SAMO ZA KEMINU RAJU...
Radijsko izdanje nadrealista s pocetka osamdesetih...Link
VA - Explorations: Classic Picante Regrooved (2006)
Label: Concord Records
Release Date: August 29, 2006
Genre: Nu Jazz | Latin Jazz | Broken Beat
Quality: MP3 VBR V2 kbps 44khz Stereo
Playtime: 74:58 min
Size: 109 Mb
1. Mambo Mindoro - Cal Tjader (Hex Hector remix)
2. Ran Kan Kan - Tito Puente (Thunderball Vs. The Fort Knox Five)
3. Come With Me - Tania Maria (Masters At Work remix)
4. Watermelon Man - Poncho Sanchez (Dan The Automator remix)
5. Afro Blue - Mongo Santamaria (Yerba Buena remix)
6. Work Song - Ray Barretto (Thievery Corporation remix)
7. Guachi Guaro - Cal Tjader (Carl Cox remix)
8. Whatcha Gonna Do - Pete Escovedo (Cuica remix)
9. Wave - Charlie Byrd (Mario C. remix)
10. Killer Joe - Jorge Dalto (The Chakadoons remix)
11. Machito Forever - Tito Puente (Cut Chemist remix)
12. El Timbalon - Tito Puente (Los Amigos Invisibles Jamcito remix)
13. Ay que Rico II - Eddie Palmieri (Ozomatli remix)
VA - Home Cookin' - Infectious Grooves Steamed By Blue Note (2008)
Release Date: 2 Jun 2008
Quality: MP3 VBR V2 kbps 44khz Stereo
Size: 91 Mb
Hard, heavy, and funky jazz -- a wealth of great numbers pulled from the Blue Note catalog, plus a few tasty soul tunes thrown into the mix to liven things up! Many of these tunes will be familiar to experienced crate-diggers -- but that doesn't stop the set from being an excellent package of grooves overall, featuring some late 60s/early 70s jazz gems that are quickly dropping out of the reissue catalogs! Titles include "Groovin For Mr G" by Groove Holmes, "The Beat Goes On" by Buddy Rich, "Walking In My Sleep" by Monk Higgins, "Zulu" by Gene Harris, "It's Your Thing" by The Jazz Crusaders, "Wack Wack" by Buddy Rich, ""Walk Tall" by Howard Roberts, "Listen Here" by Gene Harris, "Ummh (edit)" by Bobby Hutcherson, "Move Your Hand" by Lonnie Smith, and "Back In Stride" by Maze. 13 tracks in all!
1. Groovin' For Mr. G-Richard Groove Holmes
2. Move Your Hand (Live) (1995 Digital Remaster)-Lonnie Smith
3. Back In Stride-Maze Featuring Frankie Beverly
4. Mercy, Mercy, Mercy (Live in Japan)-The Cannonball Adderley Quintet
5. It's Your Thing-Jazz Crusaders
6. Lively Up Yourself-Charlie Hunter
7. Ummh-Bobby Hutcherson
8. Wack Wack (Live)-Buddy Rich
9. Walk Tall-Howard Roberts
10. Listen Here-Gene Harris
11. Zulu-Gene Harris
12. Walking In My Sleep-Monk Higgins
13. The Beat Goes On (Live)-The Buddy Rich Big Band
VA - Look Into The Flower: Trip On Psychedelic Grooves With Blue Note (2008)
Release Date: 2 Jun 2008
Quality: MP3 192 kbps 44khz Stereo
Playtime: 75:31 min
Size: 92 Mb
:: TRACKLIST ::
1. Streets Of Calcutta (Live)-The Ananda Shankar Experience And State Of Bengal
2. Howling For Judy-Jeremy Steig
3. Wind Parade (1992 Digital Remaster)-Donald Byrd
4. Harlem River Drive (1989 Digital Remaster)-Bobbi Humphrey
5. Black Byrd-Donald Byrd
6. Hallelujah! I'm Comin' Home (2000 Digital Remaster)-Candido
7. Cristo Redentor-Donald Byrd
8. Acid, Pot Or Pills (Ron McMaster 24 Bit Mastering) (2004 Digital Remaster)-Horace Silver
9. Love For Sale (1996 Digital Remaster)-Gene Harris
10. Music Is My Sanctuary-Gary Bartz
11. Light My Fire-John Andrew Tartaglia
12. Smiling Faces Sometimes-Bobbi Humphrey
UNKLE - Never, Never, Land (03 ^146 mb)
Unkle (also written as UNKLE and U.N.K.L.E.) were founded in 1994 by school friends James Lavelle and Tim Goldsworthy. They were joined by Masayuki Kudo and Toshio Nakanishi of the Japanese hip hop crew Major Force. They also brought on board a host of collaborating artists, including Money Mark ( Beastie Boys), and the Scratch Perverts. Their first release in 1994 was the EP The Time Has Come, on Lavelle's recording label Mo' Wax.In 1995, while working on their debut album, Lavelle and Goldsworthy disagreed over the direction the music was taking. Goldsworthy wanted to continue with the Mo' Wax house style of earlier tracks, while Lavelle wanted to bring in singers, hip hop and rock artists. Goldsworthy left the group and went on to work with Belfast DJ and producer David Holmes. From these early sessions, Berry Meditation and several tracks with Money Mark and Beastie Boys producer Mario Caldato Jr. were subsequently released as singles, and several without Lavelle surfaced on the album Major Force West in 1997.
Lavelle drafted in DJ Shadow to work on the debut album, and essentially discarded all previously recorded material. Lavelle and Shadow released Psyence Fiction in 1998 to critical acclaim. The album included collaborations with an all-star lineup including Thom Yorke, Mike D (Beastie Boys), Kool G. Rap, Jason Newsted (Metallica), Badly Drawn Boy and Richard Ashcroft (The Verve). Shadow left the group after touring Psyence Fiction and was replaced by turntablist group the Scratch Perverts, who deconstructed the album and performed it live on turntables in 1999.
