Dec 31, 2007

Around The World, (12)

Hello, Around The World goes latin on New Years Day, rests me to wish you all a Happy New Year !

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Fania All-Stars - Fania All-Stars (75 ^ 99mb)

In 1964, Fania Records was founded in New York City by Jerry Masucci, an Italian-American lawyer with a love for Latin melodies, and Johnny Pacheco, a talented composer and bandleader born in the Dominican Republic. Together, the men's originality and keenness for great tunes transformed Fania Records into the ultimate foundation for salsa, a contemporary style of Latin music.In 1968, with the record label garnering more acclaim and a troupe of emerging artists, Masucci and Pacheco decided to create an ensemble of the most well-known and innovative Fania artists, a continuously-revolving line-up of entertainers known as the Fania All-Stars.
Especially during the 1970's, the star-studded group became renowned worldwide for their spectacular one-of-a-kind musical performances. Among the most treasured of these recordings is the legendary arrangement "Fania All Stars: Live At The Cheetah, Volumes 1 and 2." The set, exhibits the entire All-Star family performing before a capacity audience in New York's Cheetah Lounge. The volumes went on to become the biggest-selling Latin albums ever produced by one group from one concert. Following sell-out concerts in Puerto Rico, Chicago and Panama, the All-Stars embarked on their first appearance at New York's Yankee Stadium on August 24th, 1973. The stars performed before an unprecedented crowd of 63,000 spectators in a concert that highlighted the talents of Ray Barretto, Willie Colón, Larry Harlow, Johnny Pacheco, Roberto Roena, Bobby Valentín, and Jorge Santana (younger brother of Carlos Santana), among others.

In an attempt to attain a wider market for salsa, Fania made a deal with Columbia Records in the US for a series of crossover albums by the All Stars. The first project was the lukewarm "Delicate & Jumpy" (1976), in which Steve Winwood united with the All Stars' Pacheco, Valentin, Barreto and Roena. It was also in 1976 that the Fania All Stars made their sole UK appearance. In 1978 the All-Stars released "Live," a fully-blown version of the band recorded in concert at New York's Madison Square Garden in September of that year. 1979 saw the release of "Crossover," the All-Stars' last Columbia Records album, as well as "Havana Jam on Fania," which came from an historic concert recorded on March 3rd 1979 in Havana, Cuba.

The first signs of recession appeared in 1980, when Fania suffered setbacks including an unsuccessful movie, tension from artists with unpaid royalties, and failed distribution deals with Columbia and Atlantic Records at boosting salsa into the mainstream US market. In addition, the New York salsa scene, which had always been vital to the success of the label, was gradually succumbing to the rise of merengue from Dominican Republic and salsa romantica from Puerto Rico. As the decade ended, the All-Stars recorded fewer albums together, and it was pretty visible that the genre -- and the star-studded group that propelled it -- had reached the end of its golden age.

01 - Viva Tirado (5:13)
02 - Chanchullo (5:33)
03 - Smoke (4:02)
04 - There You Go (3:06)
05 - Mama Guela (2:51)
06 - El Raton (7:47)
07 - Soul Makossa (5:43)
08 - Congo Bongo (10:09)

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

Don't Panic ! , (12)

Hello hitchhikers, today we reach the end of the secondairy phase, no year will continue with the tertiary phase, still many fits to go, for the moment here's a recap of last weeks 11th fit.

The episode opens with a conversation between Lintilla and Arthur. Lintilla mentions that she's an archaeologist, stranded on Brontitall, as her spaceship was disabled. She activates her crisis inducer, and leads Arthur through a set of tunnels. While they're running, the narrator describes the state of medical science in the universe, with artificially induced injuries.

Meanwhile, Zaphod and Ford have landed on the back of one of the birds from the previous episode, and eventually convince it to reach the ground by wrapping Ford's towel around its eyes. But because the bird had to reach the ground, it and its fellow birds are upset, and start attacking Zaphod and Ford on the surface. A loud noise occurs, which causes the narrator to explain its lack of immediate context.

Arthur emerges from a tunnel behind Lintilla, who had overcompensated for her artificially induced crisis. Lintilla introduces Arthur to two of her "sisters" (actually clones), and they begin discussing the noise, finally establishing a context for it. Lintilla finally admits that there are 5,780,000,000 clones of herself in the universe. The narrator explains how this happened, and what is being done about it. Lintilla takes Arthur to the shaft suddenly created after the mysterious loud noise, and they finally confirm what the three Lintillas had been looking for: "An entire archaeological layer of compressed shoes." After making this confirmation, they are captured by Hig Hurtenflurst, a Dolmansaxlil Shoe Corporation executive.

The narrator finally describes what made the noise and created the shaft that gave the Lintillas their breakthrough. It's none other than Marvin, who himself finally fell out of the cup that the Heart of Gold is parked in. He's lying at the bottom of a mile deep shaft, and goes "zootlewurdle." Meanwhile, Hig has decided to take Lintilla and Arthur back to his office.

Hig explains the background of what happened to Brontitall - they fell victim to a Dolmansaxlil Shoe Shop Intensifier Ray, forcing them to construct nothing but shoe shops, and selling nothing but badly made shoes. Arthur learns that Earth was to be one of the next targets, spared from this by being demolished by the Vogons. The film being shown to Arthur and Lintilla explaining the Shoe Shop Intensifier Ray is suddenly interrupted, as is power to the office, when Marvin decides to rescue Arthur and Lintilla, and her two clones.

The narrator then explains that the Shoe Shop Intensifier Ray was unnecessary, that a "Shoe Event Horizon" would have occurred on that planet, and many other worlds, as part of their natural economic histories. A lesson from the future is heard, explaining this principle. Lintilla, Arthur and Marvin continue their escape, while Ford and Zaphod finally arrive at a large, very old building, and enter it to take shelter from the still angry bird people.

They discover that the building is a spaceport, and find abandoned ships left inside it. One such ship is still connected to supply lines, and still has power. Zaphod makes himself a stethoscope (for both heads), and holds it to the hull of this ship. He's stunned by what he hears inside, and here the episode ends

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THHGTTG - Fit 12 (17mb)

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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

Dec 30, 2007

Sundaze, (12)

Hello Sundazers, today the first of 3 parts focussing on Cluster. Their experimental music influenced the development of contemporary popular electronic and ambient music. They have recorded albums in a wide variety of styles ranging from a disorienting meld of random space music, industrial noise, proto-ambient atmospherics to progressive rock, all of which had an avant-garde edge. Here now their first, second and fourth album for you to explore and daze from.

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Cluster was one of the pioneering electronic music groups which popped out of Germany's electrical grid in the late 1960's.
Dieter Moebius, Hans-Joachim Roedelius and Conrad Schnitzler formed Kluster in 1969 after the three had met at the Zodiak Free Arts Lab.This trio released three albums, Klopfzeichen, Zwei-Osterei and Eruption. When Schnitzler left the group, Roedelius and Moebius became Cluster. They were joined by Conny Plank, Cluster's eponymous debut in 1971 on Philips, was the first major label release for the musicians. Previous Kluster works had been small or private label releases with no more than 300 copies pressed and sold. This album and the 1972 follow-up were a musical bridge between the avant-garde, discordant, proto-industrial sound of Kluster and the softer and more controlled ambient sounds of their mid to late '70s albums. They continued as a duo thereafter but worked extensively with producer/engineer Plank until his death in 1987.

In 1973 the duo moved to the rural village of Forst, West Germany to build their own studio.There Cluster and Neu! co-founder Michael Rother recorded two albums under the name Harmonia: Musik Von Harmonia in 1974 and Deluxe in 1975, both released on Brain. (will get to those in the future). After Rother left to concentrate again pn his band Neu ! Cluster went back to work as a duo, releasing Zuckerzeit later in 1974. Zuckerzeit sounds different from any other Cluster album, with clearly defined melody and beat and a rhythmic sound, at times approaching the Motorik style of Neu !

The resulting unit of Moebius and Roedelius would prove itself to be very durable and innovative. Before long, their reputation was such that Brian Eno opted to make two recordings with the group. The period from 1976 - 1979 was Cluster's most productive, with the four albums released during those four years receiving the most critical acclaim of any of Cluster's works. 1976 also marked Cluster's move to Hamburg based Sky Records. Their first release for Sky was Sowiesoso, a highly creative album of gentler melodies recorded in just two days.

In 1977 the duo joined with Brian Eno for recording sessions at Conny Plank's studio. The first release from those sessions was the even softer Cluster & Eno. Guest musicians on the album included Can bassist Holger Czukay and Asmus Tietchens on synthesizer. The association with Eno brought Cluster a much wider audience and international attention. The second album drawn from the Cluster & Eno sessions, After the Heat, released on Sky in 1978, featured a much wider variety of styles, including three tracks with vocals by Eno. Roedelius also began releasing solo material during this period, beginning with Durch Die Wüste for Sky in 1978.

Cluster's 1979 release Grosses Wasser was produced by ex-Tangerine Dream member Peter Baumann and once again featured a wide variety of styles, including some of the most avant-garde material since the demise of Kluster. In 1980, Sky Records reissued the first Cluster release with new artwork and a new title: Cluster '71. That same year, Dieter Moebius teamed with former Cluster member, engineer and producer Conny Plank on the album Rastakraut Pasta, released on Sky. A second Moebius & Plank album, Material was released in 1981. Cluster's 1981 release Curiosum lives up to its name, with the seven tracks of offbeat and unusual melodies. Curiosum was Cluster's last release for Sky. It was also the final collaboration between Moebius and Roedelius before an eight year long hiatus. to be contimued....

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Cluster - Cluster 71 (71 ^ 282mb)

Cluster was recorded at Star-Studio in Hamburg, Germany in January, 1971. Cluster began a transition away from the discordant, proto-industrial sound of Kluster towards a more electronic sound. Russ Curry of Curious Music credited Conny Plank with the change of direction, describing it as having "...continued the commitment to improvisation but developed a focus on sound structure..." Instrumentation included a pair of organs, Hawaiian guitar, cello, and audio generators, all played by Moebius and Rodelius, all of which were electronically treated by Conny Plank.

