HUMPPAZOID'S HOUSE

В.И. Илюхин: «Геббельс был бы счастлив!» Госдума голосами «Единой России» и ее приспешников приняла антироссийское заявление по Катыни

2010-11-27T03:37:00.000-08:00

26 ноября Государственная Дума приняла Заявление «О Катынской трагедии и ее жертвах». Этот позорный документ, внесенный явно по указке сверху, всю вину за расстрел польских офицеров возлагает на Советскую сторону. Фактически, в нем подтверждается версия событий, сфабрикованная в свое время нацистским министром пропаганды Геббельсом. Более того, в документе содержатся оскорбительные, ни на чем не основанные выпады против Советской власти и руководства СССР. Принятие заявления также может привести к многомиллиардным искам польской стороны к России.
Депутаты-коммунисты высказались резко против принятия данного документа. Позицию фракции КПРФ обосновал в своем выступлении В.И. Илюхин.
В.И. Илюхин (фракция КПРФ).
- Уважаемые коллеги, меня, скажу откровенно, просто настораживает та лёгкость, с которой мы принимаем весьма важные документы. Хотя бы для приличия создали парламентскую комиссию из представителей разных фракций, чтобы все могли изучить документы и потом уже действительно с уверенностью голосовать за то или иное решение.
Я хотел бы вам напомнить, что 13 апреля 1943 года фашистские средства массовой информации обнародовали заявление Геббельса, который вдруг объявил о том, что в Катыни (в Козьих горах), под Смоленском найдено захоронение польских офицеров, расстрелянных якобы НКВД.
И начиная с этого момента, Геббельс и его команда усиленно распространяли данную версию.
Но я могу вам привести цитату из его дневника: "Катынское дело счастливо развивается для нас". Хотя через два месяца после того, как Геббельсу доложат, что в захоронениях и в телах польских офицеров найдены немецкие пули, выпущенные из немецкого оружия, а во рвах найдены гильзы от немецкого оружия, Геббельс напишет: "Это надо как-то выяснять. Это как-то надо объяснять. И, может быть, нам придётся отказаться от всей этой катынской затеи".
Я могу сказать, что сегодня геббельсская версия о расстреле НКВД 22 тысяч польских офицеров, по сути дела, оказалась главенствующей, отброшены в сторону результаты работы комиссии Бурденко, материалы Нюрнбергского процесса. Я думаю, что Геббельс, если бы он был жив, был бы счастлив. Он, наверное, и в могиле рукоплещет тому, что нам сегодня предлагают принять.
Я ведь неслучайно говорю. Заявление, которое принимается Думой, достаточно ответственное заявление. И к этому документу надо было бы подойти, всесторонне оценив все имеющиеся доказательства.
Меня настораживает то, что на протяжении десятков последних лет русского человека поставили на колени и заставили извиняться за всё, даже за то, что он и не совершил. Как извиняться за катынскую трагедию, которая произошла не по нашей вине?
И могу отметить ещё один момент. То, что вы сегодня делаете, наносит колоссальный ущерб нации. Ее заставляют признать, что она виновата во всём. Эта нация никогда не сможет созидать. Эта нация никогда не сможет творить великие чудеса для развития нашего общества и государства. Она чувствует свою ущербность. Она вынуждена оправдываться даже за то, что победила фашистов.
Я вам представляю книгу - сборник материалов и документов "Тайны Катынской трагедии", составленный на основе выступлений крупнейших российских историков, достаточно назвать фамилию Юрия Николаевича Жукова. Вот в этих материалах напрочь опровергается геббельсская версия. Сколько бы нам ни приводили примеров, в том числе и поляки, но нигде они не сказали ни слова, что два ведущих польских эксперта - Ольбрихт и Сингилевич - ещё в 1945 году доказали: это немцы расстреляли польских офицеров под Катынью. Нигде этот документ не фигурирует.
Сегодня ссылаются на материалы расследования уголовного дела. Я как специалист вам могу сказать, что в материалах уголовного дела нет первого экземпляра записки Берии, нет первого экземпляра выписки из протокола заседания политбюро, которое якобы дало согласие на расстрел польских офицеров. Как же можно расследовать дело и приходить к таким ошеломляющим выводам?
Хочу сказать ещё о другом. Скажите мне, пожалуйста, а какое решение должны и могли принять следователи после 14-летнего расследования (которое умышленно затягивалось)? После того, как один президент - Горбачёв - извинился перед поляками, затем Ельцин, затем Путин. Какое решение, скажите, примет следственное подразделение, главный военный прокурор? Перед следователями была поставлена одна задача - обосновать геббельсскую версию расстрела польских офицеров, и, по сути дела, дать юридическую квалификацию и юридическое обоснование политическому решению.
Я вам могу сказать, что мы подвергли записку Берии экспертному изучению. Эксперты нам дали заключение, что записка Берии печаталась на разных печатных аппаратах, чего не должно быть и не могло быть в те времена, тем более по секретному делопроизводству. Я вам выдал на руки и попросил распространить в зале черновик, который стал основой для подделки записки Берии Сталину. Через 10 дней уважаемые мои коллеги-эксперты дадут свои выводы, и я конкретно скажу, кто стоял у истоков этой фальсификации. Люди известные, которые занимают сегодня достаточно высокие посты в нашем государстве.
Какие еще нужны доказательства вины немцев? Да, поляки расстреляны из немецкого оружия и немецкими пулями. Руки у многих жертв были связаны бумажным шпагатом, который не производился в СССР, а только в Германии. Какие нужны доказательства? Когда немцы сами признают сегодня, и признавали раньше немецкие солдаты, что они лично участвовали в расстреле польских офицеров. Но мне говорят, что это не доказательства, и давайте их отбросим!
И второй момент. В Страсбургском суде сегодня находится 70 исков поляков. Польское правительство официально выступило стороной в них, заинтересованной стороной в тех исках, где ставится вопрос о возмещении ущерба. Я могу отметить, что это возмещение ущерба будет исчисляться, поверьте мне, миллиардами. Сегодня две организации: Польский институт национальной памяти и комитет Катынь - вынашивают планы предъявления России иска в размере 100 миллиардов долларов за уничтожение, как они говорят, цвета нации.
Я могу вас обрадовать, что и господин Путин, и вы сегодня, проголосовав за это постановление, сами будете прокладывать дорогу к этому иску. Поверьте мне, в европейских судах любой иск против России будет удовлетворён.
Нам предлагают сегодня каяться.
Тогда давайте каяться и за то, что в 1919 году поляки расстреляли нашу миссию Красного Креста.
Давайте каяться за то, что поляки расстреляли нашего посла в 1927 году.
Давайте каяться за то, что в 1920 году в польский плен попало 130 тысяч красноармейцев. А в 1921 году Чичерин пишет записку временному поверенному Польши в делах России о том, что в польском плену исчезло 60 тысяч красноармейцев. По нашим данным, уничтожено было 86 тысяч красноармейцев. Над ними издевались, их расстреливали, оставляли без пищи, демонстративную проводили перед строем «операцию»: вспарывали животы.
Ни Путин, никто другой из руководства страны серьёзно не поставил данный вопрос. Не ставится этот вопрос и здесь. Я обращаюсь к вам, авторам этого законопроекта. Какова судьба наших красноармейцев? Это что, не граждане России? Поучитесь у поляков, как надо защищать своих граждан, свои интересы. Почему мы так безразлично относимся к тому, что происходит?
Давайте каяться за то, что поляки фактически учинили геноцид в отношении белорусов и украинцев на присоединённой, то есть на оккупированной ими территории. 800 восстаний местного населения произошли только в 1922 году. Кавалерией, танками уничтожали эти восстания. В Берёзе-Картузской был создан концентрационный лагерь, через который прошли тысячи белорусов. Сокульский, один из лидеров поляков, говорил: через 10 лет на этой территории не будет ни одного белоруса. Нам и за это каяться? Или за то, что поляки захватили у Чехии Чешинскую область? По сути, это стало прологом Второй мировой войны. Так что хватит каяться!
* * *
От редакции КПРФ.ru
Все поправки коммунистов к проекту Заявления «О Катынской трагедии и ее жертвах» были отклонены. А голосование по нему стало своеобразным водоразделом. Маски оказались сброшены окончательно. Проправительственное большинство в лице «Единой России», «Справедливой России» и ЛДПР продемонстрировало свою антироссийскую сущность. Только коммунисты голосовали против этого позорного документа.
Причем, чтобы не допустить слабины в своих рядах (уж больно одиозным является принятое заявление), «Единая Россия» провалила предложение координатора фракции КПРФ С.Н. Решульского о проведении тайного голосования. Что ж, может оно и к лучшему! Теперь имена тех, кто фактически подписал акт о безоговорочной капитуляции России перед Западом, станут известны всей стране, всему народу. И пусть они не забывают о том, какой конец ожидал доктора Геббельса!

HAPPY HALLOWEEN!

2010-10-28T14:05:00.001-07:00

Part 1
Part 2

John Zacherley - Twist Collection

1 happy halloween

2 let's twist again

3 monster monkey

4 dinner with drac

5 come with me to transylvania

6 monster mash

7 pistol stomp

8 weird watusi

9 dummy doll

10 i was a teenage caveman

11 monsters have problems, too

12 limb from limbo rock

13 frank and drac are back

14 lunch with monster goose

15 hello, dolly

16 a ticket, a casket

17 i'm the ghoul from wolverton mountain

18 ring a ding aurangotang

19 popeye

20 a-b-c

21 eighty two tombstones

22 surfboard

23 dear dear valentine

24 gravy

25 baying at the moon

26 the bat

27 scarey tales from mother goose

28 a sure sign of spring

29 coolest little monster

30 clementine

31 the spider & the fly

32 igor

33 transylvania pta

CHET BAKER & PAUL DESMOND - TOGETHER (THE COMPLETE STUDIO RECORDINGS 1973-1977)

2010-10-28T05:29:00.000-07:00

Another one cool session by 2 cool guys:)

Chet Baker & Paul Desmond "Together"

Cool session from 1987 - Chet Baker & Wolfgang Lackerschmid "Welcome Back!"

2010-10-27T09:23:00.000-07:00

1987

Chet Baker
&
Wolfgang Lackerschmid
"Welcome Back"

Cool session by 2 cool guys:)

Chet Baker & Wolfgang Lackerschmid "Welcome Back" 1987

Grant McLennan "Horsebreaker Star" 1995

2010-07-17T12:07:00.000-07:00

Grant McLennan "Horsebreaker Star" 1995

One of the best album by my favourite Australian songwriter :)

Grant McLennan "Horsebreaker Star" 1995

IS ANYBODY HERE FROM TAMPERE, FINLAND?

2010-06-23T13:31:00.000-07:00

IS ANYBODY HERE FROM TAMPERE, FINLAND? I NEED YOUR HELP. HUMPPAZOID@BK.RU

Grateful Dead Downhill from Here Alpine Valley Live July 17 & 19, 1989

2010-06-01T15:05:00.000-07:00

FIRST PART

SECOND PART

Rare LaserDisc Analogue Tracks 24 bit/192 kHz Mastering with no noise reduction, equalization, normalization - the straight signal for the straight people!:) by www.humppazoid.blogspot.com

Grateful Dead Downhill from Here Alpine Valley Live July 17 & 19, 1989

Grateful Dead Are:
* Jerry Garcia – guitar
* Mickey Hart – drums, percussion
* Bill Kreutzmann – drums, percussion
* Phil Lesh – bass
* Brent Mydland – keyboards
* Bob Weir – guitar

[edit] Production
* Len Dell'Amico - director
* John Cutler and Phil Lesh - producers, mixers
* Candace Brightman - lighting director
* Dan Healy – concert sound
* Bob Bralove – sound designer and programmer
* Allen Newman – line producer
* Bill Weber – video post editing
* Jeffrey Norman – audio post editing
* Terry Donahue – technical director
* Billy Steinberg – senior video

1 Let the Good Times Roll [AKA Good Times] Cooke 5:03
2 Feel Like a Stranger Barlow, Weir 6:55
3 Built to Last Garcia, Hunter 5:33
4 Me & My Uncle Phillips 3:31
5 Cumberland Blues Garcia, Hunter, Lesh 5:36
6 It's All Over Now Womack, Womack 8:17
7 West L.A. Fadeaway Garcia, Hunter 8:14
8 Desolation Row Dylan 11:59
9 Deal Garcia, Hunter 9:53
10 China Cat Sunflower Garcia, Hunter 6:39
11 I Know You Rider Traditional 5:35
12 Playing in the Band Hart, Hunter, Weir 8:37
13 Uncle John's Band Garcia, Hunter 8:40
14 Standing on the Moon Garcia, Hunter 9:11
15 Drums Hart, Kreutzmann 8:47
16 Space Garcia, Weir, Lesh, Mydland 4:26
17 The Wheel Garcia, Hunter, Kreutzmann 4:34
18 Gimme Some Lovin' Davis, Winwood, Winwood 4:31
19 Goin' Down the Road Feeling Bad Traditional 6:12
20 Not Fade Away Holly, Petty 9:38
21 We Bid You Goodnight Traditional 4:48
22 Johnny B. Goode Berry 4:23

Total playing time: 2 hours 31 minutes 03.30 seconds
Codec/bitrate/discretisation frequency: MP3 CBR 320 kBpS 48000 Hz

Review by Lindsay Planer

This title includes a composite of two performances -- July 17 and 19, 1989, at the Alpine Valley Music Theater in East Troy, WI -- and is available on both the VHS and DVD home video formats. The somewhat cryptic title is a geographical reference to the distinct incline in the general admission [read: festival seating] section of the venue. The summer of 1989 saw the Grateful Dead commencing one of the final epic zeniths in terms of consistently brilliant performances. They were able to ride this wave through the summer of 1990 -- which was sadly capped by the untimely passing of Brent Mydland (keyboards). This era was equally notable for the incorporation of concurrently new material from their soon-to-be-released 21st and final studio effort, Built to Last. Included here are both the title track as well as "Standing on the Moon" -- two of the better Jerry Garcia/Robert Hunter compositions from the album. A majority of the video is taken from the show on the 17th, with the exception of the last three tracks during the "first set": "West L.A. Fadeaway," "Desolation Row," and one of the undisputed highlights of the entire 1989 summer tour, "Deal," featuring a blistering guitar solo from Garcia. Other not-to-be-missed performances include a majority of the second set -- which begins with a uniformly inspiring "China Cat Sunflower"/"I Know You Rider" pairing. The DVD contains two unique interactive features: a Grateful Dead trivia game as well as a "lyrics option" which is accessible through the subtitles menu of the playback unit.