In 2001, Lavelle, amid much work as a DJ, recruited singer/songwriter Richard File together they resurfaced as Unklesounds, with a DJ mix created for Japanese radio entitled Do Androids Dream of Electric Beats? This highlighted a new, more electronic direction the group had taken, and featured a number of tracks from Psyence Fiction, remixed in an ambient style. Richard File co-produced, played and sang on the second album, Never, Never, Land, released in 2003. The album again featured a number of high-profile contributors, including Ian Brown, Josh Homme (Queens of the Stone Age), Robert Del Naja (Massive Attack) and Mani (The Stone Roses, Primal Scream) among others. Due in part to label changes (the album was variously released by Mo' Wax, Universal Island Records and Global Underground) and Lavelle's trademark insistence on multiple formats, it was not a major success.
Lavelle and File continued releasing mixes as Unklesounds. The mix album Edit Music for a Film: Original Motion Picture Soundtrack Reconstruction, featuring movie samples and tracks from film soundtracks, was created for the After Dark 2004 event at the ICA London. A single CD version was handed out at the event, and it was released officially as an extended two disc set in 2005. In September 2006, Global Underground released Self Defence: Never, Never, Land Reconstructed and Bonus Beats, a CD box set of remixes and bonus tracks from the Never, Never, Land sessions, including tracks previously only available on the original DVD release of the album. It also contained remixes of a track mooted for their next album, featuring Ian Astbury of The Cult, titled "Burn My Shadow".
War Stories, the third album from Unkle, was released in summer 2007. The album again featured a number of guests including Josh Homme, Gavin Clarke, Robert Del Naja, Ian Astbury, The Duke Spirit, Autolux and Neil Davidge. Following the release of the single "Hold My Hand", Pablo Clements (of The Psychonauts) became an Unkle member. In January 2008 Unkle released More Stories, containing a mix of B-sides, remixes, unreleased War Stories session tracks, and music composed for the film Odyssey In Rome. The same month, Richard File announced he was leaving Unkle after 10 years' collaboration to pursue work with his new band, We Fell to Earth. Unkle's fourth full album titled End Titles... Stories for Film was released in July 2008. It includes collaborations from Chris Goss, Black Mountain, Philip Sheppard, Dave Bateman, Joel Cadbury, and James Petralli (White Denim). The album is described in the sleeve notes by Lavelle as "not a new album in the usual sense, but new music that has been inspired by the moving image."
01 - Back And Forth (0:54)
02 - Eye For An Eye (5:45)
03 - In A State ( Feat Jarvis Cocker ) (6:59)
04 - Safe In Mind (Please Get This Gun From Out My Face) (Voc.Josh Homme ) (6:21)
05 - I Need Something Stronger (4:08)
06 - What Are You To Me? (6:52)
07 - Panic Attack (5:13)
08 - Invasion (Voc.Robert Del Naja) (5:15)
09 - Reign (Voc.Ian Brown) (5:32)
10 - Glow (4:18)
11 - Inside (7:21)
12 - Awake The Unkind (Bonus Track) (4:34)
UNKLE - Never, Never, Land Revisited (04 ^ 156mb)
Lipps Inc..- Mouth To Mouth ( 80 ^ 82mb)
Lipps Inc (pronounced like "lip sync") was a studio band that achieved one significant hit, "Funkytown" in 1980. The song is considered, by some, the last disco song to hit #1 in the U.S.
The group was formed in Minneapolis by Steven Greenberg, who wrote and produced all of the group's music, and who also played several musical instruments. Multi instrumentalist Greeenberg had played in several bands and had been trying to secure a production deal. He finally caught the interest of casablanca Records with a disco track called "Rock It".Casablanca asked Greenberg for a full album and he gathered a cast of sessionplayers that initially included David Rifkin, guitarist Tom Riopelle and Terry Grant on bass. Most importantly, he recruited lead vocalist Cynthia Johnson, former miss Black Minnasota. Mouth to Mouth was released in 1980, when Funkytown was released as the second single it became an instant hit. It spent 4 weeks at no 1 in the US and a major hit around the world.
Their further singles failed to match their initial success (their only other Hot 100 entry was "Rock It", which peaked at #64), The six-song release Pucker Up followed, featuring a disco remake of the British pub rock group Ace's hit ballad "How Long." which reached #4 on the U.S. dance chart. The album however didn't attract too much attention, and neither did the next Lipps Inc. full-length, Designer Music. The group released their final full-length album, 4 in 1983 it didn't cause a stir and Cynthia Johnson left for good that year. subsequently Lipps Inc. threw in the towel. Greenberg eventually moved into web design, and owns a profitable company still based in Minneapolis.
01 - Funkytown (7:49)
02 - All Night Dancing (8:16)
03 - Rock It (5:38)
04 - Power (8:10)
Gloria Gaynor - Never Can Say Goodbye (75 ^ 80mb)
Gaynor was a singer with the Soul Satisfiers, a jazz/pop band, in the 1960s. Her first solo single was "She'll Be Sorry/Let Me Go Baby" (1965).Her first real success came in 1975 with the release of her album Never Can Say Goodbye, which established her as a disco artist. The first side of this album consisted of three disco songs ("Honey Bee", "Never Can Say Goodbye" and "Reach Out, I'll Be There"), with no breaks in between the songs. This 19-minute dance marathon proved to be enormously popular, especially at dance clubs. All three songs were released as singles via radio edits, and all of them became hits. This album was so instrumental in introducing disco music to the public, that many later believed that Gloria Gaynor had been the first artist to record disco music. "Never Can Say Goodbye" became the first song to top Billboard magazine's dance chart. So, in that sense, she was the first. Capitalizing on the success of her first album, Gloria Gaynor quickly released her second album Experience Gloria Gaynor later that same year. While this album was also successful, it was not quite as popular as her previous album in the mainstream.