Note "The Wire" places Cluster's self-titled debut album in their "One Hundred Records That Set The World On Fire".

01 - 15:33 (7:42)
02 - 07:38 (15:43)
03 - 21:17 (21:32

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Cluster - Cluster II (72 ^ 239mb)

Cluster II was recorded at Star-Studio in Hamburg, Germany in January, 1972. It was Cluster's first release for legendary Krautrock label Brain Records, a relationship which would last until 1975 and include the subsequent album Zuckerzeit as well as the first two Harmonia albums, a group which included both remaining members of Cluster and Michael Rother of Neu!.Cluster II continued the transition away from the discordant, proto-industrial sound of Kluster towards a more electronic sound. It was the first album to feature relatively short tracks and it was the first album in which tracks were named.

01 - Plas (6:11)
02 - Im Süden (12:45)
03 - Für Die Katz (3:00)
04 - Live In Der Fabrik (14:39)
05 - Georgel (5:34)
06 - Nabitte (2:40)

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Cluster - Sowiesoso (76 ^ 150mb)

Sowiesoso was recorded in just two days in Forst, Germany in 1976. The title is a construct and roughly translates to English as "So why so". It was Cluster's first release for legendary Krautrock label Sky Records, a relationship which would last until 1983 including albums with Brian Eno, solo recordings, and three albums by the duo of Moebius and former Cluster member and frequent engineer/producer Conny Plank. Sowiesoso was Cluster's gentlest and most melodic album of electronic music to that point. Brian Eno had worked with Moebius and Roedelius with Harmonia prior to the recording of Sowiesoso and worked with Cluster again on two albums in 1977 and 1978 and the influence of the British ambient musician is clearly heard on the softer and more controlled sound of this album.

01 - Sowiesoso (8:10)
02 - Halwa (2:48)
03 - Dem Wanderer (3:52)
04 - Umleitung (3:23)
05 - Zum Wohl (6:52)
06 - Es War Einmal (5:23)
07 - In Ewigkeit (7:19)

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Dec 28, 2007

Into The Groove, (11)

Hello, Some old school rap today at Into The Groove the mid eighties delivered a number of hits and the compilation album, certainly delivers some of the best of those, it certainly will have your neurons fire up some memories, and should you have missed those days, it's never too late to join those beats..Whodini were a ' class act' from brooklyn that went to London to record some of the coolest beats of the day (84/85), they had the hottest scratcher on their team, Grandmaster Dee , and seemed set for the big league when once again the record company messed up. When the dust had settled the world had moved on....

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Whodini - Back In Black (86 ^ 98mb)

Coming out of the fertile early-'80s New York rap scene, the Brooklyn-raised trio, Whodini were one of the first rap groups to add a straight R&B twist to their music, thus laying the groundwork for the new jack swing movement. The group consisted of rappers Jalil Hutchins and John "Ecstasy" Fletcher, adding legendary DJ Drew "Grandmaster Dee" Carter, known for being able to scratch records with nearly every part of his body, in time for the Escape LP, released in 1984. Whodini made its name with good-humored songs like "Magic's Wand" , "The Haunted House of Rock" (a rewrite of "Monster Mash"), and "The Freaks Come Out at Night."

Their third record, Back in Black, is the follow-up to a multi-platinum album, 1984's Escape. The first track "Funky Beat" features monster bass and drums, the one-two punch of Hutchins and Ecstasy, as well as a rare rap from Grandmaster Dee. The well-produced "One Love" has great synth signatures and the guys dispensing their brand of pithy and pragmatic advice. The producer Larry Smith knew how to keep things sonically interesting. On the lyrically foggy "Fugitive," the hard rock guitars and clanging cymbals mesh especially well with Ecstasy's droll and abrupt delivery. "Echo Scratch" is also all over the road, but it was a great chance for Grandmaster Dee to show off his turntable skills. Also recorded at Battery Studios in London (as was Escape), Back in Black wasn't as influential as its predecessor, but it's just as enjoyable.

Following 1987's Open Sesame, Whodini went on hiatus due to problems with their record company, as well as to concentrate on new families. The group attempted a comeback in 1991 with Bag-a-Trix without much success, despite receiving their due as rap innovators. Five years later, Whodini returned with their sixth album, appropriately titled Six. The album disappeared shortly after its release.

01 - Funky Beat (5:04)
02 - One Love (5:29)
03 - Growing Up (5:12)
04 - I'm A Ho (4:00)
05 - Fugitive (6:05)
06 - Echo Scratch (5:16)
07 - Last Night (I Had A Long Talk With Myself) (5:27)
08 - The Good Part (4:09)

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VA - Hip Hop Chartbusters Vol.1 ( 86 * (68:41) 99mb)

So you never bought all those great 12" back in the days ..nevermind here's your chance to enjoy.( ps Be DEF ? Take the full bitrate)

01 - LL Cool J - Can't Live Without My Radio (5:29)
02 - Whistle - Nothing Serious (Just Buggin) (5:01)
03 - Real Roxanne, The - Bang Zoom (Let's Go Go) (5:54)

04 - Lovebug Starski - Amityville (House On The Hill) (5:30)
05 - Kool Moe Dee - Go See The Doctor (5:29)
06 - Full Force - Alice I Want You Just For Me (6:11)

07 - Doug E. Fresh - The Show (6:44)
08 - DJ Jazzy Jeff & The Fresh Prince - Girls Ain't Nothing But Trouble (4:35)
09 - UTFO - We Work Hard (5:17)

10 - Grandmaster Flash & The Furious Five - The Message (7:06)
11 - L Cool J - I Need A Beat (4:57)
12 - Whodini - Haunted House Of Rock (6:28)

VA - Hip Hop Chartbusters Vol.1 ( 86 ^ (68:41) 165mb)

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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

Dec 26, 2007

Eight-X, (11)

Hello, after all that food and drink has found is way it's time to continue with Eight-X. This system still gives me some trouble recording vinyl so i reverted to CD. First in line are The Cult , who after some tentative starts recorded a classic with Love, it seems US fans largely missed that one and so get a chance to make amence. B.A.D. was Mick Jones ' answer to the Clash after leaving them, here's the first and as so often most fresh album, though B.A.D. would release some good work in years to follow. My last posting today is another former Clash member , Joe Strummer, who quite unexpectedly died shortly before X mas five years ago. The album here doesnt rank as his first official soloalbum, though to my mind it is, it maybe a soundtrack to a movie which takes pplace in 1850, way before electric guitars that is, but i think he did a great job with "Walker" , admittedly it helps if, like me, you enjoy some latin music.

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The Cult - Love ( 85 ^ 485mb)

The origins of the Cult lie in the Southern Death Cult, a goth rock outfit formed by vocalist Ian Astbury (born May 14, 1962) in 1981. In December 1982, the Southern Death Cult released their first single -- the double A-side "Moya"/"Fatman" -- and the following month, they supported Bauhaus on tour. Though the group's future was looking bright, Astbury pulled the plug. Following the disbandment of the Southern Death Cult, Astbury shortened the name of the group to Death Cult and recruited guitarist Billy Duffy -- who had previously played with Theatre of Hate -- and drummer Ray Mondo and bassist Jamie Stewart, who had previously played with Ritual. Death Cult released an eponymous EP in the summer of 1983.In early 1984, the band shed "Death" from the title, fearing that the word gave them the misleading appearance of being a goth band.

Where both Southern Death Cult and Death Cult had been overtly influenced by post-punk, the Cult was a heavy hard rock band with slight psychedelic flourishes. Dreamtime, the group's first album, was released in the fall of 1984. For the group's summer single, "She Sells Sanctuary," the band was joined by Big Country's drummer, Mark Brzezicki. "She Sells Sanctuary" became a major U.K. hit, peaking at number 15. During the recording of the group's second album, drummer Les Warner joined the group. Love, released in the fall of 1985, displayed a marked improvement over the Cult's early material, and though it remains underappreciated in America, this exceptional record has actually aged better than the band's more notorious releases: Electric and Sonic Temple. Equal parts psychedelic hard rock and new wave goth, the songs on Love emanate a bright guitar sheen, tight arrangements, crisp drumming, and a command performance from vocalist Ian Astbury. The album benefits from a wonderful sense of space, thanks in large part to guitarist Billy Duffy, who also provides compelling melodies , driving riffs , and even a U2-like intro to "Big Neon Glitter." On top of all that it contains two great singles "She Sells Sanctuary" and the smash "Rain". Considering the musical schizophrenia that would plague each subsequent Cult release, Love just may be the band's best moment.

01 - Nirvana (5:29)
02 - The Big Neon Glitter (4:53)
03 - Love (5:32)
04 - Little Face (4:57)
05 - Brother Wolf Sister Moon (6:49)
06 - Rain (3:58)
07 - The Phoenix (5:06)
08 - The Hollow Man (4:44)
09 - Revolution (5:25)
10 - She Sells Sanctuary (4:19)
11 - Judith (5:29)
12 - Black Angel (5:25)
13 - She Sells Sanctuary (The Howling Mix) (8:19)

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Big Audio Dynamite - This Is (85 ^ 292mb)

After Mick Jones was fired from the Clash in 1983, he formed Big Audio Dynamite (B.A.D.) one year later to continue the more experimental funk elements of the Clash's Combat Rock. The group's original incarnation included Jones, video artist and Clash associate Don Letts (effects and vocals), Greg Roberts (drums), Dan Donovan (keyboards), and Leo "E-Zee Kill" Williams (bass). Adding samplers, dance tracks, and found sounds to Jones' concise pop songwriting, B.A.D. debuted on record with the single "The Bottom Line" in September 1985 and the album This Is Big Audio Dynamite later that year.

When it arrived in late 1986, Big Audio Dynamite's second album, No. 10, Upping St., boasted co-production and co-writing from Joe Strummer, Jones' former bandmate in the Clash. It was a much better fusion of contemporary production techniques . After a two-year break, the band returned with a less free-form work, Tighten Up, Vol. 88, but righted the ship with 1989's Megatop Phoenix, their biggest performer in America (thanks to the singles "Contact" and "James Brown").

