.
In 1993, Idol released Cyberpunk, which fell on deaf ears. Music had changed in 1993, and a lot of the bands that were popular in the eighties were now being pushed to the wayside in favour of the new "Seattle" movement. Cyberpunk is considered to be ahead of its time by many people, and very experimental ( technobeats) for the US market. The inclusion of multimedia software as a special feature was unheard of when Idol first included the Billy Idol's Cyberpunk diskette.Nevertheless, the album tanked. Meanwhile, Idol was knee deep in drug addiction, resulting in another close brush with death when he overdosed and had to be treated in a Los Angeles hospital in 1994. After the incident, Idol realised that his children would never forgive him for dying of a drug overdose, and he began to focus more on fatherhood. Idol has never admitted that he is totally off drugs, just that he has his habit under control.
Idol returned to the popular eye in 1998, when he played himself in The Wedding Singer, an Adam Sandler and Drew Barrymore 80s romantic comedy, where "White Wedding" was used as the title track. In 2001, Idol reunited with guitarist Steve Stevens to write and record a new album. Idol and Stevens started touring, which generated a lot of attention. A Greatest Hits CD was issued in 2001. The album also includes a live acoustic version of "Rebel Yell" which is taken from a performance at L.A. station KROQ's 1993 Acoustic Christmas concert. EMI expected the Greatest Hits album to sell around 100,000 copies. The album eventually sold over 1,000,000 copies and was certified platinum by the Recording Industry Association of America (RIAA) on January 18, 2005.
01 - Dancing With Myself (4:50)
02 - Mony Mony (5:01)
03 - Hot In The City (3:33)
04 - White Wedding (Part 1) (4:12)
05 - Rebel Yell (4:46)
06 - Eyes Without A Face (4:57)
07 - Flesh For Fantasy (4:37)
08 - Catch My Fall (3:41)
09 - To Be A Lover (3:52)
10 - Don't Need A Gun (Single Edit) (5:23)
11 - Sweet Sixteen (4:14)
12 - Cradle Of Love (4:38)
13 - L.A. Woman (Single Edit) (4:03)
14 - Shock To The System (3:36)
15 - Rebel Yell (Live And Acoustic) (5:35)
Lite Billy (-14)
Billy Idol - Greatest Hits ( * 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 !
***** ***** ***** ***** *****
Pat Benatar - In The Heat Of The Night ( 79 ^ 98mb)
Born Patricia Andrzejewski on January 10, 1953, in Greenpoint, Brooklyn, the singer was raised in the nearby town of Lindenhurst on Long Island, NY. After graduating in 1971 Pat Andrzejewski married her high school sweetheart Dennis Benatar that same year and took his name. Benatar began singing regularly in the New York City area by the '70s, where she was signed by Chrysalis Records. Backed by a stellar band led by guitarist Neil Geraldo that provided the perfect accompaniment that was able to effortlessly alternate between rockers and ballads. Benatar divorced in 1979 and married band leader/lead guitarist Neil Giraldo February 20, 1982.
Her single "Heartbreaker" was released in late 1979 and was an immediate hit, climbing to #23 in the U.S. Her debut LP, In the Heat of the Night, was even more successful, reaching #12 and establishing Benatar as a new force in rock. It solidified her place in a class of women who were taking the rock world by storm in the late '70s. In the Heat of the Night was an album that obviously had its share of filler, but the one-two punch of "Heartbreaker" and the John Cougar Mellencamp classic "I Need a Lover" leading off the album made enough of a statement to put her on the pop charts. The remainder of the album packs enough grit and solid songwriting (especially the Blondie-esque "So Sincere") that it remains an impressive debut and foreshadows a glimpse of great things to come.
1980's Crimes of Passion, more than delivered on the debut's promise and it's often considered to be the finest recording of her career. "Hit Me With Your Best Shot" was her first single to break the U.S. Top 10 and eventually sold more than four million copies in the United States . The album reached U.S. #2 in January 1981 and a month later, Benatar won her first Grammy Award for "Best Female Rock Vocal Performance" of 1980. Benatar's first (and as yet only) U.S. chart-topper was the LP Precious Time, released in August 1981. It was also her first to chart in the UK. The album's lead single, "Fire and Ice", was another big hit and would win Benatar her second Grammy Award, this time for "Best Female Rock Vocal Performance" of 1981.Get Nervous was released in late 1982. The album was another smash, reaching US #4, and the single, Shadows of the Night, would garner Benatar yet another Grammy, again for "Best Female Rock Vocal Performance" of 1982. By 1983, Benatar had established a reputation for singing about "tough" subject matters, best exemplified by one of the biggest hits of her career, "Love Is a Battlefield" , released in December 1983. By then her sound had mellowed from hard rock to more atmospheric pop, obviously she picked up her fourth consecutive Grammy for it.
After all that exposure 1984's Tropico didnt reach platinum and neither did, 1985's Seven the Hard Way, and 1988's Wide Awake in Dreamland. By the end of the decade, it appeared as though Benatar had fallen of the face of the Earth as the hits seemed to dry up. During the 1990s Pat Benatar released 3 original albums. "True Love" was a jump blues record, released in 1991 and featured the blues band Roomful of Blues, backing up Pat Benatar, Neil Giraldo and Myron Grombacher. The album reached gold status without any radio airplay . "Gravity's Rainbow" was released in 1993 and was a return to the AOR genre. "Everybody Lay Down" was released as a single to rock radio and went all the way to #3. Chrysalis was sold to EMI records and Pat Benatar had become pregnant , it was the last album recorded for Chrysalis records.