P.S. Вот таким перлом хотел сопроводить этот РИП ранее: "РИП посвящается герле Е.К., которая не влюбилась в 120 кило одухотворенного райского наслаждения, полномочно представленного в моем гиберборейском теле (даже Дж.Гарсия никогда не приходил к такой совершенной форме, а уж приходов-то у него - сами знаете!), а глупо вкохалась в тщедушного верхнеголландского нацукробуржуя К.С., который тупо использует свое разваливающееся дачно-садовое хозяйство не для взращивания психоделической (или какой-либо иной достойной) культуры, а для сексплуатации малолетних трип-хиппушек.
Герла Е.К.! Ты - дура!
нацукробуржуй К.С.! No Future for U!
Хиппи! Слушайте Rancid - добрее будете!"

Всех люблю, но каждого – по-своему!

Grateful Dead - Let the Good Times Roll!!!

2010-05-30T14:02:00.000-07:00

LET THE GOOD TIMES ROLL!!!

This song for everyone who loves life, summer and all the good things too:)

Johnny Depp Wanted to be a President of Russia

2010-03-02T14:57:00.000-08:00

how to contact with Johnny?

Siberian Xmas with the Echo & the Bunnymen

2009-12-23T12:14:00.000-08:00

Echo & the Bunnymen - 2005 - Siberia

Review by MacKenzie Wilson

Since their 1997 comeback, Echo & the Bunnymen have made some genuine attempts to keep the momentum going. Evergreen and What Are You Going to Do with Your Life? were eager, bright, and still a little brash. Flowers was nice with its light canvas; however, most fans still preferred their earlier material. That's not to say an older Ian McCulloch and Will Sergeant don't make great music together. It's just that the recent material seemed too prosaic. Their sound is so distinctly their own with Sergeant's silvery, tight guitar work and McCulloch's fashionable, sweet-and-sour kind of vocal charm. Siberia, Echo's tenth studio album (including the sans-McCulloch disaster, Reverberation), is the album the two school friends have been trying to make since getting back together to record Evergreen. This 11-song set has every crass beat of Crocodiles and every sparkling thread of Heaven Up Here while the edgy pop moments of the underrated Porcupine are sprinkled throughout. And of course, Ocean Rain will not be forgotten. If anything, Siberia mirrors the passion of that 1984 classic most of all. Sergeant's playing has never sounded better, particularly on the playful self-reflections of "Parthenon Drive" and "Of a Life." McCulloch's lyrics are exactly on par, and vocally, he's sharper than ever. Call it an age thing, but Siberia makes total sense for where Echo & the Bunnymen stands 20 years on as a band. They couldn't have created this album before now. Songs such as the bittersweet musings of "Stormy Weather" and "All Because of You Days" capture Echo & the Bunnymen at their most confident. Album standout "Scissors in the Sand" finds the band's usual cool and cocky demeanor still intact. Really, Siberia is a beautiful album. All those years ago, Echo & the Bunnymen gave the world some "songs to learn and sing." With Siberia, they do it again.

Tracks

1 Stormy Weather (McCulloch, Sergeant) 4:24

2 All Because of You Days (McCulloch, Sergeant) 5:44

3 Parthenon Drive (McCulloch, Sergeant) 5:11

4 In the Margins (McCulloch, Sergeant) 5:06

5 Of a Life (McCulloch, Sergeant) 3:43

6 Make Us Blind (McCulloch, Sergeant) 4:00

7 Everything Kills You (McCulloch, Sergeant) 4:17

8 Siberia (McCulloch, Sergeant) 4:56

9 Sideways Eight (McCulloch, Sergeant) 3:16

10 Scissors in the Sand (McCulloch, Sergeant) 5:29

11 What If We Are? (McCulloch, Sergeant) 5:09

Twisted Christmas with Twisted Sister

2009-12-23T01:48:00.000-08:00

Twisted Sister - 2006 - Twisted Christmas

Year: 2006

Genre: Hair Metal

Codec: MP3 320kBpS 44.1kHz

Review by James Christopher Monger

Holiday-themed albums need to either be pretty good, horrifically terrible, or completely original to cause even the jolliest head to turn. Twisted Christmas, a ten-track collection of yuletide classics from the band that once writhed atop a convertible singing the song "Burn in Hell" near the end of Pee Wee's Big Adventure, manages to achieve all three. Twisted Sister was always a group that would occasionally transcend their hair metal image with some truly majestic and powerful rock & roll, so it comes as no surprise that they filter the beloved Christmas carol through the same makeup-smeared sieve that brought the world "I Wanna Rock," "Wake Up the Sleeping Giant," and "The Prize." In fact, "Oh Come All Ye Faithful" sounds so much like a reimagining of "We're Not Gonna Take It," the listener can't help but become outraged at all of the injustice in the world. "Deck the Halls" sounds like a Ramones tune, "I'll Be Home for Christmas," featuring guest vocalist Lita Ford, could have launched a thousand lighters at any stadium in the late '80s, and the absolutely embarrassing "Heavy Metal Christmas" ("12 silver crosses, 11 black mascaras, ten pairs of platforms, nine tattered T-shirts, eight pentagrams, seven leather jackets, six cans of hair spray, five skullhead rings, four quarts of Jack, three studded belts, two pairs of spandex pants, and a tattoo of Ozzy") is almost impossible to turn off without seeing it through to its loathsome but charming end.

Tracks

1 Have Yourself a Merry Little Christmas (Blane, Martin) 4:48

2 Oh Come All Ye Faithful (Traditional) 4:39

3 White Christmas (Berlin) 3:56

4 I'll Be Home for Christmas (Gannon, Kent, Ram) 4:08

5 Silver Bells (Evans, Livingston) 5:05

6 I Saw Mommy Kissing Santa Claus (Connor) 3:39

7 Let It Snow, Let It Snow, Let It Snow (Cahn, Styne) 3:09

8 Deck the Halls (Traditional) 2:52

9 The Christmas Song (Chestnuts Roasting on an Open Fire) (Torme, Wells) 3:40

10 Heavy Metal Christmas (The Twelve Days of Christmas) (Snider, Traditional) 5:14

11 :36

Swingin Rockablly Xmas with Brian Setzer Orchestra - 2002 - Boogie Woogie Christmas

2009-12-21T03:51:00.000-08:00

Boogie Woogie Christmas

Year: 2002
Genre: Rockabilly, Swing
Codec: MP3 320kBpS 44.1kHz

Review by Hal Horowitz

Brian Setzer takes his horn-fueled big band on a sleigh ride into Christmas/holiday music with generally impressive results. Meshing his rockabilly guitar solos with brassy charts and a lounge/Vegas sensibility that is part tribute and part retro characterization, Setzer dusts off and polishes up obscure nuggets like Kay Starr's "(Everybody's Waitin' For) The Man With the Bag" and Lionel Hampton's swinging "Boogie Woogie Santa Claus." He rocks up played-out chestnuts "Winter Wonderland" and "Jingle Bells," slightly altering the latter's lyrics to, "Oh what fun it is to ride in a '57 Chevrolet." Elvis' "Blue Christmas" succeeds despite, or maybe because of, its obvious inclusion, narrowly missing a parody of the original due to Setzer's reverb-heavy guitar solo. A rough, blues-heavy "Santa Claus Is Back in Town" successfully kicks the tune into classic urban R&B territory, with the bandleader's guitar getting down and dirty and the horns blasting away like Doc Severinsen's orchestra. Ann Margaret sounds a little tentative playing the sultry sex kitten next to Setzer's slick Bobby Darin on a nevertheless frisky duet romp through "Baby It's Cold Outside." But the album's obvious highlight is an intricately rearranged, instrumental big band blowout of "The Nutcracker Suite," originally written for Les Brown's orchestra in the '50s. It displays the group's stop-on-a-dime chops and swings like mad. A 30-piece choir backs Setzer doing his best Presley mannerisms on a smarmy "O Holy Night" and closes the album on a serious note with a prayerful "The Amens."

Tracks
1 Jingle Bells Pierpont 2:22
2 Boogie Woogie Santa Claus Rene, Rene 3:02
3 Winter Wonderland Bernard, Smith 2:40
4 Blue Christmas Hayes, Johnson 2:48
5 Santa Claus Is Back in Town Leiber, Stoller 3:48
6 Baby, It's Cold Outside Loesser 3:43
7 The Nutcracker Suite Tchaikovsky 7:13
8 (Everybody's Waitin' For) The Man With the Bag Brooks, Irving, Stanley 2:48
9 Sleigh Ride Anderson, Parish 2:40
10 So They Say It's Christmas Setzer 4:46
11 O Holy Night Adam, Dwight, Traditional 4:49
12 The Amens (Traditional) :59

The Nutcracker - Classical Xmas with Peter Tchaikovsky

2009-12-20T09:39:00.000-08:00

The Nutcracker CD1
The Nutcracker CD2

Conductor: Evgenij Svetlanov
Performer: The USSR State Symphony Orchestra
Year: 1988
Genre: Classical
Codec: MP3 320kBpS 44.1kHz

Rewiev by HZ
Based on E.T.A. Hoffmann's story "The Nutcracker and the Mouse King" (1816) and composed by Peter Tchaikovsky in 1891–1892. Well-known to everyone who have ears and any kind of audio equipment.

Tracks:
01. Overture [3:15]
02. The Decoration of The Christmas Tree [3:55]
03. March [2:29]
04. Children's Galop and Arrival of the Guests [2:20]
05. Arrival of the Drosselmayer [5:58]
06. Dance of the Grandfathers [7:23]
07. The Magic Spell Begins [7:50]
08. The Battle [3:18]
09. In the Pine-Forest [4:22]
10. Waltz of the Snowflakes [7:29]
11. Le royaume des sucreries [4:23]
12. Clara et le Prince [4:43]
13. Divertimento : Chocolat, danse espagnole [1:13]
14. Divertimento : Cafe, danse arabe [3:48]
15. Divertimento : The, danse chinoise [1:09]
16. Divertimento : Trepak, danse russe [1:02]
17. Divertimento : Danse des flutes [2:32]
18. Divertimento : Mere Cigogne et les clowns [2:08]
19. Valse des fleurs [7:01]
20. Danse du Prince et de la Fee Dragee [5:22]
21. Variation 1 : Tarentelle [0:41]
22. Variation 2 : Danse de la Fee Dragee [2:21]
23. Pas de deux [1:20]
24. Coda [3:33]
25. Apotheose [1:57]

2009-12-20T01:28:00.000-08:00

Martin Taylor - 1996 - Years Apart

Year: 1996
Genre: Crossover Jazz
Codec: MP3 320kBpS 44.1kHz

Review by Ken Dryden

This 1996 Scottish release predates the CD Celebrating Grappelli (released under Stephane Grappelli's name shortly after his death on Dec. 1, 1997 but with Taylor, in fact, as the leader) by over a year, yet it overlaps considerably with that album. Several tracks that were dropped to make room for additional material with Grappelli are found on this disc: the easygoing ballad "Going Home Again," the Gypsy-flavored "Monti," and an additional vocal by Claire Martin on the well-crafted "Hi Lily, Hi Lo," a piece rarely heard in a jazz setting. Years Apart should be acquired instead of Celebrating Grappelli because most fans will already have the Grappelli-Taylor duets heard on the latter album, which were repeated from their earlier Linn CD, Reunion.

Tracks:
Selected Tracks:
01. Sweet Sue Just You [4:18]
02. Going Home Again [4:10]
03. Undecided [3:29]
04. Musette for a Magpie [4:18]
05. I can't give you anything but Love [4:54]
06. Czardas [2:45]
07. Hi lily, hi lo [4:33]
08. Dinah [4:37]
09. Years Apart [4:23]
10. The Gypsy [3:23]
11. Chicago [4:37]
12. Manoir de mes reves [4:06]

2009-12-19T08:15:00.000-08:00

Dreadful Shadows - 1999 - The Cycle (Deluxe Edition)

Year: 1999
Genre: Gothic Metal
Total Mime: 01:06:41
Codec: MP3 320 kBpS 44.1kHz

Tracks:
01. Prelude 1:41
02. Futility 3:35
03. New Day 3:39
04. A Better God 3:59
05. Intransigence 3:58
06. Torn Being 4:43
07. Courageous 6:15
08. The Vortex 5:22
09. Awaking 4:18
10. Vagrants In Space 4:23
11. Calling The Sun 5:18
12. Exile 5:02
13. The Cycle 4:24
14. Twist In My Sobriety (Tikaram) 4:04
15. Futility (Project Pitchfork Remix) (Bonustrack) 5:49

2009-12-16T03:58:00.000-08:00

GITANE DEMONE - 1999 - Stars Of Trash

Rewiev by HZ
ex-Christian Death bdsm-goth-princess GITANE DeMONE with the little help from her friends -
Dreadful Shadows and their leader Sven Friedrich makes here some classical patterns of
neo-goth movement. Recommended.:)

Tracks
01. Stars Of Trash 5:32
02. Solitary War 5:15
03. The Only One 6:00
04. I Lost A Friend To Heroin 4:40
05. Rock And Roll Child 4:51
06. Little Dreamer 4:44
07. Cancel Logic Brain 6:23
08. Kill The Censor 4:13
09. Strange Baby Strange 4:16
10. Valentine 6:21
11. Shangri-La-La-Land 6:51
12. Memoriam 5:14

---Bonus Tracks (From Minicd 'Solitary War')---
13. Solitary War (Radio Edit) 3:48
14. Strange Baby Strange (Short Edit) 3:46
15. Strange Baby Strange (Club Edit) 5:01
16. Dreadful Shadows - Twist in My Sobriety 1999 (non-album extended club edit)

Arrangements on tracks 1,2,6 & 9 featuring Dreadful Shadows. Music and lyrics Gitane DeMone.
Recorded at Thommy Hein Studio, Berlin, July & August '99. Produced by Thommy Hein, Gitane
DeMone, Sven Friedrich. Mastered by Thommy Hein. Photography: Tobias Seeliger. Artwork: Cindy Drzymala. Photo location: Hotel Kunstlerheim, Luise, Berlin.

2009-12-14T06:13:00.000-08:00

John Lennon - 2005 - Peace, Love & Truth

Review by HZ
Good compilation of interesting and weird remixes as well as some originals.