For the next few years, Gloria Gaynor would only enjoy a few moderate hits. However, in late 1978, with the release of her album Love Tracks, she climbed the pop charts again because of her song "I Will Survive". Interestingly, it was originally the B-side when Polydor Records released it in late 1978. The A-side, a song called "Substitute", was considered to be more "radio friendly." Boston Radio DJ Jack King turned the record over and recalls being stunned by what he heard. "I couldn't believe they were burying this monster hit on the B-side", says King. "I played it and played it and my listeners went nuts." This audience response forced the record company to flip the songs, so that subsequent copies of the single listed the more popular song on the A-side. "I Will Survive". was awarded the first and only Grammy Award for Best Disco Recording in 1980
In 1980 and again in 1981, Gaynor released two disco albums which were virtually ignored in the US due to the backlash against disco, which began late in 1979. Surprisingly, neither albums' singles registered on Urban contemporary radio, where disco music remained popular. In 1982, she became a Christian and began to distance herself from a past she considered to be sinful. She would not release an album in 1982. In 1983, she released an album entitled Gloria Gaynor, in which she rejected disco for mid-tempo R&B and Pop style songs.
Gaynor would achieve her final success in the '80s with the release of her album I Am Gloria Gaynor in 1984. This was mainly due to the song "I Am What I Am", which became a hit at dance clubs, it made Gaynor a gay icon. However, her career went into sharp decline following this hit. She returned to the recording studio in 2002, releasing her first album in over 15 years, entitled, I Wish You Love. The two singles released from the album, "Just Keep Thinking About You" and "I Never Knew", both topped Billboard's Hot Dance Music/Club Play. After almost 30 years of its release, Gaynor continues to ride the success of "I Will Survive", touring the country and the world over and performing her signature song on dozens of TV shows.
01 - Honey Bee (6:01)
02 - Never Can Say Goodbye (6:20)
03 - Reach Out, I'll Be There (6:14)
04 - All I Need Is Your Sweet Lovin' (2:47)
05 - Searchin' (2:54)
06 - We Belong Together (2:51)
07 - False Alarm (3:41)
08 - Real Good People (3:03)
01 - Honey Bee (6:01)
02 - Never Can Say Goodbye (6:20)
03 - Reach Out, I'll Be There (6:14)
04 - All I Need Is Your Sweet Lovin' (2:47)
05 - Searchin' (2:54)
06 - We Belong Together (2:51)
07 - False Alarm (3:41)
08 - Real Good People (3:03)
The Jam - The Sound Of The Jam ( ^ 188mb)
The Jam formed in Surrey, England in 1972 in Woking. The line-ups were fluid at this stage, consisting of Weller on guitar and lead vocals together with various friends, the line-up began to solidify in the mid 1970s with Weller, Foxton, guitarist Steve Brookes and drummer Rick Buckler. In their early years, their sets consisted of early American rock and roll covers. They continued in this vein until Weller became fascinated with mod music and lifestyle. They went out and bought black suits and started playing Motown, Stax and Atlantic covers. Eventually Brookes left the band, and was not replaced, inviting Weller to develop a combined lead/rhythm guitar style.
In the following two years, The Jam gained a small following around London, becoming one of the new lights on the nascent punk scene. Though they shared an "angry young men" outlook, short hair, crushing volume and lightning-fast tempos, The Jam wore neatly tailored suits where others wore ripped clothes, played professionally where others were defiantly amateurish. They really stood out from their punk peers. They were signed to Polydor Records by Chris Parry in early 1977. On 29 April 1977, Polydor released The Jam's debut single,"In the City", which charted in the Top 40 in England. In early May, the band released their epinomous debut album. Like those of The Clash and the Sex Pistols, the album featured fast, loud and pointed songs.
After the non-LP single "All Around the World" nearly reached the UK Top 10, The Jam, having achieved a notable following in such a short time, was pressed to produce more material quickly. Their second album, This Is the Modern World, was released later in 1977. Despite displaying more stylistic variety than before, including some ventures into introspective pop, This Is The Modern World was not widely praised. However, when John Peel first heard the album, he played it in its entirety on one show
In March 1978, the band released "News of the World", a non-album single that was both written and sung by Foxton. It charted at #27 in the UK, and was the band's second biggest hit to date. The Jam released their next single, the double A-side "David Watts" b/w "'A' Bomb In Wardour Street". "David Watts" was a cover of the bouncy Kinks classic; Weller and Foxton traded lead vocals throughout the song. It wasn't until their next single, "Down in the Tube Station at Midnight", that The Jam really regained their former critical acclaim. The song was a dramatic account of being med by thugs who "smelled of pubs and Wormwood Scrubs and too many right-wing meetings." Around this time, The Jam slimmed their team of two producers to one, Vic Coppersmith-Heaven, who helped develop the group's sound with harmonised guitars and acoustic textures. The Jam released their third LP, All Mod Cons in 1978.
The Jam released "The Eton Rifles" in advance of their new album. It became their first top 10, rising to #3 on the UK charts. November of 1979 saw the release of the Setting Sons album, another massive UK hit, and their first chart entry in the U.S. The album began life as a concept album about three childhood friends, though in the end many of the songs had political overtones.
The band's first single of 1980 was intended to be "Dreams of Children," due to a labelling error, however, the a- and b-sides of the single were reversed, resulting in the more conventional "Going Underground", the single's planned flipside, getting much more airplay and attention than "Dreams of Children". As a result, only "Going Underground" was initially listed on the charts, although the single was eventually officially recognised (and listed) as a double A-side by the time the release reached #1 in the UK.