After Megatop Phoenix, the band split apart at the end of 1989. Jones quickly added Gary Stonadge (bass/vocals), Chris Kavanagh (drums/vocals), and Nick Hawkins (guitar/vocals) to form Big Audio Dynamite II, the first full-length album with the new lineup, in 1991, B.A.D. II experienced their greatest success yet with the American Top 40 hit "Rush." In 1994, Jones truncated the band's name to Big Audio and released Higher Power. Thereafter, Big Audio parted ways with Epic, signing with Radioactive in early 1995 and releasing F-Punk.That conglomeration also split shortly afterward, Jones is these days mostly appearing in the production chair .

01 - Medicine Show (6:29)
02 - Sony (4:30)
03 - E=MC2 (5:54)
04 - The Bottom Line (4:35)
05 - A Party (6:40)
06 - Sudden Impact! (5:03)
07 - Stone Thames (4:05)
08 - BAD (5:54)

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Joe Strummer - Walker (87 ^ 248mb)

As frontman and main songwriter of the Clash, Joe Strummer created some of the fieriest, most vital punk rock -- and, indeed, rock & roll -- of all time. Since the Clash disbanded in 1986, Strummer has sporadically pursued film acting and released the occasional solo album, though seemingly only when it suits him. Joe Strummer was born John Graham Mellor. During his time at London boarding schools, the teenage Strummer immersed himself in rock and reggae, and began busking on the streets under his newly adopted stage name. In 1974, he formed the pub rock group the 101'ers, and co-founded the Clash in 1976; the rest was history. Six albums, and one frequently brilliant body of work later, the Clash broke up amidst rancorous infighting and uncertainty of direction.

Joe Strummer had become friendly with filmmaker Alex Cox when Strummer contributed some songs to the soundtrack of Cox's movie Sid and Nancy, and Joe later tagged along for the drunken holiday in Spain that was Straight to Hell. In 1987, when Cox began filming his ambitious film about the life of American mercenary William Walker, he brought Strummer along to play a small role in the film and compose the score. Strummer's music turned out to be just as ambitious as the film itself; Walker bears almost no resemblance to Strummer's work with the Clash, instead aiming for a airy fusion of several Latin musical styles . Strummer only sings on three cuts ("The Unknown Immortal," "Tennessee Rain," and "Tropic of No Return," which sound more like Mexican folk tunes than anything else), and while more than a few fans will wonder what Joe was thinking when he recorded this stuff, Strummer obviously took his assignment seriously and rather than forcing a period piece set in 1850 to bend to the force of his music, he pulled back the reigns on his rock influences and fashioned a series of simple but evocative pieces that conjure up the mystery and beauty of Nicaragua with commendable sense of dynamics and grace. In short, Strummer could have become a first-rate film composer if he'd stuck with it, and while Walker is something of an anomaly in his discography, it's also a lovely and engaging set of music.

Strummer also wrote five songs for the soundtrack of 1988's Permanent Record. In 1989, he released his first solo album, Earthquake Weather, which blended straight-up rock & roll with touches of world music. However, following a temporary stint filling in for Shane MacGowan in the Pogues, Strummer largely fell silent after the very early '90s. In 1999, Strummer released his second solo album, Rock Art and the X-Ray Style, which largely forsook straight-ahead rock & roll in favor of eclectic, rhythmic, world music flavored compositions, plus elaborate singer/songwriter-ish lyrics. Strummer further refined this new direction with the follow-up, 2001's Global A-Go-Go. In December 2002, he was in the midst of recording his fourth solo album when he died suddenly of a heart attack at his home in Somerset.

01 - Filibustero (3:57)
02 - Omotepe (3:46)
03 - Sandstorm (1:56)
04 - Machete (3:04)
05 - Viperland (2:40)
06 - Nica Libre (3:45)
07 - Latin Romance (3:52)
08 - The Unknown Immortal (3:45)
09 - Musket Waltz (2:38)
10 - The Brooding Side Of Madness (3:02)
11 - Tennessee Rain (2:54)
12 - Smash Everything (3:21)
13 - Tropic Of No Return (3:09)
14 - Tropic Of Pico (4:26)

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

Dec 24, 2007

Don' t Panic !, (11)

Hello fellow travellers , as usual a recap of last weeks episode

The episode opens with more background material on Arthur Dent, specifically how the "remarkably unremarkable" human from Earth had an effect on the war between the G'Gugvunts and Vl'Hurgs, and will now have further significance on the planet Brontitall, where the Heart of Gold has just arrived. Zaphod and Ford discuss their arrival in a cave with Eddie the computer, noting the cold. Eddie calculates after they, and Arthur and Marvin, have departed the ship, that they are thirteen miles above ground level, despite there not being any mountains on the planet.

The four begin to explore the cave. Shortly, Arthur falls out of the cave mouth. Zaphod nearly falls as well, but catches the lip of the cave mouth, then discovers for himself that they are "miles up in the air." Ford talks to Zaphod while the latter dangles.

Meanwhile, Arthur has managed to fall onto a large passing bird. The bird reveals that the "cave" is actually a mile long marble sculpture of a plastic cup, hanging in the sky, part of a larger statue. The bird flys Arthur to the main statue, which is known as "Arthur Dent Throwing the Nutrimatic Cup." Arthur then reveals himself to be the very person that the statue is modeled after, and the bird flys into the statue's right ear, where the rest of his kind live. Arthur meets them, and their leader, the Wise Old Bird, and learns a few things about the past of Brontitall. For example, the statue was built in Arthur's honor after his argument with the Nutrimat Machine inspired them to rid themselves of the "blight of the robots". There is one thing the birds refuse to speak of, however, and the Wise Old Bird tells Arthur, "if you want to know, you will have to descend to the ground...."

The Guide mentions how little is still considered to be unspeakable in the galaxy, except for the rudest word in existence: "Belgium". Zaphod uses this word to finally convince Ford to attempt a rescue, still dangling from the lip of the mile-long cup. The attempt fails, and both of them fall out of the cup, and onto another passing bird.

On the surface, Arthur encounters a Footwarrior, who has declared the planet of Brontitall to be the property of the Dolmansaxlil Galactic Shoe Corporation. Fleeing the Footwarrior, Arthur takes refuge in a trench with an archaeologist named Lintilla, who tells Arthur that she's on Brontitall to discover why the Footwarriors are all limping due to blisters, as the episode ends.(wiki)

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THHGTTG - Fit 11 (19mb)

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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

Dec 23, 2007

Sundaze, (11)

Hello Sundazers, today i have a special X-mas post, after all that awful muzak that gets on peoples nerves...and when like meets like at Xmasday those nerves enhance eachother and go pop, so i promise you with todays music as Xmas muzak things will stay decent and provide a frosty fresh atmosphere as back ground to the smells of food and the sound of laughter and will keep the agitation in check.
Now then The Beating of Wings was my Xmas record of 84 , i planned to supplement it with True Love Waits, classical piano renditions of Radiohead songs, but...i couldnt find it searching is not my strong point but i made a substantial effort, i decided to fall back on another Andrew Poppy album, Alphabed..well after all that had been ripped recoded and uploaded, i sat down to watch some tele, with a knawing come i couldnt find the cd i know i had in my hand just a week ago when planning tonights post...another search drive and this time, even time to code it there you have it..Happy X mas , btw Rhotation continues as usual this week.

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Andrew Poppy studied music at Royal Holloway College and Goldsmiths College University of London, studying piano and earning a B.M. degree in piano performance. One of the least internationally known of British minimalist composers, Poppy was a founding member (in 1981) of The Lost Jockey, a large ensemble dedicated to the performance of new works by British composers composed in the style of such composers as Philip Glass, Steve Reich, and Louis Andriessen. He wrote a number of works for the ensemble including, "The Object is a Hungry Wolf". In the mid 1980s he signed to Paul Morley and Trevor Horn's ZTT Records. Pursuing a post minimal aesthetic in the context of a pop label he recorded 2 CDs. "Alphabed" merges traditional composition and studio production techniques in its use of sequencers, samples and electronic keyboards and includes a variety of singers including Annette Peacock, Ashley Slater, Udo Scheuerpflug and Dee Lewis

He contributed orchestral arrangements to Force The Hand of Chance, the first album by the group Psychic TV which was released on WEA Records in 1982. Over the last two decades Poppy has worked in the studio with bands such as The The, Erasure, Nitzer Ebb as well as making theatre scores for Julia Bardsley's productions of Macbeth and Family Reunion and Kenneth Branagh's perfomance of Coriolanious. The list of choreographies provoked to make dances to Poppy's music include Ian Spink, Sally Owen, Michael Clark, Gaby Agis, Sue Davies, Linda Gaudreau, Julia Bardsley, Michael Popper, David Massingham and most recently New Yorker Heidi Latsky. He has also made music for TV and film - notably with Portugese director and producer Vitor Gonçalves - and between 1995-97 he was head of music at the National Film and TV School in the UK. The year 2000 saw the CD release of Time At Rest Devouring It's Secret, a studio work of 35 minutes duration which once again connects the musical techniques of the minimalist project to an image from popular culture.

Andrew Poppy - The Beating Of Wings (84 ^ 247mb)

1 - The Object Is A Hungry Wolf (12:27)
2 - 32 Frames For Orchestra (8:38)
3 - Listening In (13:01)
4 - Cadenza (14:31)

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Andrew Poppy - Alphabed (A Mystery Dance) (87 ^225mb)

1 - 45 Is (Voc. Sheila Smith , Udo Scheuerpflug) (20:37)
2 - Goodbye Mr G (Voc. A.Peacock, A.Slater, D.Lewis, J.Favier) (14:34)
3 - The Amusement (Voc. Sheila Smith , Udo Scheuerpflug) (6:34)

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Christopher O'Riley - True Love Waits (03 ^ 170mb)

O’Riley was born in 1956 in Chicago, Illinois and grew up in Evanston, Illinois. He studied classical piano at the New England Conservatory of Music. He has received sebveral awards at competitions. O'Riley' s debut album, a collection of the works of Ferruccio Busoni, was released in 1983. He has since released several recordings, including works of Maurice Ravel, Sergei Rachmaninoff, Jean-Philippe Rameau, John Adams, Igor Stravinsky, and Alexander Scriabin, as well as a recording of Rhapsody in Blue with the Royal Philharmonic Orchestra.