Tracks
1 Give Peace a Chance [Remix 2005] 6:11 (Performed by: Voices Of Asia, Lennon)
2 Gimme Some Truth [Remix] 3:16 (Performed by: Lennon, Flux Fiddlers)
3 Love [Remix] 3:22
4 Hold On [Remix] 1:53
5 Give Peace a Chance 2004 Y2K+ Ono 3:54 (Composed by: Ono Performed by: Yoko Ono)
6 Imagine [Remix] 3:04
7 Bring on the Lucie (Freeda People) [Remix] 4:13
8 Mind Games [Remix] 4:13
9 I Don't Wanna Be a Soldier [Remix] 6:04
10 Instant Karma! (We All Shine On) 3:20
11 Power to the People [Remix] 3:23
12 Real Love [version] 4:08
13 Help Me to Help Myself 2:09
14 I Don't Wanna Face It 3:23
15 Bless You 4:37
16 Happy Xmas (War Is Over) 3:34
17 Listen the Snow Is Falling 3:10
18 Give Peace a Chance 4:54

Adrian Belew - 1995 - The Guitar as Orchestra: Experimental Guitar Series, Vol. 1

2009-10-26T04:51:00.000-07:00

Adrian Belew - 1995 - The Guitar as Orchestra: Experimental Guitar Series, Vol. 1

Review by Mike DeGagne
As interesting as it may sound, The Guitar As Orchestra rides along a straight track and doesn't offer much by way of liveliness or intrigue. Not taking anything away from Adrian Belew as a prominent guitarist and experimental guru, the flow lacks any colorful meandering or subtle pleasantries, and the novelty wears off after the first couple of tracks. Belew's idea for the album involves replacing orchestral instruments with only a guitar, thus producing classical music with different variations and styles of guitar playing. Using only a Fender Stratocaster and a few guitar synthesizers and processors, Belew creates classical passages and movements that resemble, almost identically, music otherwise made by piano, violin, and the sort. A great idea in theory, but the result is rather humdrum and is absent of any flare. Titles such as "Alfred Hitchcock's 'Strangers on a Train' Starring Robert Walker" and "Portrait of a Guitarist As a Young Drum" may sound enticing but are compelling in name only. Belew's talents can be much better appreciated on his other solo albums, like Desire Caught By the Tail.

Tracks
1 Score With No Film (Belew) 3:23
2 Portrait of the Guitarist (Belew) 7:22
3 Piano Recital (Belew) 1:42
4 Laurence Harvey's Despair (Belew) 2:48
5 Piano Ballet (Belew) 3:35
6 Rings Around the Moon (Belew) 3:55
7 Seven E Flat Elephants Eating the Acacia of a C# Minor Forest (Belew) 7:20
8 If Only... (Belew) 5:06
9 Alfred Hitchcock's "Strangers on a Train" Starring Robert Walker (Belew) 9:44
10 Finale (Belew) 5:35
Time: 50:30

F.S.K. John Peel Sessions

2009-06-21T01:52:00.000-07:00

F.S.K.

MP3 320 kBps

79.7 MB

Released in 1989 on the Strange fruit label, distributed by rough trade Catologue Number FSPMA 204

Track listing:
1. I wish I could 'sprechen sie deutsch'
2. Die musik findet immer nach haus
3. Dr. Arnold Fanck
4. Am tafelberg von kapstadt
5. Komm gib mir deine hand
6. Girl
7. Birthday
8. Dont pass me by
Tracks 5-7 Lennon McCartney; Track 8 R. Starky

Biography by Richie Unterberger
There are few other rock bands of the late 20th century as difficult to categorize as F.S.K. There are few other bands that are as downright strange as this German outfit. Polka, yodels, and country & western combine with post-punk, noise-rock, electronics, and obtuse lyrics, sung in both English and German. The combination of parody and reverence of various forms of roots music has generated comparisons to the Mekons; at times it is difficult to tell when the commentary stops and the jokes begin. Even within the same album, different tracks can sound like the work of entirely different ensembles, which makes the group even more resistant to easy audience identification. F.S.K. were formed by staff members of a German underground magazine in 1980 (the initials stand for Freiwillige Selbstkontrolle, which translates to English as "voluntary self-control"). While their first few releases were in a somewhat noisily bleak German post-punk vein, by the mid-'80s they had, to the confusion of much of the audience they had cultivated, begun to investigate Central European and American folk styles. Originally dressing themselves in German surplus army clothing, they shed those skins for deliberately unassuming jeans and checked shirts. The electric instruments were augmented by brass and accordion. The lyrics remained (as they do to this day) full of tongue-in-cheek irony, including yodels for German politicians and free jazz guitarist Sonny Sharrock. Their choice of cover material seemed willfully perverse, whether it was "I Wish I Could Sprechen Sie Deutsch," MOR German bandleader Bert Kaempfert, or cult American funkster Swamp Dogg.In the mid-'80s the group picked up an influential fan in British DJ John Peel, who had F.S.K. on his BBC show more times than any other non-British band. Camper Van Beethoven/Cracker mainstay David Lowery found an affinity with the group's zany approach to roots rock, and ended up producing the band, as well as becoming a member of sorts (though Lowery's chief project remained Cracker). By the mid-'90s they had an American deal with Flying Fish, a label far more renowned for bluegrass and folk acts. Despite such friends in high places, F.S.K. remain very much a cult band. Most of their records (and there are many) are very hard to find in the U.S., for one thing, and their audience seems to chiefly consist of fellow musicians and rock critics. If Americans have heard of them at all, it's likely because of their association with Lowery, though actually his presence in F.S.K. has changed the band's skewed vision little.

humppazoid@bk.ru

GOOD NEWS!

2009-06-03T02:49:00.001-07:00

У Гребенщикова хотят отобрать орден
Лишить лидера группы «Аквариум» Бориса Гребенщикова ордена «За заслуги перед Отечеством» потребовал в своем обращении в Генпрокуратуру России юрист Дмитрий Ямщиков из Тюмени, передает информационное агентство «Ура.Ru».
В письме на имя Генпрокурора Юрия Чайки он пишет, что провел анализ текстов Гребенщикова и нашел в них призывы к употреблению психотропных, наркотических средств, пропаганду алкоголя, содомии, тунеядства, суицида и анархии.

Возмущение тюменского юриста вызвала, в частности, песня «Растаманы из глубинки», в которой поется: «...Мама, в каникулы мы едем на Джамейку. Работать над курением травы... Мама, как нам справиться с глобальным потеплением? Покрепче прибивать косяки...».

Дискредитирующими высокое звание орденоносца Ямщиков также счел композиции Гребенщикова «Холодное пиво» и «Древнерусская тоска».

Текстологический анализ песен Гребенщикова, проведенный бдительным юристом, выявил признаки преступлений по следующим статьям Уголовного кодекса РФ:

— 129 (Клевета)
— 130 (Оскорбление)
— 151 (Вовлечение несовершеннолетнего в совершение антиобщественных действий)
— 230 (Склонение к потреблению наркотических средств)
— 280 (Публичные призывы к насильственному изменению конституционного строя Российской Федерации)
— 282 (Возбуждение национальной, расовой или религиозной вражды)
— 354 (Публичные призывы к развязыванию агрессивной войны)

В своем заявлении Ямщиков пишет, что «факт присвоения Гребенщикову данного ордена в значительной степени бросает тень на того человека, который подписал указ о его награждении».

Орден «За заслуги перед Отечеством» IV степени Гребенщиков получил в 2003 году. Приказ о награждении подписал тогдашний президент РФ Владимир Путин.

По статуту ордена «За заслуги перед Отечеством», им «награждаются граждане за особо выдающиеся заслуги перед государством, связанные с развитием российской государственности, достижениями в труде, укреплением мира, дружбы и сотрудничества между народами, за значительный вклад в дело защиты Отечества».

Happy New Year!!!

2008-12-29T08:08:00.002-08:00

Disc 1:
01 - Yello - Jingle Bells
02 - Abba - Happy New Year
03 - Cyndi Lauper - Early Christmas Morning
04 - The Platters - Silent Roly Night
05 - Kenny G. - Passages
06 - John & Yoko - Happy Xmas (War Is Over)
07 - Celine Dion - Ave Maria (Schubert)
08 - Queen - Thank God It's Christmas
09 - Human Nature - Last Christmas
10 - Bing Crosby - It's Beginning To Look A Lot Like Christmas
11 - Michael Bolton - Santa Claus Is Coming To Town
12 - Stewie Wonder - The Christmas Song
13 - Aaron Neville - Bells Of St. Mary's
14 - Connie Francis - Silent Night, Holy Night
15 - Eartha Kitt - Santa Baby
16 - James Brown - Merry Christmas, Baby
17 - Kisha - As Long As There's Christmas
18 - The Eagles - Please Come Home For Christmas
19 - John Mellencamp - Teddi's Song
20 - B.B. King - Merry Christmas, Baby
21 - Loona - Another Christmas Without You
22 - Glady's Knight & The Pips - The Christmas Song
23 - Bruce Springsteen - Santa Claus Is Coming To Town

Disc 2:
01 - Wham! - Last Christmas
02 - Diana Ross And The Supremes - Twinlke Twinkle Little Me
03 - Elvis Presley - Blue Christmas
04 - The Platters - Jingle Bells Jingle
05 - Johnny Matris - When A Child Is Born
06 - 3T - Endless Christmas
07 - Jackson's - I Saw Mommy Kissing Santa Claus
08 - Bryan Adams - Run Rudolph Run
09 - Chris Rea - Driving Home For Christmas
10 - Gary Glitter - Another Rock N'roll Christmas
11 - Sinead O'connor - Silent Night
12 - Boney M. - Mary's Boy Child
13 - Jona Lewie - Stop The Cavalry
14 - Shakin' Stevens - Merry Christmas Everyone
15 - The Pogues Feat. Kirsty Mac Coll - Fairytale Of New York
16 - Bocelli - Ave Maria
17 - Celine Dion - Brahms' Lullaby
18 - Mariah Carey - God Rest Ye Merry Gentlemen
19 - Richie Sambora - O Come All Ye Faithfull
20 - Joan Osborne - Go Where I Send Thee
21 - Greg Lake - I Believe In Father Christmas
22 - Frank Sinatra - Let It Snow, Let It Snow, Let It Snow
23 - Paul Mc. Cartney - Wonderfull Christmas Time
24 - Jane Mc. Donald - White Christmas
25 - Simon & Garfunkel - 7 O'clock News, Silent Night

Beijing 2008 - Long Live USSR!:)

2008-08-24T05:16:00.000-07:00

Small table shows results by ex-USSR former republics. So total 171 medals were won by USSR!:) So USA goes to 3rd place at Beijing Olympics!

Tom Waits Boots

2008-06-28T09:11:00.000-07:00

The Dime Store Novels Vol.1 Part 1 (1974)

The Dime Store Novels Vol.1 Part 2 (1974)

The Heart of the Shaboo Night (1976)

Invitation to the Blues Part 1 (1977)
Invitation to the Blues Part 2 (1977)
Romeo is Bleeding Part1 (1979)
Romeo is Bleeding Part2 (1979)

Shadow of Intolerance Part1 (1982)
Shadow of Intolerance Part2 (1982)

One of the Most Famous Songwriter. Discography 1973-1988

2008-06-23T01:14:00.000-07:00

1977 1978

Song which inspired directors of LOST serial

2008-02-07T14:28:00.000-08:00

A SONG

Tanita Tikaram - 1988 - Ancient Heart

2008-01-23T10:09:00.000-08:00

1988 - Ancient Heart

Review by Jose F. Promis
Singer/songwriter Tanita Tikaram's debut album, Ancient Heart, stands as one of the most underappreciated albums of the 1980s, and she, along with Tracy Chapman, preceded the 1990s' onslaught of female singer/songwriters by almost a decade. Tikaram, who was only 19 when this album was released, created a melancholy and wistful work, mature beyond her years, of startling originality and honesty. While this album may be considered folkish and artsy, it never stoops to the clichйs that dominated those styles of music in the later Lilith Fair years. Her near perfect signature song "Twist in My Sobriety" is a stark, sinuous, desperate torch song that managed to garner a bit of radio and video airplay in its day and sounded like nothing else then or since. Other highlights include the lovely and more upbeat "Cathedral Song," "World Outside Your Window," and "Good Tradition"," as well as the jazzy "For All the Years" and the haunting "I Love You" and "Valentine Heart" — the latter being one of the album's true highlights. Ancient Heart is a smoky, world-weary album, that, years after its initial release, does not sound one bit dated and has effortlessly stood the test of time. The definite highlight of Tanita Tikaram's career.

Tracks
1 Good Tradition Tikaram 2:49
2 Cathedral Song Tikaram 2:51
3 Sighing Innocents 3:31
4 I Love You 2:45
5 World Outside Your Window Tikaram 4:52
6 For All These Years 5:13
7 Twist in My Sobriety Tikaram 4:50
8 Poor Cow 1:56
9 He Likes the Sun 5:26
10 Valentine Heart 4:04
11 Preyed Upon 5:03

J.M.K.E. 1986-2002 Discography

2008-01-01T10:50:00.000-08:00

Rumal nali 1986-1989 MC Fucking Cunt Records, Estonia 1996

Tere Perestroika 7" -EP Stupido 001, Finland 1989

Kylmälle Maalle (To the Cold Country) LP TWIN 1, Finland 1989

Pieni Mies, Iso Tuoppi (A Tiny Man, A Large Pint) 7"-EP Stupido 007, Finland 1990

Savist Saar (Isle of Clay ) 12" EP Stupido 015, Finland 1991

Maailmalopp koju kätte 7" -EP Stupido 025, Finland 1993

Gringode Kultuur (Culture of the Gringos) LP/CD TWINLP 13/TWINCD 13, Finland 1993
Sputniks In Pectopah CD TWINCD 27, Finland 1995
Jäneste Invasioon (The Invasion of the Rabbits) CD TWINCD 31, Finland 1996
ÕHTUMAA VIIMASED TUNNID (2000)
AINULT PLANEET (2002)

J.M.K.E. Biography by Toomas-Erik Mathäus
Villu from Velikije Luki (the band, not the city), Venno from Verine Pühapäev, Tarvo from Novikov and Mati from somewhere formed J.M.K.E. in Tallinn on January 18th, 1986. The original singer, Mati, left the band soon afterwards, leaving Venno on drums, Tarvo on bass, and Villu on vocals and guitar, sometimes working together with guest singers (with Tõnu Trubetsky from Vennaskond they played under the name "Vürst Trubetsky & J.M.K.E."). For the first three years they mainly played concerts in Estonia, and a couple of times in Latvia, Lithuania, and Russia. It was almost impossible to travel outside the U.S.S.R. in those days, especially if the KGB took an interest in you. J.M.K.E. came into vogue due to their lyrics, whih were at the same time angry and funny, ironic and melancholic, full of care yet cynical, and also because of their peculiar melodic yet hardcore punk rock. They became the most popular punk band in Estonia, and remain in this position until now. In 1987 Villu wrote "Tere Perestroika", initially singing it alone with guitar. Later the band made numerous different versions of the song. It became a big hit because of its humorous topicality, and in 1988 won hands down a song contest on a popular Estonian TV show. The prize, a holiday in Europe, never arrived. In 1988 came the first line-up change – Tarvo skipped from J.M.K.E. to Röövel Ööbik and a new bass player, Lembit, joined the band. In 1989 two men from Helsinki, Joose Berglund and Jorma Ristilä, founded a new record label, Stupido Twins, with the aim of publishing some Estonian bands. J.M.K.E.'s "Tere Perestroika" was release # 001. The winds of change in the Soviet Union had already blown some chains away, and so J.M.K.E. were able to travel abroad for the first time in April 1989, playing their first concert in Finland to middle-aged communists at the Leftist Forum in Helsinki. Later that autumn they recorded for Stupido Twins their first LP, "Külmale Maale" (To the Cold Country), which was the first Estonian rock record made abroad. Maximum Rock'n'Roll called it "absolutely excellent". At the end of 1989 Venno moved to P.V.A. declaring that J.M.K.E. has become too commercial for him, and Ardo took his place. The band toured Estonia, the Nordic countries, and Germany, made a couple of EPs, and only by 1993 started to record a new album, "Gringode Kultuur" (Culture of Gringos). Meanwhile Estonia had regained its independence and J.M.K.E. couldn't continue with their anti-Soviet songs (what was the point?), so they found their new "enemy" in the invading burger-culture, increasing poverty, and other early-capitalistic distresses. Lembit left the band in 1994 and was replaced by Sten. J.M.K.E. got also a new drummer, Andres, who plays the majority of gigs nowadays while Ardo, who is constantly travelling somewhere, has played on all studio recordings up to now. Their third album, "Sputniks in Pectopah" (1995), is an eclectic collection of popular Russian songs, sung in high energy Russian. The cover versions include the national anthem of czarist Russia, old revolutionary marches, soldiers' songs from WW2, and melodies from popular cartoons. In January 1996 J.M.K.E. celebrated their 10th birthday with the longest lasting concert of their history presenting on stage almost all persons who had ever played with the band, permanently or temporarily, and with a cassette-only-release, "Rumal Nali" (Silly Joke, on Fucking Cunt Records). This contained old D.I.Y. recordings mainly from 1986 and 1987. J.M.K.E. didn't make their first "tidy" studio recording until 1989 in Finland although by that stage they had enough songs for three or four albums. It was just impossible to release punk rock records under the vigilant glance of sickle and hammer. J.M.K.E. have gradually abandoned their directly political slogans and now tell more varied stories than before. Their newest album, "Jäneste Invasioon" (Invasion of Rabbits, 1996), is a good example of their present character. Besides, it can be considered J.M.K.E.'s best product since the legendary "Külmale Maale".