Sound Affects was released in 1980. It was influenced by current post-punk bands such as Joy Division and Wire. Paul Weller said that he was influenced by The Beatles' Revolver and Michael Jackson's Off the Wall also. Weller allegedly wrote "That's Entertainment", in around 15 minutes upon returning (under the influence) from the pub. Despite being only available as an import single, it peaked at #21 on the UK charts, an unprecedented feat. It is now arguably The Jam's most celebrated song and despite the group's lack of commercial success in America, it even made Rolling Stone's list of the 500 greatest songs of all time. The album was a #2 hit in the UK and peaked at #72 on the US Billboard charts, their most successful American album.
The 1982 release The Gift — the band's final LP — was a massive commercial success, peaking at #1 on the UK charts. It featured several soul, funk, and R&B-stylized songs; most notably the #1 hit "Town Called Malice," which boasts a Motown-style bassline somewhat reminiscent of The Supremes' "You Can't Hurry Love". The song included organ work by Steve Nichol, who later became well known as a member the R&B group Loose Ends. When "Town Called Malice" reached number one the group had the honour of performing both it and its double A-side, "Precious" on TOTP - the only other band to be accorded this honour being the Beatles. After the string-laden soul ballad "The Bitterest Pill (I Ever Had to Swallow)" peaked at #2, the band followed with their finale and another #1, "Beat Surrender". The Beat Surrender EP had success in the British charts, and both its graphic design and music resembles early Style Council releases. After a farewell tour of the UK Weller disbanded the group.
Weller, who felt he had done all he could with The Jam, then formed The Style Council with Mick Talbot of The Merton Parkas. After they split up in 1989, Weller went on to pursue a solo career.
01 - In The City (2:19)
02 - Away From The Numbers (4:03)
03 - The Modern World (2:31)
04 - David Watts (2:56)
05 - Down In The Tube Station At Midnight (4:01)
06 - It's Too Bad (2:37)
07 - To Be Someone (2:30)
08 - Mr. Clean (3:29)
09 - English Rose (2:50)
10 - The Butterfly Collector (3:09)
11 - The Eton Rifles (3:59)
12 - Private Hell (3:51)
13 - Thick As Thieves (3:40)
14 - Smithers-Jones (3:01)
15 - Saturdays Kids (2:53)
16 - Going Underground (2:56)
17 - Start! (2:31)
18 - Liza Radley (2:32)
19 - Pretty Green (2:37)
20 - Boy About Town (2:00)
21 - That's Entertainment (3:34)
22 - Tales From The Riverbank (3:26)
23 - Town Called Malice (2:54)
24 - Ghosts (2:10)
25 - Carnation (3:29)
26 - Beat Surrender (3:25)
Imagination - Night Dubbing ( 83 ^ 96mb)
Imagination were a trio from the U.K. that put a synthesized and often clubby spin on soul groups from the '70s. In fact, a couple of '70s groups have direct ties to Imagination; Leee John and Ashley Ingram spent time during that decade playing supportive roles in the Delfonics and Chairmen of the Board, prior to Imagination's formation. Along with drummer Errol Kennedy, vocalist John and bassist Ingram formed the group in 1981. By the end of that year, they already had their first album released and a minor hit in the form of that album's title track, "Body Talk." The group's second album, 1982's In the Heat of the Night, was their most successful, spawning a trio of U.S. R&B chart hits in the form of "Just an Illusion" (number 27), "Music and Lights" (number 52), and "Changes" (number 46). Those singles were even more popular in their home country, with the first pair reaching the Top Five.
The remix collection Night Dubbing appeared the following year, as did the group's third proper album, Scandalous. Following this the success of the group in the UK waned, but they continued to perform, tour and record until the early 1990s. John went back to acting and recently re-surfaced in the reality TV show Reborn in the USA. Ingram also enjoyed success as a songwriter for Des'ree. John remained active in the entertainment industry, continuing his recording career as a solo artist and collaborator. Since the group's split, several compilations have been released.
01 - Flashback (4:47)
02 - Just An Illusion (6:34)
03 - Music & Lights (5:31)
04 - So Good, So Right (4:25)
05 - Body Talk (4:41)
06 - Heart 'N' Soul (4:00)
07 - Changes (Rmx Larry Levan) (6:23)
08 - Burnin' Up (4:53)
Gwen Guthrie - Padlock (82 ^ 83mb)
Guthrie was born in Okemah, Oklahoma and raised in Newark, New Jersey. In school, she studied classical music, and her father began teaching her piano when she was eight years old. By the early 1970s, she had joined vocal groups such as the Ebonettes and the Matchmakers, meanwhile working as an elementary school teacher. When a backup singer scheduled to sing on Aretha Franklin's 1974 single "I'm in Love" fell ill, Guthrie took the vocalist's place beside Cissy Houston; thus Guthrie would happily state that her career on record began "at the top".