"Innamorata" was released in 1997 on the CMC International record label. A single video was produced for "Strawberry Wine(Life is Sweet)". In August 2003, Benatar returned to recording with Go (Vanguard), it revisited the arena rock/MOR sound that had defined Benatar's career, and was accompanied by an extensive tour. Although billed as a solo artist, Benatar recorded and toured with a consistent set of band members over most of her career, who contributed greatly to the writing and producing of songs
01 - Heartbreaker (3:24)
02 - I Need A Lover (3:25)
03 - If You Think You Know How To Love Me (4:16)
04 - In The Heat Of The Night (5:15)
05 - My Clone Sleeps Alone (3:22)
06 - We Live For Love (3:52)
07 - Rated X (3:13)
08 - Don't Let It Show (3:57
09 - No You Don't (3:15)
10 - So Sincere (3:23)
--Xs
11 - Love is a Battlefield (5:23) ( ' 83)
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Captain Sensible - Sensible Lifestyles ( ^ 99mb)
Captain Sensible (born Raymond Burns, 24 April 1954) grew up in Croydon, England, his signature headwear is a red beret. Originally a member of the Johnny Moped band, Sensible joined The Damned in 1976 on the suggestion of his work colleague Rat Scabies, the band's drummer, filling a number of positions during his tenure (including bassist, lead guitarist and keyboardist), and eventually becoming the band's main songwriter following the departure of Brian James. He left in the 1980s to concentrate on solo projects, but rejoined in 1996 after Scabies left, and co-wrote Grave Disorder, the band's first new studio album for 12 years, in 2001. He continues to tour with the band today.
In the early 1980s, Captain Sensible was signed to A&M as a solo artist, and he had a number one British hit with the old musical number "Happy Talk." He followed it up with an original, "Glad It's All Over," an anti-war song about the Falklands; for a time, he was also hooked up with Robyn Hitchcock. By this time, his status as a member of the Damned made him a regular topic of coverage in the British music press, and he became well-known for various beliefs, including devoted vegetarianism and an opposition to war, which he presented in bitingly satirical fashion. Captain Sensible proved more charming than any other veteran of the punk scene. His vegetarian-oriented single "Wot" was a success, and over the next few years, he recorded a series of albums, Power of Love, Revolution Now, and The Universe of Geoffrey Brown, that were good sellers and critical favorites, though only in England . He and his band -- Paul Gray on bass, Malcolm Dixon on organ and synthesizer, and Garrie Dreadful on drums -- became famous for their live shows, which were spiced by the Captain's savage wit. In 1994, he released Live at the Milky Way, the best album of his solo career and one of the finest live albums of the era. .
Previously a member of the Green Party, in 2006 Sensible formed the Blah! Party, for which he continues to serve as leader. An avowed "protest party" aiming to "give all politicians a kick up the jacksie", it entered into a sponsorship deal with Seabrook Crisps in September 2006.
01 - Rough Justice (5:29)
02 - Revolution Now (4:21)
03 - Jet Boy Jet Girl (3:24)
04 - A Riot on Eastbourne River (4:51)
05 - The Kamikaze Millionaire (5:27)
06 - Smash It Up (3:01)
07 - Happy Talk (3:27)
08 - Can You Hear Me (4:03)
09 - A Sporting Life (3:29)
10 - Wot (5:49)
11 - Smash It Up Pt. 4 (3:04)
12 - I Get So Excited (3:54)
13 - Street of Shame (3:58)
14 - So Far Out (6:28)
15 - Glad It's All Over (3:37)
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Billy Idol - Greatest Hits ( ^ 153mb)
William ( 11/30 55) was the first child born to Bill and Joan Broad, shortly after the family moved to Rockville Centre, Long Island, New York. The Broads returned to England after four years of living in the United States. He enrolled at Sussex University and took classes in English and Philosophy in September 1975. He soon immersed in the upcoming punkscene and became part of a Sex Pistols fan club called the Bromley Contingent. A year later and he quit school for a career in music. When thinking about a stage name he remembered a teachers sneer.."Billy is idle" into Billy Idol. In 1976, Idol and Tony James formed a band with John Towe and started playing shows. The band was named after the 1965 book Generation X. The band became a big deal throughout London and eventually record companies started showing up at shows. Generation X was an image-conscious band. They were more about the image than they were about the music. They signed to Chrysalis Records in 1977, even though Generation X took a lot of punk elements and added them into their sound and image, they were often seen as being too "commercial." Meanwhile they were the first punk band to appear on the BBC's "Top of the Pops" program. The band was on the rise, touring in countries like Japan.
By 1981, the band shortened their name to simply "Gen X" and released the single "Dancing With Myself" in the UK. It failed to become the big hit the band was waiting for. The new album was called Kiss Me Deadly. In 1980, the band embarked on a short but successful UK tour to promote the album. Generation X couldn't hold itself together and the members soon parted ways. Producer Keith Forsey and Bill Aucoin took hold of Billy Idol's career and quickly moved him to New York in hopes of capturing an American audience.The punk era had come and gone, and "New Wave" was taking over. Idol issued the 1981 EP Don't Stop (a cover of Tommy James' '60s hit "Mony Mony" and a pair of remixed Generation X tracks), which helped the singer score another record deal with his former band's label, Chrysalis. Idol was introduced to Steve Stevens by manager Bill Aucoin they hit it off, and Idol issued a self-titled debut in July of 1982. A pair of eye-catching videos for the tracks "White Wedding" and "Dancing With Myself" (the latter a remake of a Generation X composition) scored major air time on MTV.
In 1983, "Dancing With Myself" was released in the U.S. in an effort to introduce Idol to American audiences not yet as familiar with him. It was played in heavy rotation on MTV for six months. The "Dancing With Myself" video sparked a whole new era of feature film directors that would try their hand at directing music videos. Idol's second LP, Rebel Yell (1983) was a blockbuster success, and established his superstar status in the United States and in Canada with hits like "Eyes Without a Face", "Flesh For Fantasy", and the title cut; Idol also became very popular in Europe thanks to this album and its singles, particularly in Germany, Italy, Switzerland and later in his native UK.