Ric Ocasek - Fireball Zone

2007-12-29T02:23:00.000-08:00

Fireball Zone

1 Rockaway

2 Touch Down Easy

3 Come Back

4 The Way You Look Tonight

5 All We Need Is Love

6 Over and Over

7 Flowers of Evel

8 They Tried

9 Keep That Dream

10 Balance

11 Mister Meaner

12 Fireball Zone

Review by Jason Damas
Fireball Zone marked the beginning of the second half of Ric Ocasek's solo career. His first two releases, 1983's Beatitude and 1986's This Side of Paradise, were really extensions of Ocasek's work with The Cars; instead of sounding like grand statements made by solo albums, they both sounded like extensions of what The Cars were doing at the time. This was especially true of the latter album, which even featured a handful of hit singles that were more popular than any that The Cars would score in the remainder of their career. After the demise of that band in 1987, Ocasek went on hiatus and returned to recording in 1991 with Fireball Zone, his first post-Cars solo album. Surprisingly, however, it isn't as much of a departure as one might imagine. The same elements that made The Cars music so accessible and enjoyable is still all in place, and Ocasek wrote a much stronger batch of songs this time around than was featured on the final Cars collaboration, the dismal Door to Door. Fireball Zone is also easily the sunniest Ocasek solo collaboration; much of the material is relatively sprightly and colorful, and the disc includes some musical experiments that Ocasek would never have touched when he was still with The Cars. The album is led by the uptempo "Rockaway" (one of the album's first singles) and the first 8 tracks are nearly infallible; "Touch Down Easy" and "Come Back" are easily two of the most Cars-ish songs that Ocasek ever released, and "All We Need Is Love" has a light reggae vibe. Many of the songs feature a choir of female background singers, something that is a surprising and major departure for Ocasek; and unfortunately one that only works part of the time. Unfortunately, towards the end of the album, things begin to fall apart: Ocasek throws in a bunch of metallic, bottom-heavy numbers that almost completely lack hooks, and they keep Fireball Zone from truly being a great album. While this disc was a major commercial disappointment, failing to produce any real hit singles, the Heartbeat City-era sounding ballad "The Way You Look Tonight" has become a staple on in-store play lists of fast food restaurants and discount department stores nationwide.

The Cars - Just What I Needed: The Cars Anthology

2007-12-27T22:03:00.000-08:00

The Cars - Just What I Needed: The Cars Anthology
1

1 Just What I Needed Ocasek 3:46
2 My Best Friend's Girl Ocasek 3:46
3 Good Times Roll Ocasek 3:48
4 You're All I've Got Tonight Ocasek 4:16
5 Don't Cha Stop Ocasek 3:05
6 Moving in Stereo Hawkes, Ocasek 4:47
7 Take Me Now [#] Ocasek 4:01
8 Cool Fool [#] Easton, Ocasek 2:42
9 Let's Go Ocasek 3:36
10 Candy-O Ocasek 2:39
11 Dangerous Type Ocasek 4:32
12 Double Life Ocasek 4:26
13 Got a Lot on My Head Ocasek 3:01
14 It's All I Can Do Ocasek 3:47
15 Night Spots [#] Ocasek 3:09
16 Slipaway [#] Ocasek 3:43
17 That's It Ocasek 3:24
18 Panorama Ocasek 5:46
19 Gimme Some Slack Ocasek 3:35
20 Don't Go to Pieces Hawkes, Ocasek 4:03
21 Touch and Go Ocasek 4:58
22 Don't Tell Me No Ocasek 4:02
23 Shake It Up Ocasek 3:35
24 Since You're Gone Ocasek 3:33
25 I'm Not the One Ocasek 4:15
26 Cruiser Ocasek 4:58
27 The Little Black Egg [#] Stone 2:54
28 Funtime [#] Bowie, Pop 3:10
29 You Might Think Ocasek 3:08
30 Drive Ocasek 3:57
31 Magic Ocasek 4:00
32 Hello Again Ocasek 3:49
33 Why Can't I Have You Ocasek 4:05
34 Breakaway Ocasek 3:47
35 Tonight She Comes Ocasek 3:57
36 You Are the Girl Ocasek 3:56
37 Strap Me In Ocasek 4:26
38 Door to Door Ocasek 3:20
39 Leave or Stay [#] Ocasek 3:02

40 Ta Ta Wayo Wayo [#] Ocasek 2:48

Review by Greg Prato
While casual admirers of the Cars can stick with their 1985 Greatest Hits collection, more serious fans should go right to the more thorough two-CD set Just What I Needed: The Cars Anthology. Whereas Greatest Hits stuck more or less with their singles, The Cars Anthology contains strong album cuts, non-album B-sides, demos, and unreleased takes, as well as all the expected hits (and a 27-page booklet crammed with rare photos and the band's bio). Just about every rock fan is long familiar with such tracks as "Just What I Needed," "Shake It Up," "Magic," and "Let's Go" (to name a few), but the collection's main attraction is its abundance of unfamiliar material. Such previously released album tracks as "Dangerous Type," "Gimme Some Slack," and "Cruiser" are highlights, as are the rarities "Cool Fool" (one of their hardest-rocking tracks ever), "That's It," a cover of Iggy Pop's "Funtime," and a pair of album-closing early demos ("Leave or Stay" and "Ta Ta Wayo Wayo"). At nearly two and a half hours long, Just What I Needed: The Cars Anthology is the ultimate Cars collection, which only confirms their standing as one of the finest bands of the new wave era.

The Cars [Deluxe Edition]

2007-12-27T07:03:00.000-08:00

The Cars [Deluxe Edition] (including 14 rare tracks) in 320 kbps/44.1 kHz quality

Tracks

1 Good Times Roll Ocasek 3:45

2 My Best Friend's Girl Ocasek 3:44

3 Just What I Needed Ocasek 3:43

4 I'm in Touch With Your World Ocasek 3:30

5 Don't Cha Stop Ocasek 3:03

6 You're All I've Got Tonight Ocasek 4:13

7 Bye Bye Love Ocasek 4:13

8 Moving in Stereo Hawkes, Ocasek 4:43

9 All Mixed Up Ocasek 4:15

10 Good Times Roll [live] Ocasek 3:39

11 My Best Friend's Girl [demo version] Ocasek 3:52

12 Just What I Needed [demo version] Ocasek 3:27

13 I'm in Touch With Your World [demo version] Ocasek 3:28

14 Don't Cha Stop [demo version] Ocasek 3:19

15 You're All I've Got Tonight [demo version] Ocasek 4:05

16 Bye Bye Love [demo version] Ocasek 4:07

17 Moving in Stereo [demo version] Hawkes, Ocasek 5:02

18 All Mixed Up [demo version] Ocasek 4:50

19 They Won't See You [#/demo version] Ocasek 3:56

20 Take What You Want [#/demo version] Ocasek 6:04

21 Wake Me Up [#/demo version] Ocasek 3:52

22 You Just Can't Push Me [#/demo version] Ocasek 3:27

23 Hotel Queenie [#/demo version] Ocasek 3:08

Review by Greg Prato
Back in 1996, Rhino Records had plans for a Cars rarities disc entitled Prototypes, which was to include their entire first album in demo form, as well as other rarities from all eras of the band. And even though Ice magazine ran a story on it and a track listing was set, the album never saw the light of day for reasons unknown. Three years later, Rhino reconsidered (helped by a fan write-in campaign), and issued a similarly assembled package, The Cars: Deluxe Edition. A two-CD set, it contains their classic 1978 self-titled debut in its entirety (an album you just can't hear enough), while the second disc presents the complete album in demo form, with an additional five early demos of previously unreleased compositions tacked on at the end. Diehard fans will have a feast with disc two, the demos for such radio standards as "My Best Friend's Girl," "Just What I Needed," "You're All I've Got Tonight," and "Bye Bye Love" capture the songs in their rawest form — akin to what they must have sounded like back in the band's club days. Out of the five unissued songs, two are instant classics (the amiable "Wake Me Up" and the red-hot rocker "Hotel Queenie"), while "They Won't See You" proves interesting, despite an underdeveloped chorus — which is forgivable, since these are demos, after all. [Note: since a demo version of "Good Times Roll" couldn't be found, a live take from 1978 is used on disc two.]

The Cars Complete Studio Discography

2007-12-26T05:26:00.000-08:00

1978 The Cars
1979 Candy-O
1980 Panorama
1981 Shake It Up
1984 Heartbeat City

1987 Door to Door

Biography by Stephen Thomas Erlewine
Blondie may have had a string of number one hits and Talking Heads may have won the hearts of the critics, but the Cars were the most successful American new wave band to emerge in the late '70s. With their sleek, mechanical pop/rock, the band racked up a string of platinum albums and Top 40 singles that made them one of the most popular American rock & roll bands of the late '70s and early '80s. While they were more commercially oriented than their New York peers, the Cars were nevertheless inspired by proto-punk, garage rock, and bubblegum pop. The difference was in packaging. Where their peers were as equally inspired by art as music, the Cars were strictly a rock & roll band, and while their music occasionally sounded clipped and distant, they had enough attitude to cross over to album rock radio, which is where they made their name. Nevertheless, the Cars remained a new wave band, picking up cues from the Velvet Underground, David Bowie, and Roxy Music. Ric Ocasek and Ben Orr's vocals uncannily recalled Lou Reed's deadpan delivery, while the band's insistent, rhythmic pulse was reminiscent of Berlin-era Iggy Pop. Furthermore, the group followed Roxy Music's lead and had artist Alberto Vargas design sexy illustrations of pinups for their record sleeves. These airbrushed drawings were the group's primary visual attraction until 1984, when the group made a series of striking videos to accompany the singles from Heartbeat City. The videos for "You Might Think," "Magic," and "Drive" became MTV staples, sending the Cars to near-superstar status. Instead of following through with their success, the Cars slowly faded away, quietly breaking up after releasing one final album in 1987. Ric Ocasek (guitar, vocals) and Ben Orr (bass, vocals) had been collaborators for several years before forming the Cars in 1976. Ocasek began playing guitar and writing songs when he was ten. After briefly attending Antioch College and Bowling Green State University, he dropped out of school and moved to Cleveland where he met Orr, who had led the house band on the TV show Upbeat as a teenager. The two began writing songs and led bands in Cleveland, New York City, Woodstock, and Ann Arbor before settling in Cambridge, MA, in the early '70s. In 1972, the pair were the core of a folk trio named Milkwood. The band released an album on Paramount Records in late 1972, which was ignored; the record featured keyboards by a session musician named Greg Hawkes. By 1974, Ocasek and Orr had formed Cap'n Swing, which featured Elliot Easton on lead guitar. Cap'n Swing became a popular concert attraction in Boston, but the group broke up in 1975. Ocasek, Orr, and Easton formed a new band called the Cars in 1976 with former Modern Lovers drummer Dave Robinson and keyboardist Hawkes. Early in 1977, the Cars sent a demo tape of "Just What I Needed" to the influential Boston radio station WBCN and it quickly became the station's most-requested song. For the remainder of 1977, the group played Boston clubs, and by the end of the year, they signed with Elektra Records. The group's eponymous debut album appeared in the summer of 1978 and it slowly built a following thanks to the hit singles "Just What I Needed" (number 27), "My Best Friend's Girl" (number 35), and "Good Times Roll" (number 41). The Cars stayed on the charts for over two and a half years, delaying the release of the group's second album, Candy-O. It would eventually sell over six million copies. Recorded early in 1979, Candy-O wasn't released until later that summer. The album was an instant hit, quickly climbing to number three on the charts and going platinum two months after its release. The record launched the Top Ten hit "Let's Go" and sent the band to the arena rock circuit. Perhaps as a reaction to their quick success, the group explored more ambitious territory on 1980's Panorama. Though the album wasn't as big a hit as its predecessors, it nevertheless peaked at number five and went platinum. Before recording their fourth album, several bandmembers pursued extracurricular interests, with Ocasek earning a reputation as a successful new wave producer for his work with Suicide and Romeo Void (he even produced some demos for Iggy Pop). The Cars released their fourth album, Shake It Up, in the fall of 1981, and it quickly went platinum, with its title track becoming the group's first Top Ten single. Following the success of Shake It Up, the Cars recorded the soundtrack to the short film Chapter-X and then took an extended leave, with Ocasek, Orr, and Hawkes all recording solo albums in 1982; Ocasek also produced the debut album from the hardcore punk band Bad Brains. The Cars reconvened in 1983 to record their fifth album, Heartbeat City, which was released in early 1984. Supported by a groundbreaking, computer-animated video, the album's first single, "You Might Think," became a Top Ten hit, sending Heartbeat City to number three on the album charts. Three other Top 40 singles — "Magic" (number 12), "Drive" (number three), and "Hello Again" (number 20) — followed later that year, and the record went triple platinum in the summer of 1985. At the end of the year, the group released Greatest Hits, which featured two new hit singles, "Tonight She Comes" and "I'm Not the One." The Cars were on hiatus for much of 1985 and 1986, during which time Ocasek, Easton, and Orr all recorded solo albums. During 1987, the group completed its seventh album, Door to Door. The album was a moderate hit upon its summer release in 1987, launching the single "You Are the Girl," which peaked at number 17. Door to Door had seemed half-hearted, sparking speculation that the group was on the verge of splitting up. The Cars announced in February of 1988 that they had indeed broken up. All of the members pursued solo careers, but only Ocasek released albums with regularity, and became a much sought-after alt-rock producer by the '90s (having worked with the likes of Weezer, Bad Religion, Black 47, Hole, Guided by Voices, No Doubt, Nada Surf, Johnny Bravo, D Generation, Possum Dixon, Jonathan Richman, the Wannadies, and solo releases by former Suicide members Alan Vega and Martin Rev, among others). Easton later reappeared with Creedence Clearwater Revisited, while sadly, Orr lost a battle with pancreatic cancer on October 3, 2000. After Orr's death, a few new Cars releases appeared on the marketplace, including the concert DVD Live (taped originally in Germany during 1979, it included an interview with the group shortly before Orr's passing), plus a double-disc deluxe edition of their classic self-titled debut album, and a more extensive hits collection, Complete Greatest Hits. By early 2002, Ocasek was at work putting together a Cars documentary film, comprised of backstage footage and unreleased promo clips that the band filmed itself.