O'Riley is the host of the weekly National Public Radio program From the Top, one of if not the most popular classical music show on the air today. O'Riley first began performing Radiohead songs as a intermezzo during a break in the program, to supplement preludes and miniatures by composers such as Debussy and Rachmaninoff. Many of those short classical pieces are found on his CD release At the Break.

True Love Waits: Christopher O'Riley Plays Radiohead was released in 2003. O'Riley's second Radiohead-derived album, Hold Me To This, followed two years later and contains a different selection of songs. In 2006, he released a piano tribute to Elliott Smith, Home to Oblivion, again featuring his own arrangements.

O'Riley claims his own piano arrangements have introduced the music of Radiohead to an ignorant classical audience as well as introducing classical music to a wider or younger audience, as he sometimes performs both standard concert repertoire, such as Shostakovich or Mozart, and Radiohead, Elliott Smith or Nick Drake interpretations at the same concert. O'Riley describes himself as an obsessed Radiohead fan in interviews, and says he was attracted to the multilayered nature of the band's music, leading him to listen and transcribe lesser known album tracks, live bootleg recordings of performances, b-sides, and even songs never officially released, as well as some of their hit singles.

01 - Everything In It's Right Place (4:07)
02 - Knives Out (4:38)
03 - Black Star (3:35)
04 - Karma Police (4:37)
05 - Let Down (5:32)
06 - Airbag (3:47)
07 - Subterranean Homesick Alien (4:15)
08 - Thinking About You (2:00)
09 - Exit Music (For A Film) (4:29)
10 - You (2:56)
11 - Bulletproof (3:02)
12 - Fake Plastic Trees (4:58)
13 - I Can't (2:38)
14 - True Love Waits (5:01)
15 - Motion Picture Soundtrack (4:49)

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

Dec 22, 2007

Rhotation, ( 11) Into BPM

Hello, its been one of those days..i was busy working at the pc when i started smelling melting plastic (?) then my pc switched off came back on and 2 min later out again..took the covers off cleaned it out but restarting didnt make it too the wallpaper.. Ouch. No change copying data. Now i got another system but that caused some troubles aswell, before i could work with it..silly stuff and i cant connect my trackball-of which ive been very fond of for 9 years now, i really dont understand why all of you are mousing along all the time. Well obviously all this cut into my preperation time so today..

In October 2000 React celebrated its 10th birthday, but it celebrated more than that. The history of the label tells the story of how acid house and club culture came of age. As React grew into one of the most successful and long-running independent dance labels in Britain, so did dance music. Nostalgics would tell you that club culture's days of innocence are gone, but, for all their success, React still believed in the same things they always have. Many dance labels rose and fell over the previous decade, but React continued to stay ahead of the pack.

Although React was enjoying its best period of turnover and profit for 5 years, the label was owed in excess of £1,000,000 in distributed income from 4am/Flute, part of the Beechwood Music group of companies that went into voluntary administration in June. Following Beechwood’s closure, React was unable to extract any monies due or trade out of such debts and as a result the label was forced into voluntary administration on 16th June 2004. In its place, a new company, Resist Music, has been set up by React's James Horrocks and Melissa Kemp and has since acquired the staff, rights and catalogue of React and is now officially open for business.

Here are two great Various Drum & Bass double albums released by the React . Artcore 3 & 4,  and in two flava's..

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Celebrating D n B as an expression of thought and feeling, from the height of idyllic opimism to the depths of inner turmoil. Feel the urban uniformity, the hope tinged with soulfull realism and the freestyle freshness...each track of this compilation communiquates a unique ideausing both simple and sophisticated techniques, food for the thoughtful..enjoy

VA - Artcore 3 (97 * 448mb)

1-01 - Bliss 'n' Tumble - The Journey (6:34)
1-02 - Ken Ishii - Stretch (Shogun Remix) (7:42)
1-03 - Underwolves, The - The Crossing Pt.II (Words) (6:14)
1-04 - Dave Wallace - Expressions Pt.2 (7:45)
1-05 - Icons - Electric Soul (6:16)
1-06 - Spirit - Solar Glide (7:36)
1-07 - Tribe Zero 2 - Death By Sax (7:06)
1-08 - Garbage - Milk (Goldie's VIP Trash Your Sh*t Mix) (7:43)
1-09 - Ed Rush - Skylab (6:19)
1-10 - Nasty Habits - Shadow Boxing (7:58)

VA - Artcore 3-2  (flac 470mb)

2-01 - DJ Die - Reincarnation (6:08)
2-02 - Danny Breaks The Bear (7:50)
2-03 - Peshay - On The Nile (8:26)
2-04 - Larry Heard & Nookie - Mystical People (6:18)
2-05 - Saint Etienne - The Sea (PFM Remix) (9:36)
2-06 - Intense - Motions (VIP Mix) (7:33)
2-07 - Wayward Minds - Homeland X-Pressive Journey (8:35)
2-08 - Zed - Pulse (VIP Mix) (6:59)
2-09 - Adam F - F-Jam (7:23)
2-10 - A-Sides & Nathan Haines - Ave Maria (8:19)

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Artcore moves to a fourth dimensions following the progress, here selected are the cream of contemporary drum and bass . This volume focuses on a fresh wave of beat technology where state of the art drumprogramming as at the forefront of a more minimal sound, leaving your speakers plenty of space to breathe. A recurring techno theme ranging from raw analogue to more polished Detroit sound features as one of the newer flavas of this drum and bass collection..

VA - Artcore 4 - DnB Beat Technology (97* 459mb)

1-01 - Justice and Tertius - Essential 4 Life (6:35)
1-02 - A Forest Mighty Black - Tides (Peshay and Flytronix Remix) (6:25)
1-03 - Subject 13 - Mystical Flyte (7:22)
1-04 - Smoke Screen - Nu Breeze (6:40)
1-05 - Matrix - Fluid Motion (5:15)
1-06 - DJ Krust - Soul In Motion (11:04)
1-07 - Boymerang - Mind Control (8:31)
1-08 - Decoder - Vapour Rub (6:57)
1-09 - Optical - Cryogenesis (5:39)
1-10 - State Logik - Technologik (7:20)

VA - Artcore 4 - DnB Beat Technology 2  (flac  441mb)

2-01 - Dilemma - Spring Box (Matrix Vip Remix) (6:55)
2-02 - Andy C and Shimon - Genetix (5:50)
2-03 - Digital and Spirit - Shockwave (Vip Mix) (6:27)
2-04 - Jonny L - Piper (5:58)
2-05 - Future Passed - Searching For A Beat (6:14)
2-06 - Kitachi - Spirit (6:35)
2-07 - Spinback and Q Project - Led (Vip Mix) (7:02)
2-08 - Blu Mar Ten - The Fountain (11:04)
2-09 - Override - Pac 3 (6:54)
2-10 - Chicane - Sunstroke (Mission Control Remix) (6:45)

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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

Dec 21, 2007

Into the Groove, (10)

Hello, time for some 'down to earth' funk from the seventies Funkadelic they had a 'up in space' funk side aswell, Parliament, but i leave that for some other day. Funkadelic furthered the notions of black rock begun by Jimi Hendrix and Sly Stone, blending elements of '60s psychedelia and blues plus the deep groove of soul and funk. Their albums are rather more ethereal and abstract when compared to Parliament’s. Rather than tell the story of a cast of characters, the mythology of Funkadelic is a socially conscious spiritualism. After ripping these vinyls today i couldnt help thinking how influencial these guys have been, not to mention the high production values. Really enjoyed hearing them again. I've added the inside just don't get that anymore in these cd days...i have the " One Nation" version with the bonus ep but offered it as a seperate download..well worth it ..

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Funkadelic was originally the backing band for the doo wop group, The Parliaments. The band was added in 1964, primarily for tours, after the army took them, George Clinton (the leader of The Parliaments) recruited Billy Bass Nelson and Eddie Hazel in 1967, then also adding Tawl Ross and Tiki Fulwood. They would later go on to add members of the famous James Brown backing band "The JB's" to the Funkadelic lineup, with the addition of brothers Bootsy & Catfish Collins.

Due to legal difficulties between Clinton and Revilot, The Parliaments' label, the name was abandoned in favor of Funkadelic, which consisted of the same group of people (that is, both the former Parliaments and their back-up band, now both combined in the name "Funkadelic"). The group signed to Westbound in 1968. The group's self-titled debut album, Funkadelic, was released in 1970. The credits listed organist Mickey Atkins plus Clinton, Fulwood, Hazel, Nelson and Ross, though the actual recording also included several uncredited sessionmen then employed by Motown, as well as Ray Monette and Bernie Worrell.

Bernie Worrell was officially credited starting with Funkadelic's second album, 1970's Free Your Mind... and Your Ass Will Follow, thus beginning a long collaboration between Worrell and Clinton (who had been friends for quite a while). Worrell would go on to produce many Parliament and Funkadelic albums, as well as play keyboard on albums by other members of P Funk. After the release of Maggot Brain in 1971, Bootsy and Catfish Collins joined the group. The group would go on to become major contributors to the P-Funk sound. In 1972, this new line-up released America Eats Its Young, but many members left the group after that, due to internal squabbles and drug problems.