But with massive success came its many distractions, which prevented Idol from issuing a new studio album until three years after Rebel Yell. 1987's Whiplash Smile was another sizeable hit on the strength of such hits as "To Be a Lover" and "Sweet Sixteen," but failed to live up to the lofty expectations set by his previous releases. Steve Stevens parted ways with Idol after Whiplash Smile. He claims that Idol's music was getting too synthesised and sequenced. Idol ran into trouble when he was busted by undercover police in New York City for carrying crack cocaine. Lister and Idol wanted to get "clean" ( heroin and cocaine), and start a new life, the two decided it would be best to move from New York to LA. When longtime girlfriend Perry Lister gave birth to their son, "Willem Wolfe Broad" Idol was still seeing other women ( the Hollywood nightlife), and even obtained a second house for his affairs. Lister eventually left Idol in favor of a normal life.
In 1989, following his breakup with Lister, Idol found his way to Thailand and let it all hang out...a quarter of a million dollars later he was thru dancing with himself again and went back to work on Charmed Life, a title undoubtely inspired by him surviving a serious motorcycle crash without lasting troubles. Against his doctors' orders, Idol decided to tour behind the Charmed Life album. Billy could be seen walking with a cane onstage. He got his personal jewellery maker, "Robin the Hammer" to customise a silver gauntlet for him. The gauntlet has "La Vie Enchantee" etched in the wrist. Robin also designed a large cross/knife necklace that can be seen in the "Cradle of Love" video.
In 1993, Idol released Cyberpunk, which fell on deaf ears. Music had changed in 1993, and a lot of the bands that were popular in the eighties were now being pushed to the wayside in favour of the new "Seattle" movement. Cyberpunk is considered to be ahead of its time by many people, and very experimental ( technobeats) for the US market. The inclusion of multimedia software as a special feature was unheard of when Idol first included the Billy Idol's Cyberpunk diskette.Nevertheless, the album tanked. Meanwhile, Idol was knee deep in drug addiction, resulting in another close brush with death when he overdosed and had to be treated in a Los Angeles hospital in 1994. After the incident, Idol realised that his children would never forgive him for dying of a drug overdose, and he began to focus more on fatherhood. Idol has never admitted that he is totally off drugs, just that he has his habit under control.
Idol returned to the popular eye in 1998, when he played himself in The Wedding Singer, an Adam Sandler and Drew Barrymore 80s romantic comedy, where "White Wedding" was used as the title track. In 2001, Idol reunited with guitarist Steve Stevens to write and record a new album. Idol and Stevens started touring, which generated a lot of attention. A Greatest Hits CD was issued in 2001. The album also includes a live acoustic version of "Rebel Yell" which is taken from a performance at L.A. station KROQ's 1993 Acoustic Christmas concert. EMI expected the Greatest Hits album to sell around 100,000 copies. The album eventually sold over 1,000,000 copies and was certified platinum by the Recording Industry Association of America (RIAA) on January 18, 2005.
01 - Dancing With Myself (4:50)
02 - Mony Mony (5:01)
03 - Hot In The City (3:33)
04 - White Wedding (Part 1) (4:12)
05 - Rebel Yell (4:46)
06 - Eyes Without A Face (4:57)
07 - Flesh For Fantasy (4:37)
08 - Catch My Fall (3:41)
09 - To Be A Lover (3:52)
10 - Don't Need A Gun (Single Edit) (5:23)
11 - Sweet Sixteen (4:14)
12 - Cradle Of Love (4:38)
13 - L.A. Woman (Single Edit) (4:03)
14 - Shock To The System (3:36)
15 - Rebel Yell (Live And Acoustic) (5:35)
Lite Billy (-14)
Billy Idol - Greatest Hits ( * 99mb)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 3, 2008
Around The World (34)
Hello, today at Around the World the last in the Millenium Classics series, Opera Treasures, in a way filmmusic avant la lettre. Specially Verdi worked from a story line..called libretto in operalingo. Certainly with known stories this extended the reach as not everyone was able to see the imagery at an opera performance , the music was much more accessable. Mostly italian opera here, obviously they couldnt leave Mozart out, but Wagner was apperently a bit too much for the EMI compilers of this series, maybe i get back to him later....I havent seen much comments on the classics, though DL numbers have been satisfying, so if you'd like more, post a message.... i spilt this DL as Massmirror still seems sketchy..
*****
Giuseppe Fortunino Francesco Verdi (10-10 1813 ) was born in Le Roncole, a village near Busseto, then in the Département Taro which was a part of the French Empire after the annexation of the Duchy of Parma and Piacenza. Verdi went to Milan when he was twenty to continue his studies and he took private lessons in counterpoint while attending operatic performances , as well as concerts of, specifically, German music. Returning to Busseto, he became town music master and, with the support of Antonio Barezzi, a local merchant and music lover who had long supported Verdi's musical ambitions in Milan, Verdi gave his first public performance at Barezzi’s home in 1830. Because he loved Verdi’s music, Barezzi invited Verdi to be his daughter Margherita's music teacher and the two soon fell deeply in love. They were married in 1836 and Margherita gave birth to two children, both of whom died in infancy, followed by Margherita herself in 1840.