Michael Penn Complete Studio Discography

2007-12-24T10:19:00.000-08:00

1989 March (RCA)
1992 Free-for-All (RCA)
1997 Resigned (57 Records/Epic)
2000 MP4: Days Since a Lost Time Accident (Epic)

2005 Mr. Hollywood, Jr. 1947 (Spin Art)

Biography by Jason Ankeny
One of the most acclaimed singer/songwriters to emerge during the late 1980s, Michael Penn was seemingly destined for a career in show business. The oldest son of director Leo Penn and actress Eileen Ryan, he was born August 1, 1958 in New York City's Greenwich Village area; within a year, the family relocated to Los Angeles, and there Penn's younger siblings Sean (later recognized among the finest actors of his generation) and Chris (a noted character actor acclaimed for his work in features like Reservoir Dogs) were born. While his brothers focused on acting, Michael turned to music, and following an early obsession with the Beatles learned to play guitar; by high school he joined his first band, covering hits by performers including the Rolling Stones and David Bowie. He soon turned to writing his own songs as well. In the early 1980s, Penn formed the group Doll Congress, which garnered a fervent local following but never expanded their fan base outside of Southern California; frustrated, for a time he even left music, following in the family tradition by appearing as an extra in a number of television series, including the classic St. Elsewhere. In 1987, Sean Penn hosted Saturday Night Live and brought Michael along as a musical guest; the performance revived his interest in music, and he soon reunited with ex-Doll Congress keyboardist Patrick Warren to begin composing the songs which comprised his 1989 debut, March. Upon its release, the album became a significant critical favorite, earning acclaim for its sparkling Beatlesque folk-pop and clever, Elvis Costello-like wordplay; the lead single, "No Myth," even became a surprise hit and helped launch the LP into the Top 40. Another minor hit, "This and That," followed in 1990.In the wake of his initial success, Penn went on a lengthy hiatus; when he returned in 1992 with his sophomore effort, Free For All, he met much greater commercial resistance than he faced with March, and after only a few weeks, the album fell off the charts. He then spent five years pondering his next move, finally resurfacing in 1997 with Resigned; while critics again praised Penn's songcraft, the record, like its predecessor, failed to catch on outside of his loyal cult following. Around the same time, he also began collaborating with the acclaimed young filmmaker Paul Thomas Anderson, scoring his 1997 debut Hard Eight; later that same year, he composed the music for the critical favorite Boogie Nights, also making a cameo appearance in the film as an Eighties-era record producer. In late 1997, Penn married fellow singer/songwriter Aimee Mann; Mp4: Days Since a Lost Time Accident followed in early 2000. In 2005, after a long falling out with Epic records, Penn released Mr. Hollywood, Jr. 1947 on his own Mimeograph label. A song cycle about post-World War II Los Angeles, it features guest appearances from Mann, Buddy Judge and Patrick Warren.

Lambert, Hendricks & Ross - 1957 - Sing a Song of Basie

2007-12-24T07:35:00.000-08:00

Sing a Song of Basie

1 Everyday Chatman 5:18

2 It's Sand, Man! Hendricks, Lambert, Lewis 2:27

3 Two for the Blues Hefti, Hendricks 2:42

4 One O'Clock Jump Basie, Durham 3:00

5 Little Pony Hefti, Hendricks 2:28

6 Down for Double Green, Hendricks, Lambert 2:11

7 Fiesta in Blue Goodman, Hendricks, Lambert ... 3:14

8 Down for the Count Foster, Ritter 2:58

9 Blues Backstage Foster 2:58

10 Avenue C Clayton, Hendricks, Lambert 2:52

Review by Scott Yanow
The premiere vocal jazz group, Lambert, Hendricks & Ross made their recording debut on this classic album, which has been reissued on CD by GRP. After unsuccessfully searching for a dozen singers in 1957 who could sing vocalese in a re-creation of some famous records by the Count Basie Orchestra, Dave Lambert, Jon Hendricks, and Annie Ross decided to overdub their voices several times instead. Utilizing just a rhythm section, the vocalists sing the witty and inventive lyrics of Hendricks in note-for-note reproductions of ten Basie records. Highlights include "It's Sand, Man!," "One O'Clock Jump," the up-tempo "Little Pony," and "Avenue C." This record was a sensation when it was released and it is still quite enjoyable and unique.

Lambert, Hendricks & Ross - The Hottest New Group in Jazz

2007-12-23T06:16:00.000-08:00

Disc 1
Disc 2

Tracks
1 Charleston Alley Henderson, Hendricks ... 3:21
2 Moanin' Timmons 2:37
3 Twisted Gray, Ross 2:19
4 Bijou Burns, Hendricks 3:19
5 Cloudburst Harris, Kirkland 2:18
6 Centerpiece Edison, Hendricks 2:29
7 Gimme That Wine Hendricks 3:00
8 Sermonette Adderley, Hendricks 3:50
9 Summertime Gershwin, Gershwin, Heyward 1:46
10 Everybody's Boppin' Hendricks 4:13
11 Cotton Tail Ellington 2:58
12 All Too Soon Ellington, Sigman 3:29
13 Happy Anatomy Ellington 1:20
14 Rocks in My Bed Ellington 3:11
15 Main Stem Ellington 2:56
16 I Don't Know What Kind of Blues I Got Ellington 3:31
17 Things Ain't What They Used to Be Ellington, Persons 2:50
18 Midnight Indigo Ellington 2:35
19 What Am I Here For? Ellington, Laine 3:01
20 In a Mellow Tone Ellington, Gabler 3:31
21 Caravan Ellington, Mills, Tizol 2:34
22 Come on Home Silver 5:30
23 The New ABC Lambert 3:08
24 Farmer's Market Farmer, Ross 2:34
25 Cookin' at the Continental Hendricks, Silver 3:08
26 With Malice Toward None Hendricks, McIntosh 2:51
27 Hi-Fly Weston 3:47
28 Home Cookin' Silver 4:27
29 Halloween Spooks Lambert 2:19
30 Popity Pop Gaillard 4:49
31 Blue Mahones 3:51
32 Mr. P.C. Coltrane 3:20
33 Walkin' [#] Carpenter 2:17
34 This Here [*] Hendricks, Timmons 4:10
35 Swingin' Till the Girls Come Home [*] Pettiford 5:22
36 Twist City [#] Gee 2:25
37 Just a Little Bit of Twist [#] Covay 2:24
38 A Night in Tunisia [*] Gillespie, Paparelli 2:45
39 A Night in Tunisia [#] Gillespie, Paparelli 2:44

Review by Scott Yanow
The immortal vocal jazz group Lambert, Hendricks & Ross recorded five albums during its career: one apiece for Impulse! and World Pacific and three for Columbia. This two-CD set has all of the music from LH&R's Columbia dates (The Hottest Group in Jazz, Sing Ellington, and High Flying), plus four previously unissued and three very obscure selections. Dave Lambert, Jon Hendricks, and Annie Ross were all very talented jazz singers as individuals, and were masters of vocalese. Virtually every one of their performances was special and, in the long run, influential. With assistance from the Gildo Mahones Trio, trumpeter Harry "Sweets" Edison (on the earliest album), and altoist Pony Poindexter (during the seven bonus tracks), the vocal group is heard in memorable form throughout the two-fer. Among the many highlights are "Twisted," "Cloudburst," Hendricks' hilarious "Gimme That Wine," "Everybody's Boppin'," "Cotton Tail," "All Too Soon," "Main Stem," "Farmer's Market," "Cookin' at the Continental," "Halloween Spooks," and "Popity Pop." Essential music for all serious jazz collections.

P.S. This is a Small Tribute to My Best Friend in Whole SPb - Kira M.! Hold on My Friend! :)

Jazz from Denmark - Juicy Jazz - 1992

2007-12-22T08:20:00.000-08:00

Juicy Jazz 1

Juicy Jazz 2

Trackslisting:
1 Take The A Train
2 How High The Moon
3 Misty
4 I Can't Give You Anything But Love
5 I'm Putting All My Eggs In One Basket
6 Honeysuckle Rose
7 Wave
8 You Have To Swing It

Besжtning:
Ingela Jensen, vokal
Christian Winther, tenorsax
Torben Goltermann, guitar
Jesper Grobb, piano
Carsten Jensen, bas
Gert Elm Larsen, trommer
Indspillet: Tuborg Studiet, februar 1992. Juicy Records 53 47 35 61.

Useful tool to make copy from vinyl to CD!

2007-12-22T08:00:00.000-08:00

vinyl to wav, cd and mp3

Add N to (X) 1996-2002 Discography

2007-12-02T01:55:00.000-08:00

Add N to (X) Biography by John Bush
Name-checking a diverse cast of progenitors including Varйse, Xenakis, and Robert Moog, as well as Can and Stereolab, Add N to X are electro-historians of a sort, collectors of vintage synthesizer technology, and fierce propagators of the man-machine aesthetic (the cover of their second album features member Ann Shenton on the operating table with a synthesizer either being inserted or taken out of her organ cavity). The trio formed when Shenton met Barry Smith in 1993; both were fans of vintage synth and the proto-electronica crafted in the 1960s and '70s by such luminaries as Wendy Carlos, Pierre Henry and even Roxy Music. After becoming Add N to X one year later, Shenton and Smith recruited theremin expert Steven Claydon plus an organic rhythm section for their live show, consisting of Stereolab's Andy Ramsay on drums and Rob Hallam from the High Llamas. After the debut Add N to X album Vero Electronics was released in 1996 on Blow Up, the group toured America, where their propulsive live show earned more comparisons to Suicide than an ostensibly sympathetic group like Tortoise. On the Wires of Our Nerves appeared in 1998 and Avant Hard followed in April of 1999. The following year they released Add Insult to Injury, which saw the group move in a more accessible, pop direction.

1996 - Vero Electronics

1998 - On the Wires of Our Nerves
1998 - Little Black Rocks in the Sun [EP]
1999 - Avant Hard

1999 - Revenge Of The Black Regent

1999 - Metal Fingers In My Body

2000 - Add Insult To Injury

2000 - Plug Me In

2000 - Add N To Fu X

2001 - The Poker Roll

2001 - Live At El Mocombo

2002 - Loud Like Nature

Birgitte Grimstad - 1966 - Synger Viser (LPNE S 61 STEREO)

2007-11-16T05:59:00.000-08:00

part1
part2

A1 Oh Johnny Dear
A2 Mass Måltrost
A3 C'est mon ami
A4 Vaggvisa åt sonen Carl
A5 Sild og potet
A6 Nå ska e sulle
A7 Ved håndarbeidet
A8 Roselil og hendes Moder
A9 Dronning Dagmars Død
B1 Noget om Skærsommernætter
B2 Herr President
B3 Blowing in the Wind (Dylan
B4 Marian
B5 Jenta i veven
B6 Fløytelåt
B7 Ofelias vise