Guthrie soon began moonlighting as a singer of commercial jingles, sometimes with her friend Valerie Simpson (of Ashford & Simpson fame). A songwriting partnership with Patrick Grant resulted in Ben E. King's comeback single, "Supernatural Thing", and "This Time I'll Be Sweeter", covered by numerous artists. Together they wrote seven tracks on the Sister Sledge's 1975 album Circle Of Love: Guthrie continued to write with a variety of partners, and supplied backing vocals to many recording sessions. Working with Peter Tosh in the late '70s, Guthrie befriended reggae stars Sly Dunbar and Robbie Shakespeare, who invited her to Nassau to record vocals for an album they were producing. Hearing her unique voice in the studio, Island Records founder Chris Blackwell inked her to a contract, and the Dunbar/Shakespeare project, assisted by David Conley of Surface, became her first solo release, a self-titled LP. . She was dubbed "The First Lady of the Paradise Garage" as several of her songs became anthems at the venue, helped by the frequent and dynamic performances she gave there. She soon teamed musically with famed Paradise Garage DJ Larry Levan. Who produced her third album Padlock (85)
Guthrie is probably best known for her 1986 dance anthem "Ain't Nothin' Goin' on But the Rent", a self-written and -produced track which garnered some controversy for lyrics such as: Her single "Can't Love You Tonight" boldly addressed AIDS at a time when the disease was a taboo subject, and she was an ally to the gay community, and people with AIDS long before the masses caught up. Proceeds from the single went to the AIDS Coalition. Guthrie was more involved in the writing and production. Hot Times was Guthrie's final LP release, hitting the streets in 1990. Like the previous LP, she wrote nearly everything, except for a moving remake of Stephanie Mills' "Never Knew Love Like This Before." Guthrie died on February 4, 1999, of uterine cancer in Orange, NJ
01 - Peanut Butter Prelude (0:12)
02 - Hopscotch (8:14)
03 - Seventh Heaven (7:22)
04 - Getting Hot (4:34)
05 - Peanut Butter (6:05)
06 - Padlock (6:54)
Ciccone Youth - The Whitey Album
Seńor Coconut And His Orchestra - Behind The Mask (Remixes) 
Deerhoof - Offend Maggie 
Thievery Corporation - Radio Retaliation (2008)
KlupČe - Saturday 22h
Pink Floyd keyboard player and founder member Richard Wright has died aged 65 from cancer.
Wright appeared on the group's first album, The Piper at the Gates of Dawn, in 1967 alongside lead guitarist Syd Barrett, Roger Waters and Nick Mason.
Dave Gilmour joined the band at the start of 1968 while Barrett left the group shortly afterwards.
Gilmour said: "He was such a lovely, gentle, genuine man and will be missed terribly by so many who loved him."
Writing on his website, he added: "And that's a lot of people. Did he not get the loudest, longest round of applause at the end of every show in 2006?"
Wright's spokesman said in a statement: "The family of Richard Wright, founder member of Pink Floyd, announce with great sadness that Richard died today after a short strle with cancer.
So, so you think you can tell Heaven from Hell,
blue skies from pain.
Can you tell a green field from a cold steel rail?
A smile from a veil?
Do you think you can tell?
And did they get you to trade your heroes for ghosts?
Hot ashes for trees?
Hot air for a cool breeze?
Cold comfort for change?
And did you exchange a walk on part in the war for a lead role in a cage?
How I wish, how I wish you were here.
We're just two lost souls swimming in a fish bowl, year after year,
Running over the same old ground.
What have you found? The same old fears.
Wish you were here.
Pink Floyd-Wish You Were Here (live)
Lorez Alexandria - FOR SWINGERS ONLY
2.Little Girl Blue
3.All Or Nothing At All
4.Traveling Down A Lonely Road
6.Love Look Away
7.The End Of A Love Affair
8.That Old Devil Called Love
One of the greatest albums ever from Lorez Alexandria -- an ultra-hip singer who recorded for Impulse and King, but who sounds especially wonderful on this rare date for Chess Records! The album's got a groove that definitely lives up to its title -- a jazzy, bouncy sort of rhythm that's definitely "for swingers only", and which is a nice contrast to overdone torch or standard jazz vocal modes. Alexandria's singing is completely sublime -- quite fluid, yet with a soulful depth that's really amazing -- and her backing combo is equally hip -- a group led by John Young on piano, and also featuring George Eskirdge on guitar, Jimmy Garrison on bass, Phil Thomas on drums, and Ronald Wilson on flute and tenor -- an obscure player whose reed work really makes the album sparkle! The song choices are great too -- a mix of some under-recorded gems and a few blue-toned classics -- all redone amazingly by Lorez with a sound that's quite unique. Titles include her classic Argo reading of "Baltimore Oriole", which begins with an amazing drum/bass passage that's worth the price of the album alone -- and other tracks include "The End Of A Love Affair", "Baltimore Oriole", "All Or Nothing At All", "Mother Earth", "Love Look Away", and "Traveling Down A Lonely Road".
© 1996-2008, Dusty Groove America, Inc.
Playlist #7 (Autumn '08.)
Tom Waits - Christmas Card From a Hooker in Minneapolis
Ig Culture - Zen Badizm (2008)
II.Ra Bops In Blacknuss
III.Girl U Need A Change Of Mind
ZEN III Consumer's Anthem
III.Consumed (I Will Not B)
United Future Organisation - 3rd Perspective (1997)
With a thing for vintage spy-thriller themes and ersatz jazz, the international collective United Future Organization has an inherent aura of cool. On 3rd Perspective, its most accomplished release to date, the group has no problem living up to the funk and flair of its forefathers. Moving through soulful vamps and sleek rhythms, the sharply dressed band bashes out the ideal soundtrack for any jet-set daydream. UFO even has their own answer to Shirley Bassey in a woman named Chezere on the 007-ish "Friends." Elsewhere, "Spy Spice (Mon Espionage)" sounds like a lost gem from the Quincy Jones catalog, while "Picaresque Eye" prominently features soothing, exotic percussion and the poetic voice of Skip McDonald. Kitschy but classy. --Aidin Vaziri
1.: His Name Is...