The production of his first opera, Oberto, by Milan's La Scala, achieved a degree of success, after which Bartolomeo Merelli, an impresario with La Scala, offered Verdi a contract for two more works.It was while he worked on his second opera, Un giorno di regno, that Verdi's wife and children died. The opera was a flop and Verdi was close to throw in the towel. However, Merelli persuaded him to write Nabucco in 1842 and its opening performance made Verdi famous. A large number of operas followed in the decade after 1843, a period which Verdi was to describe as his "galley years". These included his I Lombardi in 1843 and Ernani in 1844.For some, the most original and important opera that Verdi wrote is Macbeth in 1847. For the first time, Verdi attempted an opera without a love story, breaking a basic convention in 19th Century Italian opera. In 1847, I Lombardi, revised and renamed Jerusalem, was produced by the Paris Opera. As the "galley years" were drawing to a close, Verdi created one of his greatest masterpieces, Rigoletto which premiered in Venice in 1851. Based on a play by Victor Hugo (Le roi s'amuse), the libretto had to undergo substantial revisions in order to satisfy the epoch's censorship, and the composer was on the verge of giving it all up a number of times. The opera quickly became a great success.
There followed the second and third of the three major operas of Verdi's "middle period": in 1853 Il Trovatore was produced in Rome and La traviata in Venice. The latter was based on Alexandre Dumas, fils' play The Lady of the Camellias.Between 1855 and 1867 an outpouring of great Verdi operas were to follow, among them such repertory staples as Un ballo in maschera (1859), La forza del destino (commissioned by the Imperial Theatre of Saint Petersburg for 1861 . Aida, is sometimes thought to have been commissioned for the celebration of the opening of the Suez Canal in 1869, but, Verdi initially turned the commission down until he heard it would be offered to Richard Wagner. As there was little love between them Verdi accepted the commission, it inspired Verdi to write his grand opera, Aida.
During the following years Verdi worked on revising some of his earlier scores. Otello, based on William Shakespeare's play, with a libretto written by the younger composer of Mefistofele, Arrigo Boito, premiered in Milan in 1887. Its music is "continuous" and cannot easily be divided into separate "numbers" to be performed in concert. Verdi's last opera, Falstaff, whose libretto was also by Boito, was based on Shakespeare's Merry Wives of Windsor and Victor Hugo's subsequent translation. It was an international success and is one of the supreme comic operas which shows Verdi's genius as a contrapuntist. While staying at a hotel in Milan, Verdi had a stroke, he died on January 27, 1901. Arturo Toscanini conducted the vast forces of combined orchestras and choirs comprised of musicians from throughout Italy, at the State Funeral for Verdi in Milan, following the composer's death in 1901. To date, it remains the largest public assembly of any event, in the history of Italy.
Verdi was one of the first composers who insisted on patiently seeking out plots to suit his particular talents. Working closely with his librettists and well aware that dramatic expression was his forte, he made certain that the initial work upon which the libretto was based was stripped of all "unnecessary" detail and "superfluous" participants, and only characters brimming with passion and scenes rich in drama remained. Many of his operas, especially the later ones from 1851 onwards are a staple of the standard repertoire. No composer of Italian opera has managed to match Verdi's popularity, perhaps with the exception of Giacomo Puccini.
*****
Puccini was born December 22, 1858 in Lucca,Tuscany, into a family with five generations of musical history behind them. His father died when he was five years old, and he was sent to study with his uncle Fortunato Magi, who considered him to be a poor and undisciplined student. Later, Puccini took the position of church organist and choir master in Lucca, but it was not until he saw a performance of Verdi's Aida that he became inspired to be an opera composer.
In 1880, with the help of a relative and a grant, Puccini enrolled in the Milan Conservatory to study composition with Amilcare Ponchielli and Antonio Bazzini. In the same year, at the age of 21, he composed the Messa, which marks the culmination of his family's long association with church music in his native Lucca. While studying at the Conservatory, Puccini obtained a libretto from Ferdinando Fontana and entered a competition for a one-act opera in 1882. Although he did not win, Le Villi was later staged in 1884 and it caught the attention of Giulio Ricordi, who commissioned a second opera, Edgar, in 1889.
From 1891 onwards, Puccini spent most of his time at Torre del Lago, 15 miles from Lucca situated between the Tyrrhenian Sea and Lake Massaciuccoli. By 1900 he had acquired land and built a villa on the lake, now known as the "Villa Museo Puccini". He lived there until 1921.
Manon Lescaut (1893), his third opera, was his first great success. It launched his remarkable relationship with the librettists Luigi Illica and Giuseppe Giacosa, who collaborated with him on his next three operas, which became his three most famous and most performed operas. La Bohème (1896) is considered one of his best works as well as one of the most romantic operas ever composed. It is arguably today's most popular opera. Tosca (1900) was arguably Puccini's first foray into verismo, the realistic depiction of many facets of real life including violence. Madama Butterfly (1904) was initially greeted with great hostility (mostly organised by his rivals) but, after some reworking, became another of his most successful operas.
After 1904, compositions were less frequent. Following his passion for driving fast cars, Puccini was nearly killed in a major accident in 1903. However, Puccini completed La Fanciulla del West in 1910 and finished the score of La Rondine in 1917.In 1918, Il Trittico premiered in New York. This work is composed of three one-act operas, of the three, Gianni Schicchi has remained the most popular, containing the popular O Mio Babbino Caro.
Puccini began to complain of chronic sore throats towards the end of 1923. A diagnosis of throat cancer led his doctors to recommend a new and experimental radiation therapy treatment, which was being offered in Brussels. Puccini died there on November 29, 1924, from complications from the treatment. Turandot, his final opera, was left unfinished; and the last two scenes were completed by Franco Alfano based on the composer's sketches.