Vinyl RIP 48khz/320kbps

review by Vega Forlag
Sanger, komponist, tekstforfatter og gitarist, f. Schiøtz, f. 15.12.1935 i København. Hun er datter av en av Danmarks mest kjente sangere, Aksel Schiøtz, men har aldri hatt formell klassisk sangskolering. Hun valgte å utdanne seg i teater og massemedia i Minnesota, og hun ble norsk gift. Mediautdannelsen fra USA var midt i blinken da hun flyttet til Norge i 1959, året før NRK TV ble åpnet. Her var hun fra starten produsent av barneprogrammer og programmer med ►Alf Prøysen og ►Lalla Carlsen. Interessen for visesang førte til at hun ble kvinnelig medlem nr. to i Visens Venner. I en tid bodde hun i Mo i Rana, der hun hadde sin første offentlige opptreden som visesanger. I 1966 ga hun ut singlen ĢDet første som jeg ønsker megģ (tekst Prøysen)/ĢÅ være barn en sommerdagģ (tekst André Bjerke) og LP-en Birgitte Grimstad synger, som ble listesuksess både i Norge og Danmark. Platen inneholder viser fra Norden, Europa og USA, middelalderviser og moderne protestsanger side om side. Den offisielle debutkonserten i Universitetsaulaen i Oslo, ble også en vellykket plate. I 1968 spilte hun inn sin første danske LP, Viser er så meget. Den samme typen brede blandingen av viser preger den særdeles vellykkete Ballads Et Cetera... (1969) og den danskproduserte Viser i vinden (1972). I 1969 kom barneplaten Posemannens bil m. m. m. – et resultat av at hun nå også var aktiv som programleder for barn i norsk TV. Hun har også gitt ut to LP-plater for barn i Danmark (1971, 1973).Hun inkluderte allerede fra begynnelsen til dels smalt og språklig vanskelig erkenorsk stoff, som stev og luller, ►Geirr Tveitts tonesettinger av nynorskpoeter som Aslaug Vaa og Jakob Sande og en egen tonesetting av Alf Prøysens ĢLomnæsvisaģ. Innspillinger på norsk og fransk av Boris Vians ĢLe Deserteur (Herr President)ģ introduserte denne antikrigsklassikeren i Norge. Den danske aksenten var lite merkbar, og er med årene nesten borte. Hun var den første kvinnen som slo igjennom i eksplosjonen av nye visetalent i Norge midt på 60-tallet, og banet vei for ►Åse Kleveland, ►Tone Ringen, ►Hege Tunaal og mange andre. Samarbeidet med Geirr Tveitt førte til Nordlysun (1972, Spellemannpris) og i 1978 deltok hun på en Geirr Tveitt-plate utgitt av Komponistforeningen. Videre har hun fremført hans selvkomponerte stev som utgjør grunnlaget for det store orkesterverket Hundrad Hardingtonar, med Bergen Filharmoniske Orkester, med Ungdomssymfonikerne på Elverum, og på CD (1994).Langt mer poporientert er den danske 12 nye viser (1973), med stort orkester under ledelse av Arthur Greenslade, mest kjent for innspillinger med Siw Malmkvist og Shirley Bassey. Den danske versjonen av Lill Lindfors' hit ĢSamarkandģ ble årets store slager i Danmark. Tilnærmingen til samtidens pop/rock fortsatte med Ord over Grind (1977), der hun introduserte Tove Janssons ĢHøstviseģ på norsk og sang viser av den fremadstormende ►Jan Eggum. Platen ble også spilt inn med dansk sangpålegg, som Din sang – min vise. I 1978 deltok hun på Petter Dass-platen En dobbel Deylighed: Albumblad fra Petter Dass´s samlinger (med ►Erik Bye). Samme år resulterte hennes mange kritikerroste konserter rundt i Europa og i USA i den amerikanskproduserte Songs Of Scandinavia, som ikke er utgitt i Norge.Birgitte Grimstad tok initiativet til samarbeidet ►Ballade! med Åse Kleveland, ►Lars Klevstrand og ►Lillebjørn Nilsen. Gruppen ga ut Ballade på turné (1978) og Ekstranummer (1980, Spellemannpris), gjorde to vellykkete TV-show for NRK og hadde stor suksess med turneer og på ABC-teatret i Oslo. Etter at Ballade ble oppløst, fremførte hun Bachs Geistliche Lieder og Draumkvedet i norske og danske kirker. Den danske platen Pas på de vilde fugle (1983) inneholder den første av tre innspillinger av den danske komponisten Otto Mortensens tonesetting av Nordahl Griegs ĢTil Ungdommenģ, ved siden av en dansk versjon av Prøysen/►Egil Monn-Iversens ĢVise for gærne jinterģ og en høyst særegen gjendikting av Elvis Presleys ĢLove Me Tenderģ; ĢElsk mig kærligtģ. Singlen ĢAlive, Aliveģ (1984) ble skrevet til skandinaviske kvinners fredsmarsj i USA i august samme år.Fra 80-tallet har Birgitte Grimstad reist jorda rundt, og har ledet teaterworkshops i India og blant innvandrere i Norge. Problemer med stemmen den første tiden etter de hektiske Balladeårene medførte at hun begynte å interessere seg for stemmens muligheter. Dette resulterte i platene Wondering And Calling (1986) og Love Is A Flow (1996), der hun eksperimenterer med ordløs, improvisert sang, og selv fremstår som et helt kor. Denne typen improvisert komposisjon har ført til flere Ģperformance artģ-forestillinger. 1987 presenterte hun Last Bird, egen musikk til akkompagnement av musikken fra en motordur, knyttet til en skulptur av en stor rød fugl i Århus. Forestillingene Levende Vindharpe (Hanstholmfestivalen på Jylland 1988), What The Windharp´s Saying (Vindharpen synger, Canada 1991) og Missa Mama (Black Box, 1996) er opptredener til lignende kompositoriske elementer. Deler av dette materialet finnes på CD-en After A Visit In The Greenhouse Of Dreams (1991). Hun har videreført eksperimentene i ballettmusikken til multimediaforestillingen A Portrait på Pilobolus Dance Theatre i New York (1993).Midt i eksperimenteringen i grenselandet til samtidsmusikk, deltok hun i 1990 i Seniorteatrets forestilling Skillingsboller og andre viser på Victoria Teater. Den dobbelte CD-utgivelsen Ord over grind (1994) inneholder både et tverrsnitt av hennes produksjon og en del nye innspillinger, bl.a. hennes norske gjendikting ĢDe danser aleneģ av Stings ĢThey Dance Aloneģ, med ►Bugge Wesseltoft og Paolo Vinaccia. Hun fikk den norske musikkritikerprisen i 1972, Prøysensprisens Ærespris i 1999, og er tildelt Statens Kunstnerlønn. For øvrig er hun aktiv som sangpedagog, hovedsakelig utenfor det klassiske miljøet, både med enkeltelever og egne kurs. I senere år har hun holdt foredrag om farens karriere og opplesninger fra dansk litteratur, særlig H. C. Andersen. Med norske øyne oppleves Birgitte Grimstad kanskje særlig som forgangskvinne når det gjelder å framelske norsk visekultur, men hun favner langt videre enn det. Hun er mer enn noen verdensborgeren i norsk viseverden, ustoppelig på jakt etter nye eller fremmedartede musikalske uttrykk. Hun har utgitt visebøkene Fra Birgitte Grimstads repertoar (1969) og Menneskeviser (1972).

Birgitte Grimstad synger (RCA, 1966)
Utdrag fra Aulakonserten ( RCA, 1967)
Viser er så meget ( RCA Danmark, 1968)
Ballads Et Cetera... (RCA , 1969)
Posemannens bil m. m. m. (Musica, 1969)
En kveld med Visens Venner vol. 2 (RCA, 1970) m/flere art.
Det går så go' en vei. Viser av Paasche Aasen (CBS, 1971) m/flere art.
[Ej] Blot til børn (RCA Danmark, 1971)
Viser i vinden (RCA Danmark, 1972)
Nordlysun – Birgitte Grimstad synger Geirr Tveitt (RCA, 1972)
Ej blot til børn (RCA Danmark, 1973)
12 nye viser (RCA Danmark, 1973)
Ord over grind (RCA, 1977)
Din sang – min vise (RCA Danmark, 1977)
Songs Of Scandinavia (Skandisk USA, 1978)
Pas på de vilde fugle (Polydor Danmark, 1983)
Fremtiden er nå (Fremtiden er nå, 1983) m/flere art.
Wondering And Calling (Fønix Danmark, 1986)
After A Visit In The Greenhouse Of Dreams (Victoria, 1991)
Ord over grind. 51 beste 1966–1994 (Triola, 1994)
Love Is A Flow (Fønix Danmark, 1996)

P.S. This post is a tribute to my friend Micha from Denmark, who inspired me to continue posting Danish music by her amazing russian!:)

Add N To (X) - 1996 - Vero Electronics

2007-11-16T00:18:00.000-08:00

1996

1 Inevitable Fast Access
2 A Silhouette of a Man and a Wasp
3 Meetings in Compact Boxes
4 A Very Uncomfortable Status (Wet Disco)
5 Inevitable Fast Access (Sleeze)
6 A Very Uncomfortable Status (Mathematical)
7 Aphine Repetition

PUNKLES - 2006 - The Punkles For Sale!

2007-11-07T10:19:00.000-08:00

PUNKLES - 2006 - The Punkles For Sale!

ザ・パンクルズ　PUNKLESパンクルズ・フォー・セール！The Punkles For Sale!
2006年4月26日発売　　TECI－24364　　￥２,520（定価）
パンクでビートルズ！2006年、パンクルズ旋風ここに!!!
日本先行発売!!!

The Punkles' Biography:
Originally intended as kind of joke back in 1997 the Punkles evolved into one of the world's best known Beatles tribute-acts of our times (a least in Europe and Japan). Their selftitled debut from 1998 on Wolverine Records sold much better than expected and the band esthablished itself as a very entertaining live act in Europe with their first tours. Highlight of this early state of their carreer were a couple of shows in Liverpool, the home of The Beatles, where they played two raving shows at the legendary Cavern Club. After a lot more touring around Europe, the band went back to the studio in 2001, recording their second Album Punk! which was released on Bitzcore Records 2002. Completly unexpected this album hit the Japanese import charts. The same year their debut album was re-released on Bitzcore entitled Beat The Punkles! featuring bonus tracks and their famous Drive My Car-Video which got massive screenplay on MTV-Japan. Later that year Dee Dee Harrison was replaced by outstanding guitar player Captain O1 Harrison. In 2003 The Punkles released a Nippon best-of compilation The Punkles 1998-2003 (also known as The Red Album) on Imperial Records in Japan that went top-so in the Japanese charts. Also in 2003 a third album Pistol was released in Japan and hit the charts too. By the same time another best-of album turned out to be very successful in France. In 2004 Pistol was issued in Europe and the band went on touring (until today The Punkles played about 100 shows in Europe promoting this album!). During the Pistol-tour Captain O1 Harrison left the band and Rat Harrison took his place - with him they recorded a fourth album The Punkles For Sale! in summer 2005. This new album is to be released in spring 2006 and further tours are in planning currently...
Product Facts:
The Punkles For Sale! is the 4th complete studio album recorded by the Fast Four. After performing about 100 live shows to promote the previous album Pistol the band went back to the legendary Ultraschall Studios in Hamburg-St.Pauli again, to record another 19 Beatles songs in their very unique style mixture of Beat & Punk. These recordings feature new guitar player Rat Harrison who joined the group during that tour replacing Captain O1 Harrison. The new album shows The Punkles at the peak of their carreer in terms of craftsmanship and musicality. Beside a couple of classical hits from the later period of The Beatles' catalogue, like Let It Be and Come Together, The Punkles For Sale! features their very own punk interpretation of The Beatles' final masterpiece: The complete Abbey Road Medley!
I will be hard for the band to top this record with another one - but: they don't worry about that. If you'd told them back in 1997 that they'd be going to record four full albums and become one of the world's most popular bands paying homage to the Fab Four, you would have been called nuts!

Tracklist:
1 Back In The USSR
2 Come Together
3 Here Comes The Sun

4 I Wanna Be Your Man
5 The Continuing Story Of Bungalow Bill
6 Hold Me Tight
7 Glass Onion
8 One After 909
9 Octopus Garden
10 Ob La Di Ob La Da
11 Let It Be
12 You Never Give Me Your Money
13 Sun King
14 Mean Mr Mustard
15 Polythene Pam
16 She Came In Thru The Bathroom Window
17 Golden Slumbers
18 Carry That Weight
19 The End

Discography:
The Punkles/ The Punkles - CD (Ger 1998)
The Punkles/ Drive My Car 7" - Vinyl (Ger 2001)

The Punkles/ Beat The Punkles! - CD and LP (Ger 2002)
The Punkles/ Punk! - CD, LP and t-shirt (Ger 2002)
The Punkles/ 1998-2003 - CD (Japan 2003)
The Punkles/ Pistol - CD (Japan 2003)
The Punkles/ The Punkles - CD (France 2003)
The Punkles/ Pistol - CD (Ger 2004)
The Punkles/ Punk! - CD (Russia 2005)
The Punkles/ The Punkles For Sale! (2006)

2 Halloween Styles

2007-10-31T08:22:00.000-07:00

heavy metal halloween
easy listening halloween

Be Redy For Hell-Or-Win!:)

2007-10-24T23:02:00.000-07:00

John Zacherley Classical is Here:

Tracklisting and cover here:

B-o-o!

Is anybody Here from Victoria (Canada)?

2007-10-24T10:22:00.000-07:00

NOFX - 2003 - War on Errorism

2007-10-23T23:43:00.000-07:00

2003 - War on Errorism

Review by Johnny Loftus
War on Errorism, NOFX's umpteenth collection of snide skatecore, is a half-great collection of the bratty double-time anthems dominated by Fat Mike's snotty, sarcastic vocals. But while the album bristles with broad political criticism, it also lays out rhetoric that seems to present an isolationist punk rock policy of its own. Included with War on Errorism is the trailer for Unprecedented, a documentary that traces the bizarre events of the 2000 presidential election. This is accompanied by a handwritten op-ed piece by Fat Mike, Smelly, El Hefe, and Melvin, in which the band does a little consciousness raising around the vert ramp. "The U.S. is now the butt of a worldwide joke," they write, in reference to the election hullabaloo. "All everyone keeps saying is 'get over it' or 'that was so two years ago.' Well, we're not getting over it and neither should you." Musically, NOFX fuses its political cynicism with criticism of punk rock itself, and suggests that the best thing for all the kids and the bands might be to close ranks and start their own little hardcore community. "Irrationality of Rationality" and "Franco Un-American" — two of the album's most melodic, catchy songs — are also two of War on Errorism's most biting commentaries. The first personalizes the trickle-down effect of corporate decision-making over a lockstep hardcore rhythm; the second gets all new wavy as Fat Mike reasons out his own world view, and somehow rhymes "apathy" with "Noam Chomsky." While NOFX makes its politics clear throughout the album, it also has ideas and questions about its own scene. "Separation of Church and Skate" wonders about the homogeny of punk in the 21st century, and the loss of danger in rock & roll. Later, "Mattersville" presents the blueprint for a California hardcore retirement community, a neighborhood of punks, where the cops can't come in and there's always beer and cheese. It's a fantasy, an update of Screeching Weasel's "Punkhouse." But it might also be a reaction to the heady subjects bandied about in War on Errorism's activist moments. In a subdivision surrounded by bands, punks, and skaters, no one would have to worry about bombs, evildoers, and those who put the "mock" back in "democracy" (from the seething "Re-gaining Unconsciousness"). War on Errorism is long on rhetoric, but it still fires off a few uncontrolled bursts of NOFX humor. "She's Nubs" is a crass yet sadly hilarious tribute to a handicapped fan; "Medio-core" channels the Dead Milkmen as it rips on rock & roll's ongoing regurgitation. The songs don't exactly jibe with War on Errorism's more serious sections. But if NOFX suddenly became all serious, America might really have a problem on its hands.

1 The Separation of Church and Skate 3:18
2 The Irrationality of Rationality 3:08
3 Franco Un-American Fat Mike 8:36

4 Idiots Are Taking Over NOFX 4:38
5 She's Nubs 2:25
6 Mattersville 2:39
7 Decom-poseur 3:14
8 Medio-core 3:56
9 Anarchy Camp 3:19
10 American Errorist (I Hate Hate Haters) NOFX 2:18
11 We Got Two Jealous Agains 2:35
12 13 Stitches 2:26

13 Re-gaining Unconsciousness 3:30
14 Whoops, I OD'd 2:51

NOFX - 2000 - Pump Up the Valuum

2007-10-23T00:57:00.000-07:00

2000 - Pump Up the Valuum

Review by Curtis Zimmermann
Longtime fans of independent punk giants NOFX will be happy that for Pump Up the Valuum the band changed absolutely nothing about their sound. All the songs follow the group's now standard three-chord punk style with witty songs that rip on the world around them. The most notable tracks are those that take aim at the music business. "Dinosaurs Will Die" is about the impending change in the music industry with the MP3 explosion. "Stanger Than Fishin'" (an obvious knock on former label mates Bad Religion's song "Stranger Than Fiction") goes after industry phonies. The album also contains some of the band's signature gross-out tunes "Lousie" and "My Vaginia." While not as good as Punk in Drublic or The Longest Line, it should satisfy most punk fans' cravings.