2.: Planet Plan
3.: Friends We'll Be
4.: Spy's Spice (Mon Espionne)
5.: Fool's Paradise
6.: Waltz (Le Serpent Rouge)
7.: Picaresque Eye
8.: Nica's Dream
9.: Cosmic Gypsy (CD)
10.: Dice For A Chance
11.: Moving Shadows
Sly & the Family Stone - There's A Riot Goin' On (1971)
Sly & the Family Stone were due to have submitted an album to Epic at least a year before Riot was released, but Sly Stone missed several recording deadlines, worrying CBS executive Clive Davis. Sly worked on Riot mostly alone in a studio that he had especially built for him at The Plant Studios in Sausalito, California, or at home in a studio located in the loft of his Bel Air mansion. The Record Plant studio included a bed and a wireless microphone system, and Sly would often simply lay down in the bed and record his vocals while in repose. According to the other Family Stone members, most of the album's instrumentation was performed by Sly alone in the studio via overdubbing. When the other band members contributed instrumentation to Riot tracks, they also did so by overdubbing alone with Sly instead of playing in unison as was usual for them. For "Family Affair" and some of the other selections on the LP, Sly enlisted several of his industry friends, including Billy Preston, Ike Turner, and Bobby Womack, to provide instrumentation on the album instead of his bandmates.
In the fall of 1971, Sly Stone personally drove the Riot masters to the CBS Records offices, relieving the worried Clive Davis. CBS issued "Family Affair" as the first single; it was the first Family Stone recording to be released in nearly two years. "Family Affair" became the fourth and final number-one pop hit for the band, but it was still a notable departure from the sound of their earlier hits. A somber, electric piano-based record, Sly and sister Rose Stone sing about the good and bad aspects of family, with Sly delivering his part in a low, depressed tone. The song's rhythm is provided by a drum machine (or rhythm box), making it one of the earliest hit recordings to feature use of such a device (the first was another Sly Stone production, Little Sister's "Somebody's Watching You"). Sly felt that the rhythm box, if used the way it was designed, made unrealistic sounds, and resorted to holding down five buttons, running the tape, then rewinding, holding down a different set of five buttons, and overdubbing.
Most of Riot features Sly alone on lead vocals – Rose is the only other member of the band who sings solo lead parts on the album. The entire record featured a dampened, dub-like sound as the result of Sly's extensive re-recording and overdubbing, which matches the burnt-out, frustrated, dred tone of Sly's lyrics and vocals. Riot finds Sly reveling in drug-induced euphoria ("Luv n' Haight"), praising himself ("Poet") and declaring that the good times and high hopes of 1960s are over, and the bad times (the 1970s) are here ("Africa Talks To You 'The Asphalt Jungle'"). This was also of the few songs to feature co-lead vocals by The Family Stone. The angry and forceful "Thank You (Falettinme Be Mice Elf Agian)" (included on Greatest Hits) is reincarnated as the slow, ghastly "Thank You For Talking to Me Africa."
"Runnin' Away" and "(You Caught Me) Smilin'" were Riot's other singles. The former features Rose Stone singing the lead vocals in unison with her brother Sly, and the latter was the first Family Stone recording for Gerry Gibson, who replaced Gregg Errico as the Family Stone's drummer. Errico had gradually withdrawn from the band early in 1971, as a result of Sly Stone's increased drug use and now unpredictable demeanor.
01. Luv n' Haight
02. Just Like a Baby
04. Family Affair
05. Africa Talks to You 'The Asphalt Jungle'
06. There's a Riot Goin' On
07. Brave & Strong
08. (You Caught Me) Smilin
10. Spaced Cowboy
11. Runnin' Away
12. Thank You For Talkin' to Me Africa
13. Runnin' Away (mono single version)
14. My Gorilla Is My Butler (previously unreleased instrumental)
15. Do You Know What? (previously unreleased instrumental)
16. That's Pretty Clean (previously unreleased instrumental)
Various Artists - Broken Flowers (2005)
Will this soundtrack do for Ethiopian composer and musician Mulatu Astatke what Titanic did for Celine Dion? Well...maybe on a much, much smaller scale. Astatke's circle of Western fans has already expanded thanks to the compilation Ethiopiques, Vol. 4: Ethio Jazz & Musique Instrumentale, 1969-¬1974, and Jim Jarmusch's movie puts his hypnotic instrumentals to great use. This isn't surprising, since Jarmusch is a filmmaker with a natural affinity for music and its use onscreen. Here, a three-minute excerpt from stoner-rock legend Sleep's titanic "Dopesmoker" only offers a sample of the song (it actually lasts an hour) but it still sounds awesome, especially stuck between an Astatke track and Gabriel Fauré's "Requiem, Op. 48 (Pie Jesu)." Garage vets the Greenhornes and Holly Golightly contribute tracks together and separately, while indie-rockers Brian Jonestown Massacre's "Not If You Were the Last Dandy on Earth" (an answer song to the Dandy Warhols' "Not If You Were the Last Junkie on Earth") sounds as bilious now as it did in 1997. This is a rare case of a soundtrack that pulls together a broad range of artists yet remains oddly consistent--no doubt because it was assembled by a director with vision instead of a focus group. --Courtesy Elisabeth Vincentelli
01. The Greenhornes & Holly Golighlty - There Is An End
02. Mulatu Astatke - Yegelle Tezeta
03. Tennors - Ride Your Donkey
04. Marvin Gaye - I Want You
05. Mulatu Astatke - Yekermo Sew
06. The Brian Jonestown Massacre - Not If You were The Last Dandy On Earth
07. Holly Golightly - Tell Me Now So I Know
08. Mulatu Astatke - Gubelye
09. Sleep - Dopesmoker
10. Oxford Camerata - Requiem, OP. 48 (Pie Jesu)
11. Dengue Fever - Ethanopium
12. The Greenhornes - Unnatural Habitat
The Byrds - Fifth Dimension (1966)