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Millenium Classics - Opera Treasures (99, 76min ^ 174mb)
Millenium Classics - Opera Treasures (^ 88mb)
01 - G.Verdi - Nabucco-Va pensiero (Act III)-Chrus of the Hebrew Slaves) (5:28)
02 - G.Bizet - Les pecheurs de perles-Au fond du temple saint (Act I) (5:25)
03 - Lakme - Viens, Mallika (Fllower duet) (Act I) (5:56)
04 - G.Bizet - Carmen-Vortre toast (Air du Toreador) (5:25)
05 - W.A.Mozart - Die Zauberflot-Der Vogelfanger bin ich ja (Akt I) (2:53)
06 - W.A.Mozart - Die Zauberflot-Der holle Rache (Akt I) (2:59)
07 - W.A.Mozart - Le Nozze di Figaro, K.492-Voi che sapete (Atto II) (2:58)
08 - P.Mascagni - Cavalleria Rusticana-Regina coeli (7:07)
Millenium Classics - Opera Treasures 2 ( ^ 86mb)
09 - G.A.Rossini - II Barbiere di Siviglia-Largo al factotum (Atto I) (4:50)
10 - G.Puccini - Tosca - Vissi d'arte (Atoo II) (3:06)
11 - G.Puccini - Tosca-E lucevan le stelle (Atto III) (3:23)
12 - G.Verdi - Rigoletto-La donna e mobile (Atto III) (2:23)
13 - G.Verdi - La Traviata-Brindisi-Libiamo ne'liete calici (Atto I) (3:08)
14 - V.Bellini - Norma-Sediziose voci..Casta Diva (Atto I) (9:56)
15 - G.Puccini - Turandot-Nessun dorma (Atto III) (3:22)
16 - G.Verdi - Aida-Gloria all'Egittto (Atto II) (7:34)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
*****
Giuseppe Fortunino Francesco Verdi (10-10 1813 ) was born in Le Roncole, a village near Busseto, then in the Département Taro which was a part of the French Empire after the annexation of the Duchy of Parma and Piacenza. Verdi went to Milan when he was twenty to continue his studies and he took private lessons in counterpoint while attending operatic performances , as well as concerts of, specifically, German music. Returning to Busseto, he became town music master and, with the support of Antonio Barezzi, a local merchant and music lover who had long supported Verdi's musical ambitions in Milan, Verdi gave his first public performance at Barezzi’s home in 1830. Because he loved Verdi’s music, Barezzi invited Verdi to be his daughter Margherita's music teacher and the two soon fell deeply in love. They were married in 1836 and Margherita gave birth to two children, both of whom died in infancy, followed by Margherita herself in 1840.
The production of his first opera, Oberto, by Milan's La Scala, achieved a degree of success, after which Bartolomeo Merelli, an impresario with La Scala, offered Verdi a contract for two more works.It was while he worked on his second opera, Un giorno di regno, that Verdi's wife and children died. The opera was a flop and Verdi was close to throw in the towel. However, Merelli persuaded him to write Nabucco in 1842 and its opening performance made Verdi famous. A large number of operas followed in the decade after 1843, a period which Verdi was to describe as his "galley years". These included his I Lombardi in 1843 and Ernani in 1844.For some, the most original and important opera that Verdi wrote is Macbeth in 1847. For the first time, Verdi attempted an opera without a love story, breaking a basic convention in 19th Century Italian opera. In 1847, I Lombardi, revised and renamed Jerusalem, was produced by the Paris Opera. As the "galley years" were drawing to a close, Verdi created one of his greatest masterpieces, Rigoletto which premiered in Venice in 1851. Based on a play by Victor Hugo (Le roi s'amuse), the libretto had to undergo substantial revisions in order to satisfy the epoch's censorship, and the composer was on the verge of giving it all up a number of times. The opera quickly became a great success.
There followed the second and third of the three major operas of Verdi's "middle period": in 1853 Il Trovatore was produced in Rome and La traviata in Venice. The latter was based on Alexandre Dumas, fils' play The Lady of the Camellias.Between 1855 and 1867 an outpouring of great Verdi operas were to follow, among them such repertory staples as Un ballo in maschera (1859), La forza del destino (commissioned by the Imperial Theatre of Saint Petersburg for 1861 . Aida, is sometimes thought to have been commissioned for the celebration of the opening of the Suez Canal in 1869, but, Verdi initially turned the commission down until he heard it would be offered to Richard Wagner. As there was little love between them Verdi accepted the commission, it inspired Verdi to write his grand opera, Aida.
During the following years Verdi worked on revising some of his earlier scores. Otello, based on William Shakespeare's play, with a libretto written by the younger composer of Mefistofele, Arrigo Boito, premiered in Milan in 1887. Its music is "continuous" and cannot easily be divided into separate "numbers" to be performed in concert. Verdi's last opera, Falstaff, whose libretto was also by Boito, was based on Shakespeare's Merry Wives of Windsor and Victor Hugo's subsequent translation. It was an international success and is one of the supreme comic operas which shows Verdi's genius as a contrapuntist. While staying at a hotel in Milan, Verdi had a stroke, he died on January 27, 1901. Arturo Toscanini conducted the vast forces of combined orchestras and choirs comprised of musicians from throughout Italy, at the State Funeral for Verdi in Milan, following the composer's death in 1901. To date, it remains the largest public assembly of any event, in the history of Italy.
Verdi was one of the first composers who insisted on patiently seeking out plots to suit his particular talents. Working closely with his librettists and well aware that dramatic expression was his forte, he made certain that the initial work upon which the libretto was based was stripped of all "unnecessary" detail and "superfluous" participants, and only characters brimming with passion and scenes rich in drama remained. Many of his operas, especially the later ones from 1851 onwards are a staple of the standard repertoire. No composer of Italian opera has managed to match Verdi's popularity, perhaps with the exception of Giacomo Puccini.
*****
Puccini was born December 22, 1858 in Lucca,Tuscany, into a family with five generations of musical history behind them. His father died when he was five years old, and he was sent to study with his uncle Fortunato Magi, who considered him to be a poor and undisciplined student. Later, Puccini took the position of church organist and choir master in Lucca, but it was not until he saw a performance of Verdi's Aida that he became inspired to be an opera composer.