Tracks
1 And Now for Something Completely Similar Fat Mike :58
2 Take Two Placebos and Call Ma Lame Fat Mike 2:25

3 What's the Matter With Parents Today? Fat Mike 1:58
4 Dinosaurs Will Die Fat Mike 2:58
5 Thank God It's Monday Fat Mike 1:39
6 Clams Have Feelings Too Fat Mike 2:32
7 Louise Fat Mike 1:49
8 Stranger Than Fishin' Fat Mike 1:05
9 Pharmacist's Daughter Fat Mike 1:58
10 Bottles to the Ground Fat Mike 2:20
11 Total Bummer Fat Mike 2:13
12 My Vagina Fat Mike 2:36
13 Herojuana Fat Mike 2:46
14 Theme from a Nofx Album Fat Mike 4:16

NOFX - 1999 - The Decline

2007-10-22T01:54:00.000-07:00

1999 - The Decline

NOFX - 1997 - So Long & Thanks for All the Shoes

2007-10-19T04:35:00.000-07:00

1997 - So Long & Thanks for All the Shoes

1 It's My Job to Keep Punk Rock Elite Fat Mike 1:20
2 Kids of the K-Hole Fat Mike 2:17
3 Murder the Government Fat Mike :46
4 Monosyllabic Girl Fat Mike :54
5 180 Degrees Fat Mike 2:10
6 All His Suits Are Torn Fat Mike 2:18
7 All Outta Angst Fat Mike 1:52
8 I'm Telling Tim Fat Mike 1:17
9 Les Champs Elysées Delanoe, Peigan, Wilsh 2:02
10 Dad's Bad News Fat Mike 2:02
11 Kill Rock Stars Fat Mike 1:32
12 Eat the Meek Fat Mike 3:30
13 The Desperation's Gone Fat Mike 2:24
14 Flossing a Dead Horse Fat Mike 1:45
15 Quart in Session Fat Mike 1:38
16 Falling in Love Fat Mike 2:17

NOFX - 1996 - Heavy Petting Zoo

2007-10-16T01:24:00.000-07:00

1996 - Heavy Petting Zoo

1 Hobophobic [Scared of Bums] Fat Mike :49
2 Philthy Phil Philanthropist Fat Mike 3:10
3 Freedom Lika Shopping Cart Fat Mike 3:43
4 Bleeding Heart Disease Fat Mike 3:36
5 Hot Dog in a Hallway Fat Mike 2:51
6 Release the Hostages Fat Mike 2:29
7 Liza Fat Mike 2:55
8 What's the Matter With Kids Today? Fat Mike 1:13
9 Love Story Fat Mike 2:37
10 The Black and White Fat Mike 3:36
11 Whatever Didi Wants Fat Mike 3:02
12 August 8th Fat Mike 1:35
13 Drop the World Fat Mike 3:22

NOFX - 1995 - I Heard They Suck Live

2007-10-15T04:25:00.000-07:00

1995 - I Heard They Suck Live

1 Linoleum Fat Mike 1:46
2 You're Bleeding Fat Mike 2:15
3 Moron Brothers Burkett 2:36
4 Punk Guy 3:09
5 Bob Fat Mike 1:09
6 Life O'Riley 2:36
7 You Drink, You Drive, You Spill 2:39
8 Nothing But a Nightmare (Sorta) 3:31
9 East Bay 1:06
10 Soul Doubt Fat Mike 1:53
11 Kill All the White Man Fat Mike, Hefe 3:00
12 Beer Bong 3:42
13 Six Pack Girls 2:16
14 Together on the Sand Lynn 1:12
15 Nowhere Fat Mike 1:07
16 The Brews ?1:37
17 Buggley Eyes Fat Mike 2:41
18 1:31
19 :53

Looking for 10,000 Maniacs with Michael Penn MTV Unplugged

2007-10-07T13:28:00.000-07:00

Hi!
May be You have it?
Please - share!
humppazoid@bk.ru

Natalie Merchant, lyricist/singer of the acclaimed New York folk-rock band 10,000 Maniacs, performs "What's The Matter Here?" and "Dustbowl." Solo artist Michael Penn performs "No Myth" and the upbeat "Brave New World" off his new release March. Merchant and Penn join together for a rendition of "City Of Angels," from the Maniacs' 1987 platinum release In My Tribe.Recorded 12/13/89 at National Video Center - NYCSet

List:
01. What's the Matter Here? [Maniacs]
02. Dust Bowl [Merchant/Gustafson/Buck]
03. No Myth [Michael Penn]
04. Brave New World [Michael Penn]
05. Gun Shy [Maniacs]
06. City of Angels [Maniacs/Shear/choir]

NOFX - 1994 - Punk in Drublic

2007-10-06T02:39:00.000-07:00

Punk in Drublic

1 Linoleum Fat Mike 2:10
2 Leave It Alone Melvin 2:04
3 Dig Fat Mike 2:16
4 The Cause Fat Mike 1:37
5 Don't Call Me White ? 2:33
6 My Heart Is Yearning ? 2:23
7 Perfect Government Curry 2:06
8 The Brews ? 2:40
9 The Quass ? 1:18
10 Dying Degree ? 1:50
11 Fleas Fat Mike 1:48
12 Lori Meyers ? 2:21
13 Jeff Wears Birkenstocks? ? 1:26
14 Punk Guy (Cause He Does Punk Things) ? 1:08
15 Happy Guy Fat Mike 1:58
16 Reeko ? 3:05
17 Scavenger Type ? 7:12

Review by Stephen Thomas Erlewine
With their 1994 album Punk in Drublic, NOFX truly hit their stride. The quartet didn't change their approach at all — at their core, they remain a heavy, speed-addled, hook-conscious post-hardcore punk group — but their songwriting has improved, as has their attack. Prior to this record, they merely showed promise, but with Punk in Drublic they fulfilled their potential.

NOFX - 1992 - The Longest Line (EP)

2007-10-05T03:08:00.000-07:00

1992 The Longest Line (EP)

1 The Death of John Smith Fat Mike, Hefe 3:51

2 The Longest Line Fat Mike 2:04
3 Stranded Fat Mike 2:08
4 Remnants Fat Mike 2:59
5 Kill All the White Man Fat Mike, Hefe 2:48

Review by Mike DaRonco
It's easy to see why a million suburban punk bands out there are heavily influenced by NOFX. The music is incredibly tight, the humor is off the wall, and they have no intentions in hiding the fact that they don't take a thing seriously. But the punch line is that they all make a living off this band, so go figure. Released between Ribbed and White Trash, Two Heebs and a Bean, The Longest Line documents two firsts for NOFX: not only does it feature the debut of guitarist El Hefe, but it's also the first release on their Fat Wreck Chords label. As for the music, it's as tight and fast as ever with lots of added harmonies — most notably on "Stranded" — and a sarcastic sense of humor, most of which can be found on the ska parody "Kill All the White Man."

NOFX - 1992 - White Trash, Two Heebs and a Bean

2007-10-04T00:20:00.000-07:00

1992 White Trash, Two Heebs and a Bean

1 Soul Doubt Fat Mike 2:46
2 Stickin in My Eye Fat Mike 2:24
3 Bob Fat Mike 2:02
4 You're Bleeding Fat Mike 2:12
5 Straight Edge MacKaye, Minor Threat 2:11
6 Liza and Louise Fat Mike 2:22
7 The Bag Fat Mike 2:46
8 Please Play This Song on the Radio Fat Mike 2:16
9 Warm Fat Mike 3:30
10 I Wanna Be Your Baby Fat Mike 2:56
11 Johnny Appleseed Fat Mike 2:37
12 She's Gone Fat Mike 2:56
13 Buggley Eyes Fat Mike 1:21

Review by Jason Ankeny

The title of NOFX's White Trash, Two Heebs and a Bean is a pretty fair indicator of what's going on in the grooves — specifically, tongue-in-cheek, politically incorrect forays into America's pancultural society. A SoCal punk band that recalls both the eclecticism and attitude of Camper Van Beethoven, NOFX rips through much more than standard-issue thrash; they transform Minor Threat's "Straight Edge" into a blues song with fake B.B. King vocals, go ska for the wry character study "Bob," and examine lesbian lifestyles with surprising maturity on "Liza and Louise." Not quite so understanding is "Johnny Appleseed," which pokes fun at the very concept of cultural diversity and is sung in a Hispanic accent by guitarist El Hefe.

NOFX - 1992 - Maximum Rock'n'Roll

2007-10-03T06:39:00.000-07:00

1992 Maximum Rock'n'Roll 1

1992 Maximum Rock'n'Roll 2

Tracks
1 Live Your Life 2:20
2 My Friends 2:17
3 Six Pack Girls 0:35
4 Bang Gang 1:30
5 Hit It Hold It Back 1:53
6 Id 1:14
7 Cops and Donuts 2:00
8 Iron Man Black Sabbath 2:08
9 Shitting Bricks 4:43
10 Mom's Rules 1:55
11 On My Mind 1:15
12 White Bread 1:33
13 Lager in the Dark 1:47
14 Too Mixed Up 0:34
15 Drain Bramaged 2:26
16 Bob Turkee 0:40
17 No Problems 2:08
18 Memories 1:12
19 Beast Within 0:54
20 Instrumental 0:55
21 Ant Attack 2:35
22 Ant Attack 0:45

Reviewby Andy Hinds
NOFX's lo-fi debut is routine, mid-'80s SoCal punk in the vein of the Descendants and other bratty, mile-a-minute punk bands; while most of the sonic characteristics that later defined the group's sound (including Bad Religion-influenced vocal harmonies) are missing, Maximum RocknRoll proves that NOFX's goofball humor was in effect from day one (see "Six Pack Girls," "Cops and Donuts," and "Shitting Bricks"). Perhaps best of all is the band's cover of Black Sabbath's "Iron Man." The liner notes include a June 1991 MaximumRocknRoll interview with Fat Mike, in which he gives props to bands like Snuff and Green Day. Amusing and historically interesting, but only for serious fans.

NOFX - 1991 - Liberal Animation

2007-10-01T00:56:00.000-07:00

1991 Liberal Animation

Tracks
1 Shut up Already Fat Mike 2:45
2 Freedumb :43
3 Here Comes the Neighborhood 2:57
4 A200 Club 1:53
5 Sloppy English 1:15
6 You Put Your Chocolate in My Peanut Butter 2:26
7 Mr. Jones 3:17
8 Vegetarian Mumbo Jumbo 3:30
9 Beer Bong 2:31
10 Piece 1:32
11 I Live in a Cake 1:09
12 No Problems 1:19
13 On the Rag 1:14
14 Truck Stop Blues 3:02

NOFX - 1990 - Ribbed

2007-09-29T01:21:00.000-07:00

1990 Ribbed

1 Green Corn Fat Mike 1:44
2 The Moron Brothers 2:26
3 Showerdays 2:10
4 Food, Sex & Ewe 1:47
5 Just the Flu 2:03
6 El Lay 1:13
7 New Boobs 3:27
8 Cheese/Where's My Slice? 2:16
9 Together on the Sand Lynn 1:13
10 Nowhere Fat Mike 1:33
11 Brain Constipation 2:33
12 Gonoherpasyphilaids 1:43
13 I Don't Want You Around 1:39
14 The Malachi Crunch 2:51

Credits: Fat Mike Guitar (Bass), Vocals; Mike Argotode Vocals (bckgr); Jay Bentley Vocals (bckgr); Donnell Cameron Maracas, Egg Shaker; Gina Chan Vocals (bckgr); Mark Curry Vocals (bckgr); Legendary Starbolt Bongos, Guiro; Eric Melvin Guitar, Vocals (bckgr); Mr. Christian Vocals (bckgr); Starbolt Bongos, Guiro

NOFX - 1989 - S&M Airlines

2007-09-27T10:28:00.000-07:00

S&M Airlines

1 Day to Daze Fat Mike 1:54
2 Five Feet Under 2:42
3 Professional Crastination 2:43
4 Mean People Suck 2:02
5 Vanilla Sex 2:31
6 S&M Airlines 4:40
7 Drug Free America 3:37
8 Life O'Riley 1:55
9 You Drink, You Drive, You Spill Nothing But a Nightmare (Sorta) 2:18
10 Screamin for Change 2:52
11 Jaundiced Eye 3:48
12 Go Your Own Way 2:18

Nate Starkman & Sons Discography

2007-09-26T13:36:00.000-07:00

Does anybody here collecting Nate Starkman & Sons label artists?

I have few Nate Starkman & Sons label records on vinyl and some of them even better than classical 80ies neo-psychodelics from monstrous label 4AD. FOURWAYCROSS, SAVAGE REPUBLIC, SHIVA BURLESQUE, DARK ARTS, SOUL BROTHERS, MARNIE, AUTUMN FAIR and who knows any how many other artists. I can prepare mp3 from vinyl and if You're interested - post them here. And if You have some of them - share with others here, please! :)

Long live PSYCHEDELIA! :)

Linda Perry, Lisa Germano, Grace Slick - In Flight (1996)

2007-09-24T04:01:00.000-07:00

In Flight (1996) 1

In Flight (1996) 2

+ BONUS VIDEOS:

What's Up (4 Non Blondes)

Fill Me Up (Linda Perry)

Linda Perry biography by Vincent Jeffries
Born on April 15, 1965, in Springfield, MA, Linda Perry spent her youth struggling with kidney disease and then addiction before focusing on music. Growing up in an artistic and musical household, the young Perry displayed a good share of musical talent and interest from an early age. During her teenage years, Perry floundered in school and tried unsuccessfully to form several bands in the San Diego area. A drug problem prevented the singer/guitarist from starting off her career at an early age, but after a few close calls and a move to San Fransisco in the late '80s, she cleaned up and began making some real artistic and professional gains. During this period, Perry discovered and refined her powerful singing voice. Part Grace Slick, part Johnnette Napolitano, but unique in her own right and a little quirky, it didn't take long before Perry's solo performances at various Bay Area nightclubs were attracting the attention of scenesters and fellow musicians. One such musician was Christa Hillhouse, who was in quest of a new lead vocalist for her group 4 Non Blondes. Hillhouse asked Perry to join up with her outfit, which also included Shauna Hall and Wanda Day. Perry agreed to give it a try and it wasn't long before 4 Non Blondes were being courted and eventually signed by Interscope Records. The group's debut, Bigger, Better, Faster, More, was released on Interscope in 1992. After a very slow start sales-wise, the David Tickle-produced album began to break in 1993 when a modern rock disc jockey in Las Vegas began spinning "What's Up?" Interscope then began pushing the song, which had by this time developed a life of its own. A video was produced and MTV took an immediate and prolonged shine it, giving the band massive exposure. As "What's Up?" became a huge international hit, 4 Non Blondes seemed to be everywhere. During a period of about two years, Perry and her bandmates appeared on the Airheads and Wayne's World 2 soundtracks, released two more singles and accompanying videos (for "Spaceman" and "Dear Mr. President"), toured the globe, appeared on Carpenters and Led Zeppelin tribute releases, and finally appeared on Roger Daltrey's televised 50th birthday party, which ended up being their final performance. While working on their follow-up to the six-million-unit-selling Bigger, Better, Faster, More, Perry left the group due to personal problems within the band. After departing 4 Non Blondes, Perry began work on some solo material and formed her own label, Rockstar Records, which later signed Stone Fox and 2 Lane Blacktop. Perry also began a producing and session career by joining Stone Fox in the studio and helping out on former Bangle Susanna Hoffs' self-titled solo disc. Perry herself was joined by the likes of Grace Slick, Lisa Germano, and Sheryl Crow producer Bill Bottrell on In Flight, her 1996 solo debut. Darker, and more dynamic than her work with 4 Non Blondes, Perry came into her own as an artist on this exceptional recording. Released on Interscope, In Flight was perhaps too dour or sincere to capitalize on the alt-pop success of 4 Non Blondes and the record was hardly noticed by critics, radio, or fans. After In Flight, Perry moved to Southern California and continued working on production and film projects, as well as running her label. In 1999, she released her second solo effort, the stripped-down, almost bluesy After Hours. A fine vocalist, writer, and musician, Linda Perry has led a serious and occasionally subversive career, punctuated by her individualism and sense of artistic purpose.