1975 brought Funkadelic to Warner Brothers, and saw the release of Hardcore Jollies in 1976. The same year, Westbound released a compilation of archived tracks titled Tales of Kidd Funkadelic, which did commercially significantly better than Hardcore Jollies and included "Undisco Kidd", an R&B Top 30 single. In 1977, Westbound capitalized on the success of Tales of Kidd Funkadelic by releasing The Best of the Early Years. Funkadelic recorded and released its magnum opus, One Nation Under a Groove in 1978. The titular track spent six weeks at #1 on the R&B charts, while Parliament was enjoying success with "Flash Light" and "Aqua Boogie." Uncle Jam Wants You continued Funkadelic's new more electronic sound production. The album contains fifteen minutes long version of chart-topping "(Not Just) Knee Deep". The last album, The Electric Spanking of War Babies, was released in 1981, and has a very good reputation among the funk music listeners despite the fact that it yielded no hit singles..

As the 1980s wore on, with legal difficulties arising from the multiple names used by multiple groups, as well as a shakeup among Parliament's record label, Parliament and Funkadelic disintegrated. George Clinton recorded several solo albums (sometimes under the name George Clinton & the P.Funk All-Stars)

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Funkadelic - Maggot Brain ( 71 Flac 327mb)

One central concept is Maggot Brain (Maggot Brain, 1971), which is an unenlightened small-mindedness, and which must be overcome for humanity to avoid its destruction and decay. It is explicitly ascribed to the titular junkie in "Super Stupid," who has "lost the fight" with fear. Other songs on the album advocate universal love, peace, and brotherhood, and war is explicitly compared to insanity in "Back In Our Minds." The album ends on an apocalyptic note with "Wars of Armageddon," in which the sound of a crying baby can be taken as a direct reference to the speech at the beginning of the title track: "Mother Earth is pregnant for the third time, for y'all have knocked her up." With its noisy improvisation and activist chanting, the track appears to depict a final confrontation between good and evil.

01 - Maggot Brain (10:19)
02 - Can You Get To That (2:49)
03 - Hit It And Quit It (3:49)
04 - You And Your Folks, Me And My Folks (3:34)
05 - Super Stupid (3:56)
06 - Back In Our Minds (2:36)
07 - Wars Of Armageddon (9:39)
08 - Whole Lot Of BS - Westbound W 172 (2:11)
09 - I Miss My Baby - US Music With Funkadelic (5:02)
10 - Maggot Brain (Alt Mix, Recorded 71) (9:35)

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Funkadelic - One Nation Under A Groove (78 Flac 474mb)

One Nation Under a Groove introduces Funkadelica, a nation wherein the Funk rules and can’t be either stopped or labeled. The people of Funkadelica are called Funkateers (as are P Funk fans) and are led by Uncle Jam. Their mission is to rescue dance music from the doldrums (unFunkiness) This album is the pinnacle of Clinton's political consciousness. It's unified by a refusal to acknowledge boundaries -- social, sexual, or musical -- and, by extension, the uptight society that created them. The tone is positive, not militant -- this funk is about community, freedom, and independence, and you can hear it in every cut.

01 - One Nation Under A Groove (7:30)
02 - Grooveallegiance (7:00)
03 - Who Says A Funk Band Can't Play Rock? (6:14)
04 - Promentalshitbackwashpsychosis Enema Squad (The Doo Doo Chashers) (10:57)
05 - In To You (5:40)
06 - Cholly (Funk Getting Ready To Roll!) (4:25)
07 - Lunchmeataphobia (Think! It Ain't Illegal Yet!) 4:12
08 - P. E. Squad / Doodoo Chasers ("Going All-The-Way-Off" Instrumental Version) 4:18
09 - Maggot Brain (Live) 8:30
10 - One Nation Under A Groove (12) 11:26
11 - One Nation Under A Groove (Instrumental) 5:46

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Funkadelic - The Electric Spanking Of War Babies  (81 Flac 311 mb)

The phrase "electric spanking of war babies" refers to what George Clinton saw as the U.S. government using the media to promote imperialistic wars. To the funk innovator , the American media functioned as a propaganda machine during wartime. But whether or not one cares to examine its hidden political messages, Electric Spanking is a party album..

01 - The Electric Spanking Of War Babies (8:37)
02 - Electro-Cuties (6:16)
03 - Funk Gets Stronger (Part I) (6:37)
04 - Brettino's Bounce (3:40)
05 - Funk Gets Stronger (Killer Millimeter Longer Version) - She Loves You (4:41)
06 - Shockwaves (5:07)
07 - Oh, I (4:54)
08 - Icka Prick (4:05)
09 - The Electric Spanking Of War Babies (Instr) (4:58)

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

Dec 20, 2007

Alphabet Soup, (10-I)

Hello, as i mentioned last week, i made a silly mistake..switching I and J in the Alphabet Soup, so todays post which should have been J is about I as we've had J last week..back on track next week with 11-K.

Got a great mixed bag today; The Infadels won Best Live Act and Best Dance Band before landing a contract and ever since they released their debut, 23 months ago, they've been touring like mad. What else can you expect from a band with Dead at Thirty as motto. Well their next album will be released spring 2008 so they did find some time for recording.. In Extremo is one of those bands that fuse music from the Middle Ages with current metal. I have to say i like that kind of back to the future music, Germans especially keep those days alive and provide an excellent backdrop at the many Medieval markets that are held throughout the country. In Extremo have released 10 albums this past decade, the one here-Wake the Dead- is their third. Take the trip.. Last one today is a vinylrip copy of an original from 73, one thats impossible to remaster without making a completely new album from it, strange and wild noises that sealed the fate of a band that at the time was discarded as awful and crazy, but as we know with hindsight, proved to be punk before we knew what punk was. Right, and 34 years later they released the follow up album to this, their original swan song "Raw Power".

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Infadels - We Are Not The Infadels (06 ^ 329mb)

Infadels were founded in 2003 by Alex Bruford (drums-son of Bill), Matt Gooderson (guitar, programming) and Bnann (vocals) who were joined shortly afterwards by Dead at Thirty founder Richie (live keys) and bassist Wag Marshall-Page.The band have quickly established themselves as darlings of the UK live scene .

The band released two singles, Leave Your Body and Can't Get Enough/Murder That Sound on their own record label, Dead at Thirty before awards for Best Live Act and Best Dance Band at the 2004 Diesel-U-Music Awards sealed a move to Wall of Sound. In January 2005 the Infadels headed into the studio with Producer Jagz Kooner to begin production on what became their critically acclaimed debut album, We Are Not the Infadels.

In support of that album, Infadels have built up a reputation as one of the hardest working bands in the industry. In 2006 alone, they performed in excess of 150 shows in some 20 countries. This included 2 UK tours, 3 European tours, an Australian tour as well as numerous dates in the USA and Russia and 35 festival dates. As well as their headline shows they’ve also featured on tours supporting the likes of Chemical Brothers, Scissor Sisters, Hard-Fi, The Prodigy, and Faithless.

As of September 2007, Infadels are in the studio recording the follow up album with ex-Killing Joke and Verve producer Martin "Youth" Glover which will be called Universe in Reverse

01 - Love Like Semtex (3:47)
02 - Can't Get Enough (3:22)
03 - Topboy (3:51)
04 - Girl That Speaks No Words (4:18)
05 - Jagger '67 (3:26)
06 - 1'20" (1:20)
07 - Murder That Sound (5:33)
08 - Reality TV (3:41)
09 - Give Yourself To Me (6:12)
10 - Sunday (4:12)
11 - Stories From The Bar (7:06)

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In Extremo - Weckt Die Toten ! (Wake The Dead)  (98 ^ 323mb)

In Extremo (abbreviated InEx, or just IX) began as two projects: a nameless, purely medieval band, and a rock band. They became known at that time through frequent appearances at medieval market meetings, at which they performed their acoustic pieces and sold CDs of their renditions of traditional songs. During the recording for the 1995 season, Michael Rhein (alias Das Letzte Einhorn, engl. "The Last Unicorn") found the project name "In Extremo", Latin for "At The Edge."

Besides the electric guitar, bass, and drum set, In Extremo defines itself by unconventional (for a rock band) instruments mainly of medieval origin. They include the hurdy-gurdy, bagpipes, shawm, nyckelharpa, harp, cittern, tromba marina, hammered dulcimer, Klangbaum, and various types of drums and percussion. The bagpipes are the most conspicuous of these instruments, as Dr. Pymonte, Yellow Pfeiffer, and Flex der Beigsame all play bagpipes, sometimes all three at once. All of the band members play multiple instruments, and frequently rotate instruments between songs. Not all lyrics are written by the band, some come - like the instruments - from traditional songs written during the Middle Ages and Renaissance (8-15th century). The languages most frequently used include Icelandic, Old Swedish, Old French, Middle High German, Old High German, and Latin.

In August 1996, they began work on the first In Extremo album, which already contained two tracks of the new rock project. Because the album had no official name, it became known as "In Extremo Gold" because of the golden covers, it quickly sold out in Medieval markets. In Extremo played separately as a medieval and a rock band, until on March 29 1997, when they played their first live rock concert. Since that time, they have given this date as their date of establishment. Over the years, their music became increasingly heavier, while at the same time becoming increasingly commercially successful. The classical instruments, however - the bagpipes, shawms, and lutes - still play a large role. The band is likewise noted for their conspicuous stage costumes and known for using pyrotechnics in their concerts.

01 - Ai Vis Lo Lop (3:59)
02 - Stella Splendens (1:18)
03 - Hiemali Tempore (4:14)
04 - Rotes Haar (5:02)
05 - Villeman Og Magnhild (3:44)
06 - Como Poden (3:19)
07 - Palästinalied (5:19)
08 - Vor Vollen Schüsseln (3:32)
09 - Maria Virgin (4:56)
10 - Totus Floreo (3:37)
11 - Der Galgen (3:28)
12 - Two Soestra (2:32)

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Iggy And The Stooges - Raw Power ( 73 rem 10      185mb)

After playing in several local bands, Iggy Pop (born James Osterberg) formed the Stooges in 1967 after witnessing a Doors concert in Chicago. Adopting the name Iggy Stooge, he rounded up brothers Ron and Scott Asheton (guitar and drums, respectively) and bassist Dave Alexander, and the group debuted at a Halloween concert at the University of Michigan student union in 1967. For the next year, the group played the Midwest relentlessly, earning a reputation for their wild, primitive performances, specially Iggy gained attention for his bizarre on-stage behavior, performing shirtless, he would smear steaks and peanut butter on his body, cut himself with glass, and dive into the audience. The Stooges were infamous, not famous. As luck would have it an Elektra talent scout went to Detroit to see the MC5 and wound up signing their opening act, the Stooges, as well.