In July, the album Fifth Dimension finally appeared. Except for Gene Clark's swan song, "Eight Miles High," on which all five original Byrds appeared, the album featured the second incarnation of the band, McGuinn, Crosby, Hillman and Clarke, with Hillman assuming the responsibility for a third vocal part. Like the single, the album was a deliberate departure from the sound and substance of the first two LPs. No Dylan or Seeger songs were in evidence, though four of the songs had roots in folk music. With Clark gone, the band eschewed straightforward pop songs, opting instead for more experimental fare. McGuinn and Crosby each began to come into their own as songwriters with this album, and collaborated well together on several numbers. Elsewhere, though, were signs of the rift that would develop between the two.The new, post-Clark equilibrium is displayed to good effect on the two folk standards, the traditional "Wild Mountain Thyme," and "John Riley," a song by Bob Gibson and previously recorded by Odetta. Both feature strong harmonies, and for the first time, string arrangements. These are Allan Stanton's contribution, and are used sparingly enough that they don't overwhelm the material.Crosby and McGuinn collaborate on "I See You," which they co-wrote. The modal melody and free verse lyrics sound like the work of Crosby, and McGuinn's tenor vocal sounds as if he's deliberately imitating Crosby. McGuinn's contribution is another round of the angular, Coltranesque guitar style used on "Eight Miles High."Surprisingly, the most effective collaboration between McGuinn and Crosby appears on "What's Happening?!?!," Crosby's first solo songwriting credit with the band. The song is a successful experiment with subject matter and song structure in which McGuinn responds to each verse with a different sitar-like guitar lick. The raga influence is even stronger on this number than on "Why," and McGuinn's solos effectively complement Crosby's lyrical theme of confusion and disorientation.The other Crosby song is "Hey Joe (Where You Gonna Go)," which he had picked up from longtime chum Dino Valenti. The Byrds had been performing the song live for some time, and the song came to be associated with Crosby. He had been wanting to record the song for some time, and became frustrated when rival LA bands scored with it. At his insistence, the band recorded their own version. The most notable apsect of the song is not Crosby's punky singing -- it's the strong bass work by Hillman and McGuinn's guitar work, again in his skittery new style.One of McGuinn's contributions also had its roots in the folk movement. For "I Come and Stand at Every Door," McGuinn set the words to a poem by Nazim Hikmet to a traditional ballad called "Great Selchie of Shule Skerry," which Judy Collins had recorded on The Golden Apples of the Sun (Elektra, 1963). With its morbid lyrics about the ghost of a child killed in Hiroshima, this song might have become little more than a gruesome dirge, but the elegiac melody and simple arrangement just barely manage to keep the song in the realm of good taste.McGuinn's two solo compositions are the standouts, which must be why they were chosen as the two singles. "5D (Fifth Dimension)" is sort of an attempt to explain Einstein's theory of relativity, based on a book that had caught McGuinn's fancy called 1-2-3-4, More, More, More, More by one Don Landis. To McGuinn's dismay, its trippy lyrics were, not surprisingly, interpreted as an ode to the lysergic experience. Whatever it meant, it sure sounds good. Check out the harmonies on the chorus, and the rousing "Ooooooooohhhhh!!!" that launches the next verse. Professional eccentric Van Dyke Parks adds some nice keyboards.The whimsical "Mr. Spaceman" continues the band's tentative exploration of country music, which they are still unwilling to attempt without a veneer of ironic detachment to protect their hipness. Nevertheless, it's an engaging song, with the best melody by McGuinn up to that point. (The song is no relation to the 1964 Holy Modal Rounders track by the same name.)The final McGuinn composition (you couldn't really call it a song) is a throwaway called "2-4-2 Fox Trot (The Lear Jet Song)." As indicated by its subtitle, it was a nod to John Lear, who had befriended the aviation-besotted McGuinn around this time. The track's jet engine sound effects and control tower exchanges seem mundane today, though they were something of an innovation at the time (compare "Yellow Submarine" by the Beatles a few months later).Somewhat out of place, not just on this LP, but in the entire Byrds repertoire, is the slight soul/blues instrumental vamp, "Captain Soul." All four band members receive writing credits, but Michael Clarke is the one who thought the band should try an R&B song. "Captain Soul" is based on the opening riff of the song "Get Out of My Life Woman," a hit for the great New Orleans soul singer Lee Dorsey in early 1966, written by New Orleans musical giant Allan Toussaint.Fifth Dimension had many strong cuts, particularly the three singles, but is a bit more uneven than its two predecessors. It would prove to be a transitional album, a glimpse of the second version of the band trying to establish a balance among its members' songs, interests and egos.
1. 5D (Fifth Dimension)
2. Wild Mountain Thyme
3. Mr. Spaceman
4. I See You
5. What's Happening?!?!
6. I Come And Stand At Every Door
7. Eight Miles High
8. Hey Joe (Where You Gonna Go)
9. Captain Soul
10. John Riley
11. 2-4-2 Fox Trot (The Lear Jet Song)
12. Why (Single Version)
13. I Know My Rider (I Know You Rider)
14. Psychodrama City
15. Eight Miles High (Alternate/RCA Studios Version)
16. Why (Alternate/RCA Studios Version)
17. John Riley (Instumental Version 1)
Sun Ra - The Futuristic Sounds Of Sun Ra (1961)
"Bassism" is a great opener. It starts out in a very "traditional" vein, with a jumpy horn line that is then interrupted by a short flute burst, and then the song breaks down into a funkier groove, reminding me very much of the music that would do well in a "Swingers" type movie. And it all feels like it was written for today, not 40 years ago.
From there, the album continues along the same road until "The Beginning," which is sparse and experimental-sounding. I can only assume that people might have been taken aback by this in 1961. "New Day" is very sparse and percussion-focused, and features an otherworldly flute solo.
"Tapestry from an Asteroid" is a very moving piece, and one can see the significance of its title. It has a real slow groove and melody, which sounds like music you might hear in a Humphrey Bogart movie, only there is something strangely subversive about it.
