Into The Twin Peaks Night

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

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

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

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

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

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

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



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

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

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




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

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

Sundaze (28)

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

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

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

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

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

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


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

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

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



Wendy Carlos - Sonic Seasonings I (* 304mb)

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

Wendy Carlos - Sonic Seasonings II (* 271mb)

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




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Wendy Carlos - Clockwork Orange Original Score (72 ^ 200mb)

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



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

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

Rhotation (28) Into BPM

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

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System 7 - System Express (96, 79min * 539mb)

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

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



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

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Various - I ♥ Serge ( Electronica Gainsbourg) (01, 78 min * 494mb)

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



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


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DJ Cam - Revisited By ( 06 ^ 393mb)

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

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



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

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

Into The Groove (27)

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

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

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

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

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

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

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

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Jr. Walker And The All Stars - Shotgun ( 65 ^ 191mb)

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



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

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Junior Walker and The All Stars - Road Runner (66 ^ 200mb)

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



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

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Junior Walker - Blow the House Down ( 83 ^ 233mb)

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



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

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

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Alphabet Soup II (A)

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

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Kevin Ayers - ODD Ditties ( 76 ^ 393mb)

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

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

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

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



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

08 - Jolie Madame (2:21)
09 - The Lady Rachel (Single Version) (4:45)
10 - Connie On A Rubber Band (2:51)
11 - Fake Mexican Tourist Blues (4:34)
12 - Don't Sing No More Sad Songs (3:43)
13 - Take Me To Tahiti (3:32)
14 - Caribbean Moon (2:58)
bonus
15 - Star (Single Version) (4:21)
16 - Religious Experience (Singing A Song In The Morning) (4:46)
17 - Hat (5:28)

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A Certain Ratio - Looking For A Certain Ratio ( 94 ^ 426mb)

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

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

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

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

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



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

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Archive - Londinium (96 ^ 317mb)

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

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

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



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

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Eight-X (27)

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

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Bill Nelson's Red Noise - Sound On Sound (79 ^ 273mb)

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

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

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



01 - Don't Touch Me, (I'm Electric) (1:49)
02 - For Young Moderns (4:23)
03 - Stop - Go - Stop (3:08)
04 - Furniture Music (3:30)
05 - Radar In My Heart (1:35)
06 - Stay Young (3:08)
07 - Out Of Touch (3:27)
08 - A Better Home In The Phantom Zone (4:24)
09 - Substitute Flesh (3:26)
10 - The Atom Age (3:00)
11 - Art - Empire - Industry (2:42)
12 - Revolt Into Style (3:20)

Holyground label

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Tears For Fears - The Hurting ( 83 ^ 434mb)

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

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

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



01 - The Hurting (4:15)
02 - Mad World (3:30)
03 - Pale Shelter (5:24)
04 - Ideas As Opiates (3:46)
05 - Memories Fade (5:04)
06 - Suffer The Children (3:49)
07 - Watch Me Bleed (4:14)
08 - Change (4:10)
09 - The Prisoner (2:54)
10 - Start Of The Breakdown (4:56)
Now with bonus
11 - Pale Shelter (Long Version) 7:09
12 - The Way You Are (Extended) 7:44
13 - Mad World (World Remix) 3:43
14 - Change (Extended Version) 6:00

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Prefab Sprout - Steve McQueen (85 ^ 319mb)

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

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

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

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



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

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Around The World (27)

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

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

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

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

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

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

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

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

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

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

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Millenium Classics - Mozart Magic (99 ^ 92mb)

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

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

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

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Don't Panic ! (27)

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

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

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

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


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



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


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Sundaze (27)

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

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

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

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Plaid - Rest Proof Clockwork (99 flac 390mb)

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



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

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Plaid - Double Figure (01 flac 442mb)

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



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

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Plaid Remixes - Parts In The Post I and II (03)

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



Plaid Remixes - Parts In The Post I (03 flac 364mb)

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

Plaid Remixes - Parts In The Post II (03 flac 350mb)

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

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Into The Groove (26)

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

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

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

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

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

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

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

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

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

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



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

Isaac Hayes - Shaft (71 * 99mb)

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

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



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

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

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Isaac Hayes - Hot ( ^ 98mb)

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



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

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

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

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




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

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