Produced by John Cale, the Stooges' primitive eponymous debut was released in 1969, and while it generated some attention in the underground press, it barely sold any copies. As the band prepared to record their second album, every member sank deeper into substance abuse, and their excess eventually surfaced in their concerts, not only through Iggy's antics, but also in the fact that the band could barely keep a simple, two-chord riff afloat. Fun House, an atonal barrage of avant-noise, appeared in 1970 and, if it was even noticed, it earned generally negative reviews and sold even fewer copies than the debut. Following the release of Fun House, the Stooges essentially disintegrated, as Iggy sank into heroin addiction.

For the next two years, the band was in limbo as Iggy weaned himself off heroin and worked various odd jobs. Early in 1972, Pop happened to run into David Bowie, then at the height of his Ziggy Stardust popularity. Bowie made it his mission to resuscitate Iggy & the Stooges, as the band was now billed. With Bowie's help, the Stooges landed a management deal and a contract with Columbia, and he took control of the production of the group's third album, Raw Power. Released in 1973 to surprisingly strong reviews, Raw Power had a weird, thin mix due to various technical problems. Although this would be the cause of much controversy later on -- many Stooges purists blamed Bowie for the 'no highs, no lows, and lots of distortion in between' mix -- its razor-thin sound helped kick-start the punk revolution. At the time, however, Raw Power flopped, essentially bringing the Stooges' career to a halt, with the band's disastrous final gig captured on the live album Metallic K.O.

In 1976, Bowie once again came to Iggy's rescue, helping him establish himself as a solo act by producing the albums The Idiot and Lust for Life and playing keyboards in Iggy's road band. more to read at Iggy - The Idiot

1 - Search And Destroy (3:28)
2 - Gimme Danger (3:28)
3 - Your Pretty Face Is Going To Hell (4:51)
4 - Penetration (3:28)
5 - Raw Power (4:20)
6 - I Need Somebody (4:55)
7 - Shake Appeal (2:59)
8 - Death Trip (5:49)

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

Dec 19, 2007

Eight-X, (10-79)

Hello, it's Eight-X time again, and regular visitors won't be surprised that today i'm exploring 1979, the year of the Ayatollah Khomenei who returned to Iran and established the Council of the Islamic Revolution. Later that year the 400 days hostage crises started at the US embassy...the demand: the return of the Shah that had flown the country, obviously to stand trial for his crimes against the Iranians. Not that unreasonable i would think. The sovjets started the ill fated occupation of Afghanistan, which in the end let to the demise of the Sovjet Union..will Iraq lead to the same outcome for the USA i wonder. Saddam comes to power, and soon starts appeasing the USA by attacking Iran. The 12th of july A "Disco Demolition Night" publicity stunt went riot at Comiskey Park, as 50,000 discohaters turned up instead of the expected 5,000. It forced the Chicago White Sox to forfeit their game against the Detroit Tigers.

To the music, Joe Jackson's Look Sharp cover is number 22 on Rolling Stone's list of the 100 greatest album covers of all time. How nice, and i still own exactly the same model shoes be it in black. The album didnt do that much in the UK initially and through his career Jackson has been more popular in the States. He quickly followed up his debut with I'm the man..bit to fast for the slower US market but together these 70 min make for a great start of his career, he added Beat Crazy a year later and then veered off into new directions. The Only Ones , like Joy Division made a much larger impact on the music scene than what one would expect from releasing just a couple of hours of music. Even Serpents Shine hasn't just an awesome cover, it's the highlight of the Only Ones career even though it didnt have a hit.. I added some .. Unknown Pleasures turned out to be a bleak and hollow sound for the nihilistic post punkers looking for direction and confirmation of "No Future". Well Ian Curtis left early, unable to cope with his epileptic attacks on top of all that. Unknown Pleasures is a classic album and like everything he participated in, his death gave it a larger than life aura, one thats been commercialy exploited for 25 years now.

The Specials managed to distill all the anger, disenchantment, and bitterness of the day straight into their music add to that Leadman Jerry Dammers insights creating and styling his own Two Tone label, the fire was so intense that the whole ska beat scene lost momentum within 2 years, and after the Specials released their loungy follow up they broke apart into Special AkA where Dammers freed Nelson Mandela and afterwards threw in the towel. Terry Hall, Neville Staples and Lynval Golding formed .Fun Boy Three, scored some hits but after a second album dissolved.

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Joe Jackson - Look Sharp ! ( 79 ^ 83mb)

Joe Jackson (born David Ian Jackson, 11 August 1954) was a sickly child, afflicted with asthma, first diagnosed when he was three and producing attacks that lasted into his twenties. Prevented from playing sports, he turned to books and eventually music. At 11, he began taking violin lessons, later studying timpani and oboe at school. His parents got him a secondhand piano when he was in his early teens, and he began taking lessons, soon deciding that he wanted to be a composer when he grew up.

From the age of sixteen he played in bars, in 1972, he passed an advanced "S" level exam in music that entitled him to a grant to study music, and he was accepted at the Royal Academy of Music in London. Rather than moving to the city, he spent his grant money on equipment and commuted several days a week. However Jackson did not like the prospect of being a serious composer, and moved towards pop and rock. Jackson's first band was Edward Bear, later renamed Arms and Legs, they dissolved in 1976 after two unsuccessful singles. Although he was still known as David Jackson while in Arms & Legs, it was around this time that Jackson picked up the nickname "Joe", based on his perceived resemblance to the puppet character Joe 90

.Joe Jackson, as he now called himself, then spent some time in the cabaret circuit to make money to record his own demos.
In 1978 a David Kershenbaum ( A&R) heard his tape, and got him signed to A&M Records. The album Look Sharp! was recorded straight away. October 78 saw the release of his first JJ single "is she really going out with him ?" It flopped. January 79 hhis debut album Look Sharp was released, again largely unnoticed in the UK, however in the States it got picked up and when Is she really going out with him was released as a single there the album went gold, on such strong US feedback things picked up strongly for Joe in the UK aswell.

Meanwhile, Jackson toured more or less continually, playing dates in Continental Europe in June and then back in the U.K. through August before returning to North America. But he had found the time and inspiration to craft a quick follow-up to Look Sharp!, and his second LP, I'm the Man, was released on October 5. That was a little too soon for the U.S. market, where Look Sharp! had not yet exhausted its run, and while the album made the Top 40, it was a relative sales disappointment, with the single "It's Different for Girls" failing to enter the Hot 100. The story was different in the U.K., however, where I'm the Man made the Top 20 and "It's Different for Girls" reached the Top Five. Critically, the album was considered a continuation of Look Sharp!, an opinion shared by Jackson himself.

The Joe Jackson Band was very successful and toured extensively. After the breakup of the band, Jackson took a break and recorded an album of old-style swing and blues tunes, Jumpin' Jive, featuring songs of Cab Calloway, Lester Young, Glenn Miller, and most prominently, Louis Jordan. Jackson went through more personal changes over the next year. He and his wife divorced, and he moved to New York City, where, true to form, he began to immerse himself in new musical genres, particularly attracted to salsa and the classic songwriting styles of Gershwin and Cole Porter. The result was Night and Day, released in June 1982, Jackson's first album to put his keyboard playing at the center of his music. Jackson would call New York home for the next twenty years.

Jackson returned to the studio and emerged in March 1984 with Body & Soul, an album with a cover photograph showing him clutching a saxophone in the style of the 1950s LP covers of Blue Note Records. The disc inside was a follow-up to Night and Day in style, however, with a bit more of an R&B tilt, and it was another commercial success After more extensive touring Joe took 18 moths before recording Big World (86) which was basicly a live album as it was directly cut from a theatre performances. The instrumental "Will Power" set the stage for things to come later, but before he left pop behind he put out two more cerebral and celebratory albums, Blaze of Glory and Laughter & Lust. For some years he drifted away from the pop style, going on to be signed by Sony Classical in 1997, which released his Symphony No. 1 in 1999 for which he received a Grammy Award.

Having released only semi-classical works on his last three recordings, Jackson was thought to have abandoned pop/rock music completely, but that proved not to be true. The early years of the 21st century found him in a flurry of activity, much of it returning him to the pop music realm. In June 2000, Sony Classical, issued Summer in the City: Live in New York, an album drawn from an August 1999 concert that featured him playing piano and singing, backed only by Maby and drummer Gary Burke. Four months later came Night and Day II, a new set of songs in the spirit of his most popular recording. Touring to promote the album in Europe and North America from November to April 2001, Jackson recorded the concert CD Two Rainy Nights: Live in the Northwest (The Official Bootleg), released in January 2002.

Later in 2002, Jackson surprised longtime fans by reuniting with the original members of the Joe Jackson Band, Graham Maby, Gary Sanford, and Dave Houghton, to record a new studio album, Volume 4 (the first three volumes having been Look Sharp!, I'm the Man, and Beat Crazy), released by Restless/Rykodisc in March 2003, and go out on a world tour running through September 2003 that resulted in the live album Afterlife, issued in March 2004. His latest album, Rain still awaits official release in 2008, Jackson's last time on record was when he reunited most of his original band for the 'Volume 4' album. The title was a reference to the number of albums the band had made together over 25 years. 'Rain' could be considered Volume 5. It features Jackson on vocals and keyboards, with original Joe Jackson Band members Graham Maby (bass/vocals) and Dave Houghton (drums/vocals).