In 1880, with the help of a relative and a grant, Puccini enrolled in the Milan Conservatory to study composition with Amilcare Ponchielli and Antonio Bazzini. In the same year, at the age of 21, he composed the Messa, which marks the culmination of his family's long association with church music in his native Lucca. While studying at the Conservatory, Puccini obtained a libretto from Ferdinando Fontana and entered a competition for a one-act opera in 1882. Although he did not win, Le Villi was later staged in 1884 and it caught the attention of Giulio Ricordi, who commissioned a second opera, Edgar, in 1889.
From 1891 onwards, Puccini spent most of his time at Torre del Lago, 15 miles from Lucca situated between the Tyrrhenian Sea and Lake Massaciuccoli. By 1900 he had acquired land and built a villa on the lake, now known as the "Villa Museo Puccini". He lived there until 1921.
Manon Lescaut (1893), his third opera, was his first great success. It launched his remarkable relationship with the librettists Luigi Illica and Giuseppe Giacosa, who collaborated with him on his next three operas, which became his three most famous and most performed operas. La Bohème (1896) is considered one of his best works as well as one of the most romantic operas ever composed. It is arguably today's most popular opera. Tosca (1900) was arguably Puccini's first foray into verismo, the realistic depiction of many facets of real life including violence. Madama Butterfly (1904) was initially greeted with great hostility (mostly organised by his rivals) but, after some reworking, became another of his most successful operas.
After 1904, compositions were less frequent. Following his passion for driving fast cars, Puccini was nearly killed in a major accident in 1903. However, Puccini completed La Fanciulla del West in 1910 and finished the score of La Rondine in 1917.In 1918, Il Trittico premiered in New York. This work is composed of three one-act operas, of the three, Gianni Schicchi has remained the most popular, containing the popular O Mio Babbino Caro.
Puccini began to complain of chronic sore throats towards the end of 1923. A diagnosis of throat cancer led his doctors to recommend a new and experimental radiation therapy treatment, which was being offered in Brussels. Puccini died there on November 29, 1924, from complications from the treatment. Turandot, his final opera, was left unfinished; and the last two scenes were completed by Franco Alfano based on the composer's sketches.
***** ***** ***** ***** *****
Millenium Classics - Opera Treasures (99, 76min ^ 174mb)
Millenium Classics - Opera Treasures (^ 88mb)
01 - G.Verdi - Nabucco-Va pensiero (Act III)-Chrus of the Hebrew Slaves) (5:28)
02 - G.Bizet - Les pecheurs de perles-Au fond du temple saint (Act I) (5:25)
03 - Lakme - Viens, Mallika (Fllower duet) (Act I) (5:56)
04 - G.Bizet - Carmen-Vortre toast (Air du Toreador) (5:25)
05 - W.A.Mozart - Die Zauberflot-Der Vogelfanger bin ich ja (Akt I) (2:53)
06 - W.A.Mozart - Die Zauberflot-Der holle Rache (Akt I) (2:59)
07 - W.A.Mozart - Le Nozze di Figaro, K.492-Voi che sapete (Atto II) (2:58)
08 - P.Mascagni - Cavalleria Rusticana-Regina coeli (7:07)
Millenium Classics - Opera Treasures 2 ( ^ 86mb)
09 - G.A.Rossini - II Barbiere di Siviglia-Largo al factotum (Atto I) (4:50)
10 - G.Puccini - Tosca - Vissi d'arte (Atoo II) (3:06)
11 - G.Puccini - Tosca-E lucevan le stelle (Atto III) (3:23)
12 - G.Verdi - Rigoletto-La donna e mobile (Atto III) (2:23)
13 - G.Verdi - La Traviata-Brindisi-Libiamo ne'liete calici (Atto I) (3:08)
14 - V.Bellini - Norma-Sediziose voci..Casta Diva (Atto I) (9:56)
15 - G.Puccini - Turandot-Nessun dorma (Atto III) (3:22)
16 - G.Verdi - Aida-Gloria all'Egittto (Atto II) (7:34)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 2, 2008
Foundation (VI)
Hello, it seems Massmirror redistribution has gone wrong lately, im working on it (re-upping) ..sigh. Well, at The Foundation they have bigger problems with "The Mule' ....
last week...
In response to the internal corruption on the Foundation, roughly 30 outer planets belonging to the Foundation who have become wealthy on their own through extensive trade begin to plan a civil war. The Independent Traders are gearing up for a war to secede from the Foundation. In addition to this internal corruption, an external threat arises in the form of a mysterious man who is known only as the Mule. The Mule (whose real name is never revealed) is a mental freak, and possesses the ability to sense and manipulate the emotions of others. He uses this ability to take over the independent systems bordering the Foundation, and has them wage a war against it.
While his vassals prosecute the war, the Mule travels under the guise of a refugee clown named "Magnifico Giganticus," with Foundation citizens Toran and Bayta Darell to different worlds of the Foundation. He uses his abilities to undermine the Foundation's war effort by spreading despair and destroying morale. In the end, the Foundation falls without much of a fight at all. As the Mule was advancing, the Foundation leadership complacently assumed that Seldon predicted his attack, and that even though the Mule was inexorably winning, the scheduled hologram crisis message appearance of Hari Seldon would tell them how to win (just as Bel Riose had seemed impossible to defeat, yet was "defeated" by Seldon's predictions). However, when Seldon's crisis tape plays they are shocked to discover that the crisis Seldon predicted was a civil war between the Foundation and the Independent Traders, and makes no mention of the Mule whatsoever. Several representatives of the Independent Traders in attendance explain that they were going to start a civil war of secession, but stopped when the Mule started his invasion: Seldon didn't predict the Mule. When the Mule's ships soon afterwards appear over Terminus, the Foundation surrenders with little fight. The Trader worlds, however, fight a losing war of attrition.