That really sums up this album: it's traditional elements are used successfully as a springboard to create a very futuristic atmosphere -- a good blend of the familiar and the unfamiliar. By erGo.
2. Of Wounds And Something Else
3. Whats That
4. Where is Tomorrow
5. The Beginning
6. China Gates
7. New Day
8. Tapestry From An Asteroid
9. Jet Flight
10. Looking Outward
11. Space Jazz Reverie
12. China Gates
Joy Division - Closer (1980)
Closer is a 1980 album by Joy Division. It was the band's second and final album, after Unknown Pleasures. It is considered an important album in the post-punk movement. The album was originally scheduled to be released on May 8, 1980, but ended up arriving in stores in July, shortly after lead singer Ian Curtis' suicide. The record was originally released on the Factory Records label as a 12" LP and reached #6 on the UK Albums Chart. It also peaked at #3 in New Zealand in September 1981.
Closer, produced by Martin Hannett, has a sound which is both lusher and more sombre than Unknown Pleasures, with more use of synthesizers and studio effects. Many of its songs have a despairing, funereal feel, and its cover art appears to reflect this, although it was chosen by Peter Saville before he had heard any of the music; both the photo and the bleakness of the music and lyrics amplified the already strong mystique surrounding the album after Curtis's suicide.
The opening track, "Atrocity Exhibition", shares its name with The Atrocity Exhibition by J.G. Ballard, a book that Curtis read and loved, but only after writing the bulk of the song. It was ranked 10th on Pitchfork Media's Top 100 Albums of the 1980s, 72nd on NME's 100 Greatest British Albums Ever.
This album, along with Unknown Pleasures and Still has been remastered and was released September 17, 2007 (2007-09-17). As with Unknown Pleasures and Still, the remaster comes packaged with a bonus live disc, recorded at the University of London.
The album cover was designed by Martyn Atkins and Peter Saville, with photography from Bernard Pierre Wolff. The photograph on the cover is of the Appiani family tomb in the Cimitero Monumentale di Staglieno in Genoa, Italy, by Demetrio Paernio.
1. Atrocity Exhibition 6:07
2. Isolation 2:53
3. Passover 4:47
4. Colony 3:56
5. A Means to an End 4:10
6. Heart and Soul 5:52
7. Twenty Four Hours 4:26
8. The Eternal 6:08
9. Decades 6:11
Pharaoh Sanders - Karma (1969)
Pharoah Sanders' third album as a leader is the one that defines him as a musician to the present day. After the death of Coltrane, while there were many seeking to make a spiritual music that encompassed his ideas and yearnings while moving forward, no one came up with the goods until Sanders on this 1969 date. There are only two tracks on Karma, the 32-plus minute "The Creator Has a Master Plan" and the five-and-a-half-minute "Colours." The band is one of Sanders' finest, and features vocalist Leon Thomas, drummer Billy Hart, Julius Watkins, James Spaulding, a pre-funk Lonnie Liston Smith, Richard Davis, Reggie Workman on bass, and Nathaniel Bettis on percussion. "Creator" begins with a quote from "A Love Supreme," with a nod to Coltrane's continuing influence on Sanders. But something else emerges here as well: Sanders' own deep commitment to lyricism and his now inherent knowledge of Eastern breathing and modal techniques. His ability to use the ostinato became not a way of holding a tune in place while people soloed, but a manner of pushing it irrepressibly forward. Keeping his range limited (for the first eight minutes anyway), Sanders explores all the colors around the key figures, gradually building the dynamics as the band comps the two-chord theme behind with varying degrees of timbral invention. When Thomas enters at nine minutes, the track begins to open. His yodel frees up the theme and the rhythm section to invent around him. At 18 minutes it explodes, rushing into a silence that is profound as it is noisy in its approach. Sanders is playing microphonics and blowing to the heavens and Thomas is screaming. They are leaving the material world entirely. When they arrive at the next plane, free of modal and interval constraints, a new kind of lyricism emerges, one not dependent on time but rhythm, and Thomas and Sanders are but two improvisers in a sound universe of world rhythm and dimension. There is nothing to describe the exhilaration that is felt when this tune ends, except that "Colours," with Ron Carter joining Workman on the bass, was the only track that could follow it. You cannot believe it until you hear it.
01. The Creator Has A Master Plan
Kid Loco - Party Animals & Disco Biscuits 2CD (2008)
Label: Le Village Vert
Release Date: 2008
Quality: MP3 VBR V2 kbps 44khz Stereo
Playtime: 113:16 min
Size: 152 Mb
:: TRACKLIST ::
1. Oh Lord ! (2:22)
2. Mototcycle Angel (4:17)
3. Pretty Boy Floyd (5:11)
4. 10-15 (4:32)
5. Ann (6:03)
6. Theme form the Graffiti Artist (4:48)
7. Love is All Around (4:07)
8. Confessions (3:08)
9. The Specialist (8:08)
10. Nijack Blues (6:02)
11. The Time of Our Lives (4:17)
12. Hijack Blues #9 (Peter & Asger Bade Remix) (4:03)
13. Oh Lord ! (A Sacred Blowout) Remixed by Erik Jannson (5:57)
14. Confession (Parov Stelar Remix) (3:15)
15. Pretty Boy Floyd (Agents of Desire Remix) Remixed by Tim Saul (5:29)
16. Love is All Around (Kanbanjak Remix) (3:51)
17. Motorcycle Angels (Sistema Local Desert Bandits Disco Version) (6:38)
18. The Specialist (Ed Royal & Enne Remix) (5:48)
19. The Time of Our Lives (Jon Kennedy Demonic Remix) (4:16)
20. Pretty Boy Floyd (Erik Sumo in the Rain Rework) (21:04)