01 - One More Time (3:17)
02 - Sunday Papers (4:18)
03 - Is She Really Going Out With Him? (3:34)
04 - Happy Loving Couples (3:07)
05 - Throw It Away (2:48)
06 - Baby Stick Around (2:36)
07 - Look Sharp! (3:19)
08 - Fools In Love (4:21)
09 - (Do The) Instant Mash (3:10)
10 - Pretty Girls (2:53)
11 - Got The Time (2:51)

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Joe Jackson - I'm The Man ( 79 ^ 84mb)


01 - On Your Radio (4:00)
02 - Geraldine And John (3:13)
03 - Kinda Kute (3:30)
04 - It's Different For Girls (3:40)
05 - I'm The Man (3:56)
06 - The Band Wore Blue Shirts (5:04)
07 - Don't Wanna Be Like That (3:41)
08 - Amateur Hour (4:03)
09 - Get That Girl (3:01)
10 - Friday (3:31)

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Only Ones - Even Serpents Shine( 79 ^ 99mb)

The Only Ones were originally formed in August 1976 in South London by Peter Perrett. Perrett had been recording demos since 1973, and in late 1975 was introduced to guitarist John Perry as a temporary bass guitar player. (The guitarist at that time was Glenn Tilbrook of Squeeze). Perry wanted to concentrate on playing guitar, so by August 1976 he and Perrett then found drummer Mike Kellie (ex-Spooky Tooth); and bassist Alan Mair who previously had huge success with The Beatstalkers

Led by the raffish and slightly scuzzy romance-obsessed Peter Perrett, the Only Ones were one of the punk era's most underrated bands. Singing his intelligently crafted pop songs in a semi-tuneful whine of a voice and backed by a band that effectively combined youthful exuberance with gracefully aging veteran backing . Perrett was an astute chronicler of the vagaries of modern, dysfunctional love. Despite a career that lasted from 1978-1981 and one certifiable "hit" song to their credit (the brilliant "Another Girl, Another Planet"), the Only Ones became the archetypal contenders that never broke big, despite assurances from fans and critics that they couldn't miss.

Although they split up in 1981 after only three records, the Only Ones, due in large part to "Another Girl, Another Planet," became more influential than one would have guessed. Looking at the number of Only Ones releases over the past decade (a half-dozen at least) and you soon realize that a significant cult surrounding the band grew after their breakup. Ironically, it was the posthumous release of the sessions for John Peel's BBC show that, more than any of the proper studio releases, accurately displayed the muscle and smarts of this fine band. There have been many rumors surrounding Perrett's life after the Only Ones, many of them involving an alleged heroin addiction. Perrett did continue to record and release solo projects during the ' 80s, including a project known as the One in the mid-'90s.

The band reformed in 2007 following the band's biggest hit "Another Girl, Another Planet" being used in a Vodafone ad campaign in 2006. They completed a small UK tour in June and more dates are planned for the rest of the year.. They appeared at All Tomorrow's Parties festival in Minehead, England on 27 April and played at the Connect Music Festival in Scotland on the 1 September. With positive press and all..a live dvd is coming up and they are working on a new album at the moment.

01 - From Here To Eternity (3:04)
02 - Flaming Torch (2:18)
03 - You've Got To Pay (2:44)
04 - No Solution (2:21)
05 - Inbetween (3:53)
06 - Out There In The Night (3:00)
07 - Curtains For You (4:17)
08 - Programme (2:08)
09 - Someone Who Cares (3:08)
10 - Miles From Nowhere (3:42)
11 - Instrumental (3:52)
12 - Why Don't You Kill Yourself (2:45)
13 - No Peace For The Wicked (2:52)
14 - Another Girl, Another Planet (3:02)

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The Specials - The Specials (79 ^ 98mb)

The band was originally formed in Coventry, in 1977, as the Coventry Automatics and later the Special A.K.A. by songwriter/keyboardist Jerry Dammers, with Terry Hall (vocals), Lynval Golding (guitar, vocals), Neville Staples (vocals, percussion), Roddy Radiation (guitar), Sir Horace Gentleman (bass), and John Bradbury (drums).
Dammers started his own 2-Tone label, named for its multiracial agenda and after the two-tone tonic suits favored by the like-minded mods of the '60s. The Dammers-designed logos, based in ' 60s pop art with black and white checks, gave the label an instantly identifiable look. Dammers' eye for detail and authenticity also led to the band adopting ' 60s-period rude-boy outfits. The band released the "Gangsters" single, which reached the U.K. Top Ten. Soon after the movement was in full swing. Over the next several months, 2-Tone enjoyed hits by similar-sounding bands, such as Madness, the (English) Beat, and the Selecter. Late in 1979, the band released its landmark self-titled debut album, produced by Elvis Costello, where The Specials managed to distill all the anger, disenchantment, and bitterness of the day straight into their music.They followed with several 2-Tone package tours and a live EP, Too Much Too Young that track, a pro-contraception song, was banned by the BBC but still reached the number one spot in the U.K.

At this time, the band switched musical directions, releasing album number two, More Specials, with a new neo-lounge persona. Signs indicated that the movement was fading, nevertheless, a film documenting the 2-Tone package tours, Dance Craze, as well as its companion album, saw considerable success. The Specials released the timely "Ghost Town" single in 1981 amid race-related unemployment riots in Brixton and Liverpool. The single jumped to number one, but the band was falling apart. Hall, Staples, and Golding left to form Fun Boy Three, leaving the band without its trademark voice. Dammers held on, reverting back to the old name, Special A.K.A., and enlisted a new vocalist, Stan Campbell. After several years, they returned with In the Studio in 1984. They managed a few hits with "Racist Friend" and "Free Nelson Mandella," but the album stiffed. The band's final single, "What I Like Most About You Is Your Girlfriend," failed to break the British Top 40. Dammers dissolved the unit, pursuing political causes such as Artists Against Apartheid.

Shortly after the official breakup, various members of the band joined up with other bandless ska revivalists (English Beat, etc.) to form a touring unit named Special Beat. By the mid-'90s, in response to the third wave ska revival, a Dammers-less version of the Specials reappeared with a series of shameful cash-in albums: Today's Specials (1996,) Guilty Til Proved Innocent! (1998,) and Conquering Ruler (2002.)

01 - A Message To You Rudy (2:52)
02 - Do The Dog (2:09)
03 - It's Up To You (3:23)
04 - Nite Klub (3:21)
05 - Doesn't Make It Alright (3:24)
06 - Concrete Jungle (3:18)
07 - Too Hot (3:09)
08 - Monkey Man (2:44)
09 - (Dawning Of A) New Era (2:24)
10 - Blank Expression (2:43)
11 - Stupid Marriage (3:48)
12 - Too Much Too Young (2:15)
13 - Gangsters (2:44)
14 - Little Bitch (2:31)
15 - You're Wondering Now (2:34)

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Joy Division - Unknown Pleasures (79 ^ 99mb)

Joy Division formed in 1976, originally named Warsaw (reference to "Warszawa" by David Bowie)., the band consisted of Ian Curtis (vocals and guitar), Bernard Sumner (guitar and keyboards),[1] Peter Hook (bass guitar and vocals), and Stephen Morris (drums and percussion). To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in late 1977, borrowing their new name from the prostitution wing of a Nazi concentration camp in the 1965 novel The House of Dolls. During 78 they extended their local presence and self-released their debut EP An Ideal for Living in June 1978, which caught the attention Tony Wilson and thus they hooked up with Factory, late 78 Curtis suffered a severe epileptic attack. In spite of that, Joy Division's career continued to progress. Curtis appeared on the front cover of the 13 January 1979 issue of the NME and that same month the band recorded their first radio session for BBC Radio 1 DJ John Peel.

In April 1979, the band began recording their debut album Unknown Pleasures. Producer Martin Hannett contributed significantly to the final sound. The band initially disliked the "spacious, atmospheric sound" of the album, which did not reflect their more aggressive live sound.Unknown Pleasures was released in June and sold through its initial pressing of 10,000 copies. It turned Factory Records into a true business and a "revolutionary force". In January 1980, Joy Division set out on a European tour. While the tour was difficult, Curtis only experienced two grand mal seizures in the two months preceding the tour's final date. Martin Hannett again producing, the band recorded their second album Closer in March . Lack of sleep and long hours destabilized Curtis' epilepsy and his seizures became almost uncontrollable.Curtis would often have seizures during shows, which left him feeling ashamed and depressed.

Joy Division were due to begin their first American tour in May 1980. At the time, Curtis' relationship with his wife Deborah Curtis (the couple married in 1975 as teenagers) was collapsing. Contributing factors were his ill health, and his relationship with a young Belgian woman named Annik Honoré whom he had met on European tour. The evening before Joy Division were to embark on the American tour, Curtis returned to his home in Macclesfield in order to talk to his estranged wife. While he first asked Deborah Curtis to drop the divorce suit, he eventually told her to leave him alone in the house until he caught his train to Manchester the following morning.Early the following morning of 18 May 1980, Curtis hanged himself in the kitchen; Deborah Curtis discovered his body when she returned around midday.

The group's posthumous second album Closer (1980) and the single "Love Will Tear Us Apart" became their biggest commercial successes. After Curtis' death, the remaining members soon reformed as New Order and went on to achieve much critical and commercial success.


01 - Disorder (3:28)
02 - Day Of The Lords (4:43)
03 - Candidate (3:00)
04 - Insight (4:23)
05 - New Dawn Fades (4:45)
06 - She's Lost Control (3:53)
07 - Shadowplay (3:50)
08 - Wilderness (2:35)
09 - Interzone (2:12)
10 - I Remember Nothing (5:52)
11 - Atmosphere (4:09)

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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 !

Dec 18, 2007

Around The World, (10)

Hello, today Around the World is in Nigeria once more to visit the King of JuJu Sunny Ade

King Sunny Ade is the undisputed king of juju music.Born to a Nigerian royal family in Ondo, Ade left grammar school to pursue his career, which began with Moses Olaiya's Federal Rhythm Dandies, a highlife band. He left to form The Green Spots in 1967. He formed a record label in 1974, fed up with being exploited by a major label. Beginning with Juju Music, Ade began gaining a wide following as Mango Records, a subsidiary of Island Records, released his albums. He was soon billed as the African Bob Marley, and headlined concerts in the US. Soon after, Nigerian imports (mostly pirated copies) of his massive back catalog began flooding the Western market. Island, concerned about sales and Adé's refusal to include more English in his repertoire, cut him loose after his third LP for them featuring Stevie Wonder, 1984's Aura didnt live up to the overbloated expectations they had. (As ever with these crooks its all about money not music).