Still under the guise of a refugee clown, the Mule travels with the Darells, along with psychologist Ebling Mis, to the Great Library of Trantor. The Darells and Mis seek to contact the Second Foundation, which they believe will be able to defeat the Mule. The Mule, on the other hand, wishes to know the location of the Second Foundation so that he can use the First Foundation's technology to destroy it....
***** ***** ***** ***** *****
Foundation VI - Flight From The Mule (37mb)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
last week...
In response to the internal corruption on the Foundation, roughly 30 outer planets belonging to the Foundation who have become wealthy on their own through extensive trade begin to plan a civil war. The Independent Traders are gearing up for a war to secede from the Foundation. In addition to this internal corruption, an external threat arises in the form of a mysterious man who is known only as the Mule. The Mule (whose real name is never revealed) is a mental freak, and possesses the ability to sense and manipulate the emotions of others. He uses this ability to take over the independent systems bordering the Foundation, and has them wage a war against it.
While his vassals prosecute the war, the Mule travels under the guise of a refugee clown named "Magnifico Giganticus," with Foundation citizens Toran and Bayta Darell to different worlds of the Foundation. He uses his abilities to undermine the Foundation's war effort by spreading despair and destroying morale. In the end, the Foundation falls without much of a fight at all. As the Mule was advancing, the Foundation leadership complacently assumed that Seldon predicted his attack, and that even though the Mule was inexorably winning, the scheduled hologram crisis message appearance of Hari Seldon would tell them how to win (just as Bel Riose had seemed impossible to defeat, yet was "defeated" by Seldon's predictions). However, when Seldon's crisis tape plays they are shocked to discover that the crisis Seldon predicted was a civil war between the Foundation and the Independent Traders, and makes no mention of the Mule whatsoever. Several representatives of the Independent Traders in attendance explain that they were going to start a civil war of secession, but stopped when the Mule started his invasion: Seldon didn't predict the Mule. When the Mule's ships soon afterwards appear over Terminus, the Foundation surrenders with little fight. The Trader worlds, however, fight a losing war of attrition.
Still under the guise of a refugee clown, the Mule travels with the Darells, along with psychologist Ebling Mis, to the Great Library of Trantor. The Darells and Mis seek to contact the Second Foundation, which they believe will be able to defeat the Mule. The Mule, on the other hand, wishes to know the location of the Second Foundation so that he can use the First Foundation's technology to destroy it....
***** ***** ***** ***** *****
Foundation VI - Flight From The Mule (37mb)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Jun 1, 2008
Sundaze (34)
Hello, up for some more Sundaze ? Just the two today but to pick a winner here would be hard, both excellent albums, electronics with emotion and contemplation. DNTEL was an unexpected stunner when it came out 6 years ago...secondly
Kettel 's open, involving, beautiful electronic music. As i said both great Sundaze albums.
***** ***** ***** ***** *****
Dntel - Life Is Full Of Possibilities (01 ^131mb)
Housed behind an entirely appropriate title, Life Is Full Of Possibilities is a gorgeous, mostly ambient journey into moody, poetic electronic sounds. Dntel (aka Jimmy Tamborello) produces music that merges the worlds of indie rock and electronica. Tamborello was formerly a guitarist in the emocore group Strictly Ballroom and also a member of techno-poppers Figurine. In addition, he has done time in the SoCal groups Further and the Tyde. Tamborello originally started working as Dntel in 1994. Tracks he produced between 1995-1997 were released on the Phthalo label in 1999 as Early Works for Me If It Works for You. This was followed by the 2000 release of an EP that had been recorded back in 1994 called Something Always Goes Wrong. The melancholy, often haunting, and electronica-heavy effort Life Is Full of Possibilities arrived in 2002 on Plug Research Records. It featured contributions from Chris Gunst (Beachwood Sparks, ex-Strictly Ballroom), Rachel Haden (that dog.), and Benjamin Gibbard (Death Cab for Cutie), among others.
The debut album of Dntel (aka Jimmy Tamborello) is a gorgeous, mostly ambient journey into moody, poetic electronic sounds. Though Life Is Full of Possibilities is centered on clicks & cuts, textured sound washes, and cut-and-paste electronic dynamics, Dntel's music contains such pristine melodies and is so effective in its stimulation of one's emotions that it makes for a refreshing, fascinating hour of music. Brittle, subtle, full of surprises, and disarming in its ability to set moods.
Jimmy Tamborello has been releasing under different monikers with others, he moved to Sub Pop -- also home of his other very successful project, the Postal Service -- for Dntel's 2007 album Dumb Luck, which featured Gibbard, Jenny Lewis, Conor Oberst, and many other indie stars.
01 - Umbrella (4:43)
02 - Anywhere Anyone (4:37)
03 - Pillowcase (3:30)
04 - Fear Of Corners (5:26)
05 - Suddenly Is Sooner Than You Think (5:43)
06 - Life Is Full Of Possibilities (6:30)
07 - Why I'm So Unhappy (7:00)
08 - Fireworks (6:48)
09 - (This Is) The Dream Of Evan And Chan (5:44)
10 - Last Songs (4:42)
lite
Dntel - Life Is Full Of Possibilities (* 99mb)
***** ***** ***** ***** *****
Kettel - Volleyed Iron (04 ^99mb)
Kettel is Reimer Eising (born 1982), a self-described "elixir-brewing, camping-loving and musicmaking sorcerer-to-be." He is well-known for his playful, spontaneous melodies and organic folk sounds similar to Aphex Twin and Plaid. His tools just a pc with soundcard, keyboard, MIDI-keyboard and controller, a turntable and a mic. What comes out is a combination of downtempo beats , hovering synthesizers and acoustic instruments turned into little melodies. Kettel's releases on the Planet Mu-label ( Mike Paradinas µ-Ziq, Kid Spatula , Aphex Twin) and the Kracfive label(US) has build him some international fame. He has also collaborated on several projects of various remixes and compilations. Kettel frequently performs in the Netherlands and abroad, the Japananese seem to have taken a particular liking to his work.