By the end of the 1980s, Ade's star began to dim, and his albums sold less, though he continued to garner critical acclaim and widespread popularity in Africa. 1998's Odu, a collection of traditional Yoruba songs, was nominated for a Grammy Award. Ade has remained a powerful force in Nigeria. Money received from his early albums has been used to launch an oil firm, a mining company, a nightclub, film and video production company, a PR firm and a record label specializing in recordings by African artists. It's been estimated than more than seven hundred people are employed by Ade's companies..

With a phalanx of electric guitars that functions like a percussion section, and talking drums that sound like a gossipy Greek chorus, King Sunny Ade and His African Beats, all 20 of them, proved that African music could be as complex, dramatic, and symphonic as any European ensemble. Some thanks must go to French producer Martin Meissonier, who took the basic elements of Ade's sound--unison guitars, Yoruban drumming, seamless song medleys, and self-reflexive lyrics--and added a diverse assortment of Jamaican production techniques to heighten, deepen, and psychedelicize a sound that, with Ade's deliciously sweet vocals and the haunting strains of Demala Adepoju's Hawaiian 'space' steel guitar, was plenty wild to begin with.

King Sunny Ade - Odù (98, 70 min ^ 459mb)

01 - Jigi Jigi Isapa (5:38)
02 - Easy Motion Tourist (6:03)
03 - Alaji Rasaki (5:21)
04 - Mo Ri Keke Kan (4:05)
05 - Kiti Kiti (6:20)
06 - Natuba (6:16)
07 - Aiye Nreti Eleya Mi (12:53)
08 - Ibi Won Ri O (3:33)
09 - Kawa To Bere (5:34)
10 - Eri Okan (Conscience) (9:59)
11 - Kini Mba Ro (4:36)

diet version
King Sunny Ade & His African Beats - Odù (98 70min, * 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 !

Dec 17, 2007

Don't Panic !, (10)

Hello, space is the place...or is it ...a recap of last weeks episode (9th fit)

The episode opens with Ford and Arthur discussing Zaphod's sanity on board the Heart of Gold. Ford also starts correcting Arthur's grammar, forcing Arthur to refer to Earth in the past tense, as it had been demolished in Fit the First. Ford then begins to question the reason given for the demolition, stating "that was all done away with centuries ago. No one demolishes planets anymore." Ford has noticed another fleet of Vogon ships following the Heart of Gold at a distance of five light years for half an hour. He then calls for Marvin to bring Zaphod to the bridge.

Meanwhile, Prostetnic Vogon Jeltz confirms the identity of the ship and its occupants, then proceeds to wipe out half his crew in a fit of rage. After this massacre, he contacts Gag Halfrunt. Halfrunt is revealed not only to be Jeltz's psychiatrist (as well as Zaphod's), but also the psychiatrist who originally hired Jeltz to destroy first the Earth, then any survivors. Jeltz is asked to hold off on his final destruction of the Heart of Gold until Halfrunt can make an arrangement for fees still owed by Zaphod.

Halfrunt contacts Zaphod, who has since arrived on the Heart of Gold's bridge, but refuses to see the Vogon threat as anything more than a delusion of grandeur. Zaphod destroys the Heart of Gold's radio, then attempts to get the ship's computer to engage the Infinite Improbability Drive in order to get the Heart of Gold away from the Vogons. The computer states that this is not possible, as all its circuits have become busy with another task, and insists that the result will be something they can all "Share and Enjoy."

The Guide explains that "Share and Enjoy" is the motto of the Sirius Cybernetics Corporation Complaints Division. A song, sung by the company's robots, with voices a flattened fifth out of tune, is heard. Another product of SCC that never works, the Nutrimat, is introduced, as Arthur is attempting to get it to dispense tea. Arthur eventually converses with the Nutrimat, the floor and the ventilation system, trying to convince them that he wants tea, when Eddie the ship's computer is finally brought in, to work out "why the human prefers boiled leaves to everything we have to offer him...."

This is then revealed to be the problem preventing the computer from evading the Vogons. Zaphod decides to contact his great-grandfather, Zaphod Beeblebrox IV, through a seance. More background behind Zaphod's actual job and a conspiracy to discover the real ruler of the universe is revealed. As the episode ends, Eddie has been restored to normal function, and engages the IID, getting the ship out of firing range of the Vogons in the nick of time.

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THHGTTG - Fit 10 (19mb)

2.36 - A Remarkable Effect On The Universe
2.37 - Some Kind Of Cave
2.38 - The Problems Of Real Life
2.39 - This Is Utterly Ludicrous
2.40 - The Hitchhiker's Guide To The Galaxy
2.41 - Come And Meet The Rest Of Us
2.42 - The Wise Old Bird
2.43 - Distastefully Explicit
2.44 - Arthur Is In The Thick Of It

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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 !

Dec 16, 2007

Sundaze, (10)

Hello Sundazers, in a way two sides of the ambient-techno coin here to day. The maybe somewhat naive IDM by a young German from a bavarian provincial town, as opposed to the clinical urbanite minimalism let loose on what was once techno. Maybe that british reserveness is genetic as Hawtin left that english provincial town (Banbury) age 7 for Ontario and spent much time in Detroit. Both work on alienation whilst Plastikman further deconstructs to find his core, Videonoise reconstructs seemingly random noise into a new vision.

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Plastikman - Consumed ( 98 ^ 73:31 357mb)

Probably the best known of Richie Hawtin's production aliases, the Plastikman project helped push the minimal aesthetic of techno. While even his early recordings were quite minimalistic, he streamlined the sound increasingly over the course of his recording career; from the early '90s to the end of the decade, Hawtin's material moved from the verge of the techno mainstream into a yawning abyss of dubbed-out echo-chamber isolationism, often jettisoning any semblance of a bass line or steady beat. Hawtin released material on his own +8 Records under several aliases -- some in tandem with co-founder John Acquaviva -- and made the label one of the best styled in Detroit techno of the 1990s.

The Plastikman project debuted in 1993 with two releases for +8: the seminal "Spastik" single and an album, Sheet One. Hawtin's first wide release, however, came with the alter-ego F.U.S.E. (short for Further Underground Subsonic Experiments). A more varied and melodic project than Plastikman (but not by much), F.U.S.E. released the album Dimension Intrusion for the British Warp Records in late 1993. NovaMute signed an agreement with +8 and another Hawtin-founded label, Probe; Sheet One was reissued in 1994, followed by the second Plastikman LP, Musik. Much more restrained than Sheet One, the album fit in well with the growing ambient-techno movement.

Refused entrance into the USA for more than a year, he lost his inspirational grounding with the Detroit scene and found it difficult to continue recording for his third Plastikman album, Klinik. While he waited for re-entry, Hawtin spent time setting up the sub-label Definitive, and continued to DJ around the world. Though he recorded scattered singles for +8 and related imprints, his only full-length release that year was an excellent entry in the Mixmag Live! series, taken from a DJ set recorded at the Building in Windsor. By the time he was able to return to America, he had changed his musical direction and eventually abandoned the Klinik album.

Hawtin returned in 1996 his release schedule; during each month of the year, he issued a completely unadorned single recorded as Concept 1. Desperately minimal works, even compared to his earlier material, the singles showed Hawtin's reaction to the new-school of barely there techno coming from German labels -- all of them originally influenced in no small way by Plastikman recordings. Finally, in early 1998, he released his third Plastikman LP, Consumed, which proved to be just as brutally shadowed as the Concept 1 material. The continued experimentalist direction showed Hawtin coming full circle, back to his position on the leading edge of intelligent techno. Nearly every sound on Consumed registers in the lowest bass frequencies, except for the barely audible synths hovering, shadow-like, far behind the wall-shaking basslines. The album retains the ability to submerge listeners with its continuity, motifs, and overall tone, but never claims to be dance music. One track slowly merges with the next while the emotional tone instilled by Hawtin never wavers from consuming, contemplative alienation.

Many of the unreleased Klinik recordings surfaced in late 1998 on the compilation Artifakts .Five yearslater Plastikman released "Closer" where Hawtin takes his mastery of minimalism and use of space a couple steps further, rarely putting dance rhythms to use. Paranoia and claustrophobia persistently fester throughout. In a way it's as solitary and sobering as his DJ sets are communal and hedonistic.

01 - Contain (8:29)
02 - Consume (11:18)
03 - Passage (In) (0:54)
04 - Cor Ten (6:50)
05 - Convulse (Sic) (1:22)
06 - Ekko (3:55)
07 - Converge (4:24)
08 - Locomotion (8:49)
09 - In Side (12:37)
10 - Consumed (11:43)
11 - Passage (Out) (3:10)

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Videonoise - Fragmentary (02 ^ 252mb)

Christian Sörgel alias Videonoise is from Landsberg. After his debut from last year, he conjres up a new work full of beauty and strained elements. Many fragments build a whole. Songs starting with strange loops or samples, but then the tracks find each other, become something new, are slowly fading in the end. This album is very careful with sound and music: maybe it´s like you meet the songs, you watch each other fot a little while, then they go away. Electronic sounds are the basics, but there are also guitars and samples, and smooth melancholy.

01 - And Being Inside Doesn't Mean You're In (3:50)
02 - Dare (2:57)
03 - Trashhould (3:03)
04 - Die Echolotdaten (3:06)
05 - Psychotic Download (4:24)
06 - _________ (4:22)
07 - Fragmentary (7:11)
08 - Pelao (3:06)
09 - Nulldurchgang (3:46)
10 - Monosong (4:09)
11 - Die Altstadt (5:33)

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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 !