"Volleyed Iron" finds Reimer piecing together easily his finest release to date, a glowing warm ambient album .Piecing together shards of found sounds and field recordings, the organic textures that underlay these pieces, display incredible warmth and sheer beauty Open, involving, beautiful electronic music with slivers of violin, piano and broken and dusty old samples. He's released several albums Dreim, Cenny Crush, Smiling Little Cow (2002), Look at this (2003), Volleyed Iron (2004), Through Friendly Waters (2005) My Dogon (2006) , Whisper Me Wishes (2007) and Myam James Part 1(2008) in short, plenty to follow up on if you like his music.
01 - A French Composer (4:37)
02 - America Video (5:54)
03 - Did We Orient? (2:50)
04 - Electrician And Adventurer (1:34)
05 - Four Eyes At A Gate (2:33)
06 - Sorry, But We Don't Hear You (3:59)
07 - Teeth, Wait (3:57)
08 - Clock.exe (2:37)
09 - Ureterp, July (2:12)
10 - Hondsvot (1:40)
11 - Machine Planet (8:00)
12 - Wim Hoffman (8:44)
13 - Little Duck, When Is Our Day? (4:11)
14 - Tomorrow? (4:32)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
Kettel 's open, involving, beautiful electronic music. As i said both great Sundaze albums.
***** ***** ***** ***** *****
Dntel - Life Is Full Of Possibilities (01 ^131mb)
Housed behind an entirely appropriate title, Life Is Full Of Possibilities is a gorgeous, mostly ambient journey into moody, poetic electronic sounds. Dntel (aka Jimmy Tamborello) produces music that merges the worlds of indie rock and electronica. Tamborello was formerly a guitarist in the emocore group Strictly Ballroom and also a member of techno-poppers Figurine. In addition, he has done time in the SoCal groups Further and the Tyde. Tamborello originally started working as Dntel in 1994. Tracks he produced between 1995-1997 were released on the Phthalo label in 1999 as Early Works for Me If It Works for You. This was followed by the 2000 release of an EP that had been recorded back in 1994 called Something Always Goes Wrong. The melancholy, often haunting, and electronica-heavy effort Life Is Full of Possibilities arrived in 2002 on Plug Research Records. It featured contributions from Chris Gunst (Beachwood Sparks, ex-Strictly Ballroom), Rachel Haden (that dog.), and Benjamin Gibbard (Death Cab for Cutie), among others.
The debut album of Dntel (aka Jimmy Tamborello) is a gorgeous, mostly ambient journey into moody, poetic electronic sounds. Though Life Is Full of Possibilities is centered on clicks & cuts, textured sound washes, and cut-and-paste electronic dynamics, Dntel's music contains such pristine melodies and is so effective in its stimulation of one's emotions that it makes for a refreshing, fascinating hour of music. Brittle, subtle, full of surprises, and disarming in its ability to set moods.
Jimmy Tamborello has been releasing under different monikers with others, he moved to Sub Pop -- also home of his other very successful project, the Postal Service -- for Dntel's 2007 album Dumb Luck, which featured Gibbard, Jenny Lewis, Conor Oberst, and many other indie stars.
01 - Umbrella (4:43)
02 - Anywhere Anyone (4:37)
03 - Pillowcase (3:30)
04 - Fear Of Corners (5:26)
05 - Suddenly Is Sooner Than You Think (5:43)
06 - Life Is Full Of Possibilities (6:30)
07 - Why I'm So Unhappy (7:00)
08 - Fireworks (6:48)
09 - (This Is) The Dream Of Evan And Chan (5:44)
10 - Last Songs (4:42)
lite
Dntel - Life Is Full Of Possibilities (* 99mb)
***** ***** ***** ***** *****
Kettel - Volleyed Iron (04 ^99mb)
Kettel is Reimer Eising (born 1982), a self-described "elixir-brewing, camping-loving and musicmaking sorcerer-to-be." He is well-known for his playful, spontaneous melodies and organic folk sounds similar to Aphex Twin and Plaid. His tools just a pc with soundcard, keyboard, MIDI-keyboard and controller, a turntable and a mic. What comes out is a combination of downtempo beats , hovering synthesizers and acoustic instruments turned into little melodies. Kettel's releases on the Planet Mu-label ( Mike Paradinas µ-Ziq, Kid Spatula , Aphex Twin) and the Kracfive label(US) has build him some international fame. He has also collaborated on several projects of various remixes and compilations. Kettel frequently performs in the Netherlands and abroad, the Japananese seem to have taken a particular liking to his work.
"Volleyed Iron" finds Reimer piecing together easily his finest release to date, a glowing warm ambient album .Piecing together shards of found sounds and field recordings, the organic textures that underlay these pieces, display incredible warmth and sheer beauty Open, involving, beautiful electronic music with slivers of violin, piano and broken and dusty old samples. He's released several albums Dreim, Cenny Crush, Smiling Little Cow (2002), Look at this (2003), Volleyed Iron (2004), Through Friendly Waters (2005) My Dogon (2006) , Whisper Me Wishes (2007) and Myam James Part 1(2008) in short, plenty to follow up on if you like his music.
01 - A French Composer (4:37)
02 - America Video (5:54)
03 - Did We Orient? (2:50)
04 - Electrician And Adventurer (1:34)
05 - Four Eyes At A Gate (2:33)
06 - Sorry, But We Don't Hear You (3:59)
07 - Teeth, Wait (3:57)
08 - Clock.exe (2:37)
09 - Ureterp, July (2:12)
10 - Hondsvot (1:40)
11 - Machine Planet (8:00)
12 - Wim Hoffman (8:44)
13 - Little Duck, When Is Our Day? (4:11)
14 - Tomorrow? (4:32)
***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !
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