Album review by Vincent Jeffries
Linda Perry's music is both subtle and bombastic, sweet and aggressive, and intellectually and sonically challenging. After the singer/songwriter quit her job fronting mega-platinum rock outfit 4 Non Blondes in 1994, Perry spent some time underground and eventually recorded In Flight for Interscope Records. Producer Bill Botrell (Sheryl Crow, Susanna Hoffs) helps Perry on the 1996 release as she digs deep into very personal subject matter that could get overwrought without the softly detailed arrangements and mixes. The queen of '90s ultra-depressive mope rock, Lisa Germano deepens the disc's dour construct with her mournful violin. There are a couple overly personal moments within the In Flight playlist, like the opener "In My Dreams," but Perry leans on her expressive vocals to keep the dangerously sincere material interesting. "Success" borders on the excessively self-analytical, but Botrell's juicy production and a crushing hook elevate the track beyond its weepy predisposition. Other standouts include "Life in a bottle," "In Flight," and the Grace Slick duet "Knock Me Out" that features the legendary Starship vocalist in extremely rare form. A fondness for fellow '90s female mood rockers Germano and PJ Harvey will aid listeners in appreciating the sallow cast of In Flight. But with just a little patience, any fan can enjoy the tenderness that coats Perry's introspective material.

Tracks

1 In My Dreams Perry
2 Freeway Perry
3 Uninvited Perry
4 Success Bottrell, Perry
5 Life in a Bottle Perry
6 Fill Me Up Perry
7 Knock Me Out Perry, Willson-Piper Performed by: Perry, Grace Slick
8 Too Deep Perry
9 Taken Perry

10 Fruitloop Daydream Bottrell, MacLeod, Perry
11 Machine Man Gilbert, MacLeod, Perry, Schwartz
12 In Flight Perry
+ Bonus by 4 Non Blondes:

13. Shame

14. What's Up?

Credits:

Linda Perry (ex 4 Non Blondes) Bass, Guitar, Piano, Producer

Lisa Germano Violin

Grace Slick (ex Jefferson Airplane Starship) Performer

Bill Bottrell Bass, Guitar, Drums, Producer

Kevin Gilbert Guitar, Keyboards

Brian MacLeod Percussion, Drums

Dan Schwartz Bass, Pedal Steel

Bernd Burgdorf Programming, Producer, Engineer, Mixing

Blair Lamb Engineer

Mark Cross Engineer

Aubin Crowell Paintings

Joe Gastwirt Mastering

Mark Leroy Art Direction, Design

Jim Marshall Photography

Jill Rose Project Coordinator

Greg Spalenka Illustrations

P.S. Linda Perry produced Pink album M!ssundaztood (2001)

Ska Punk Goes Ukraine! Never Mind the Sex... Here Is Perkalaba!

2007-09-23T10:26:00.000-07:00

Перкалаба - Свято грибiв i форелiв (2004)

Перкалаба - Свято грибiв i форелiв (2004)
01. 220

02.Бугай

03. Гулэй

04. Свято грибiв i форелiв

05. Любовi поклик ау-уа

06. Горрри!

07. Льотчик

08. Каб'юк i Ахтемiшин

09. Bormenzal

10. Теща

11. Зозулица

12. Парагвай

13. Голяк

Перкалаба - Говорить Івано-Франківськ (2007) 1

Перкалаба - Говорить Івано-Франківськ (2007) 2

Перкалаба - Говорить Івано-Франківськ (2007)

01.Марш звідси

02.Говорить Івано-Франківськ

03.Просерамерa

04.Розлабка

05.Червона Фіра

06.Полька

07.Ау (грубубабагруба version)

08.Чар даш?

09.Фігурне катаніє

10.Перда

11.Коровка

12.4танкісти

13.Мажорний льотчик

14.Кафельний памятник

15- Тромба

16.Ясени

17.Кода

Perkalaba - it's much like Specials meets The Ukrainians and riding through Poland with 4 Tanksmen & Dog (Legendary heroes from movie with same title "Czterej pancerni i pies" http://pl.wikipedia.org/wiki/Czterej_pancerni_i_pies) in looking for more Vodka, Juana and... meals... may be :)

Perkalaba is - это Перкалаба:
Андрій "Федот" Федотов - вокал
Ярема Стецик - бас,бек-вокал
Володимир Шотурма - цимбали,під спів
Сергій Шваюк - труба,під спів
Орест Гудима - тромбон,під спів
Сергій Лєонов - гітара
Саня Сингаєвський - барабани
Ігор Римик - перкусія
Олег "Мох" Гнатів - продюсер,вокал

Discography:
2004 - Свято Грибів і Форелів
2006 - Qzzaargh vs Перкалаба
2007 - Горрри! /переиздание/
2007 - Говорить Івано-Франківськ

Punky Reggae Party!!! Specials - 1996 - Pressure Drop EP

2007-09-17T06:18:00.000-07:00

Specials - 1996 - Pressure Drop EP

:) Wikipedia

Pressure drop is a term used to describe the change in pressure across a system. For example, in a typical garden hose the pressure in the hose is 40 psi and at sea level the atmospheric pressure is about 15 psi. Therefore, the pressure drop across the nozzle is 25 psi.
"Pressure Drop" is also the name of a song by Toots & the Maytals and an early album by Robert Palmer (featuring his cover version of the song). Later this song was redone by The Clash, and can be found on their compilation album Super Black Market Clash
"Pressure Drop" is also the name of a computer peripheral company designing and building products such as USB hubs and iPod docks.

(Pressure Drop by) Toots and the Maytals, originally called simply The Maytals, are considered legends of ska and reggae music.[citation needed] Their sound is a unique, original combination of gospel, ska, soul, reggae and rock. Frederick "Toots" Hibbert, the leader of the group, was born in May Pen in the Parish of Clarendon, Jamaica. He was the youngest of seven children. He grew up singing gospel music in a church choir, but moved to Kingston in 1961 at the tender age of sixteen.
In Kingston, Hibbert met Henry "Raleigh" Gordon and Nathaniel "Jerry" McCarthy, forming a group whose early recordings were attributed to "The Flames" and, possibly, "The Vikings". Having renamed the group the Maytals, the vocal trio recorded their first album, "Never Grow Old - presenting the Maytals", for producer Clement "Coxsone" Dodd at Studio One in 1962-63. With musical backing from Dodd's house band, the legendary Skatalites, the Maytals' close-harmony gospel singing ensured instant success for the 1964 release, overshadowing Dodd's other up-and-coming gospel trio, The Wailers. The original album augmented by studio out-takes from the Studio One sessions was re-released by Heartbeat/Rounder Records in 1997, and is essential listening for Maytals and Skatalites fans.
After staying at Studio One for about two years, the group moved on to do sessions for Prince Buster (released in 1974) before recording their second album produced by Byron Lee in 1965 . However, the band's musical career was rudely interrupted in late 1966 when Hibbert was arrested and imprisoned on drugs possession charges.
Following Hibbert's release from jail towards the end of 1967, the band officially changed their name to Toots and the Maytals and began working with Chinese-Jamaican producer Leslie Kong, a collaboration which produced three classic albums and a string of hits throughout the late sixties and early seventies - "Do the Reggay", a 1968 single widely credited with coining the word reggae, "Pressure Drop", "54-46 was my number" and "Monkey Man", the group's first international hit in 1970 . The group was featured in one of reggae's greatest breakthrough events - The Harder They Come, the 1972 film and soundtrack starring Jimmy Cliff, named as one of Vanity Fair's Top 10 Best Soundtracks of all time.
Following Kong's death in 1971, the group continued to record with Kong's former sound engineer, Warwick Lyn; produced by Lyn and Chris Blackwell of Island Records, the group released three best-selling albums, and enjoyed international hits with Funky Kingston in 1973 and Reggae Got Soul in 1976.
Toots and the Maytals' compositions would be given a second airing in 1978-80 during the reggae-punk and ska revival period in the UK, when The Specials included "Monkey Man" on their 1979 debut album and The Clash produced their version of "Pressure Drop". Having toured throughout the world for many years, Toots and the Maytals disbanded in the early 1980s, but reformed in the early 90s to continue touring and recording successfully. Sublime recorded cover versions of some Maytals songs in the 1990s as well.
The band recently won the 2005 Grammy award for best reggae album True Love, an album consisting of re-recorded versions of their classics alongside popular and legendary musicians such as Bonnie Raitt, Willie Nelson, Eric Clapton, and Keith Richards, as well as popular artists today such as No Doubt, Ben Harper, The Roots, and Shaggy.
In 2006, they recorded a reggae/ska version of Radiohead's Let Down for the tribute album, Radiodread, by the Easy Star All-Stars. The album is a complete song for song makeover of the English rock band's album OK Computer into reggae, dub and ska. Let Down has been frequently cited by reviewers as one of the successes of the album.
According to the official Toots MySpace, the band are recording a new album. Blog entries on the Myspace page [2] report that Toots has been working on a follow up to the 2004 album True Love. The album, apparently originally due for 2006 release, was still being worked on as of December 2006.
New album "Light Your Light" released August 27 2007

Tracks:

01 - Pressure Drop (Radio Edit)

02 - Pressure Drop (Handbaggers Remix Edit)

03 - Do Nothing (Live)

04 - Hey Little Rich Girl (Live).mp3

Bonus:

05 - Toots & The Maytals - Pressure Drop

06 - Clash - Pressure Drop

The Geraldine Fibbers - 1995 - Lost Somewhere Between the Earth and My Home

2007-09-15T05:12:00.000-07:00

From Eiliv Konglevoll 17 Sep 2003 letter to sycophant@smoe.org (Lisa Germano mailing list):

What is good with Lisa's music is that there is not much to campare with.But just found one artist or group with something common, which you mightlike. It have been standing just before her records, not played for a longtime. Geraldine Fibbers, Lost somewhere between the earth and my home. Hope itis still possible to find, this a knockout, I just found out. Have to searchvery hard to find a better record the last ten years. Lots of crazy violinsand insane lyrics, rather "violent" with wry humour. And I have never heardsomeone getting away with combining sentimental folk with Velvet white-lightnoise, in one song. It works, it works. "Everything I say is a stupid lie, Iwon't tell the truth even when I die, I'll pick myself to pieces 'til the endof time, then I'll glue them back together in a stupid rhyme." A group, butCarla Bozulich is the beginning and the end. Now I just got to find out abouther solo records! The group had two other records, also very good, but thefirst is a classic. Most people would back off, it is bizarre and extreme, butLisa fans are not easily scared.

The Geraldine Fibbers

Styles: Neo-Traditional Folk, Alternative Pop/Rock, Grunge, Indie Rock, Alternative Country-Rock

Biography by Jason Ankeny

The Geraldine Fibbers were the bluesy, country-tinged vehicle of singer/songwriter Carla Bozulich, a longtime veteran of the Southern California post-punk scene who previously tenured in Ethyl Meatplow and Neon Vein. After the former's 1993 breakup, Bozulich formed the Fibbers with guitarist Daniel Keenan, bassist William Tutton, violinist Jessy Greene, and drummer Kevin Fitzgerald, debuting the following year on the Sympathy for the Record Industry label with the EP Get Thee Gone. After signing to Virgin, the group issued 1995's acclaimed Lost Somewhere Between the Earth and My Home; Butch, a more rock-oriented effort recorded with new guitarist Nels Cline, followed in 1997.

Review by Michael Gallucci

Carla Bozulich's distorted folk tales for the desolate got their start on this debut album from her punky alterna-country performance outfit the Geraldine Fibbers, and what an introduction it is. Defying labels across the board, and turning old-style ancestral narratives into brutal and harrowing portraits of life on the edge of nowhere, the Fibbers wrap each of Lost Somewhere Between the Earth and My Home's 12 songs into a ball of fury and toss it against the wall of tradition, just to see what happens. The results, wickedly conveyed through Bozulich's often androgynous and twangy tones, are among the most original, if not always successful, conceived in the cookie-cutter '90s. Chaotic noise breakdowns give way to melodic singalongs, songs twist and turn through several side paths before reaching their destination, and everything sounds as if total annihilation is imminent. Scary, thoughtful and highly inventive (plus a bit one-noted), Lost is the sound of country gone to hell.

Tracks
1 Lily Belle (Bozulich, Keenan) 4:54
2 The Small Song (Bozulich) 3:30
3 Marmalade (Bozulich, Keenan) 5:09
4 Dragon Lady (Bozulich, Fitzgerald, Keenan) 4:50
5 A Song About Walls (Bozulich, Keenan) 4:20
6 House Is Falling (Bozulich, Keenan) 4:23
7 Outside of Town (Bozulich) 4:58
8 The French Song (Bozulich, Fitzgerald, Tutton) 6:04
9 Dusted (Bozulich, Fitzgerald) 2:40
10 Richard (Bozulich, Fitzgerald) 5:24
11 Blast off Baby (Bozulich) 4:09
12 Get Thee Gone (Bozulich) 6:37

WHEN WE WERE 7 (YEARS OLD:)

2007-09-14T15:31:00.000-07:00

1983, RUSSIA, MOSCOW, SCHOOL NUMBER 425, FIRST CLASS "A"
1983 ГОД, МОСКВА, ШКОЛА НОМЕР 425, ПЕРВЫЙ "А"

МОЖЕТ БЫТЬ КТО-ТО ПОМНИТ СЕБЯ ТАКИМ? ДРУЗЬЯ - ОТЗОВИТЕСЬ! ВСТРЕЧА НА www.odnoklassniki.ru/!!!

Lou Reed Complete Discography on Request

2007-09-11T10:00:00.000-07:00

Satellite of Love 2004

Lou Reed singin "...off Love" while David Bowie screaming "WO-a-o-h!!!!"and trippy acid folk hippies dreaming about raibow rocket, which will turn russian and american soldiers to dancers. Download slowly and see!:)

1 Dab Hands Retouch [Radio Edit] Reed 3:05
2 Dab Hands Retouch Reed 6:53
3 Groovefinder [Remix] Reed 10:30
+
Video

is anybody from Bochum (Germany)?

2007-09-04T01:28:00.002-07:00

Muse -2003 - Absolution

2007-09-02T10:07:00.000-07:00

2003 - Absolution

Review by Tim DiGravina
Though some may still consider them Radiohead mimics, obviously Muse continues to strike a nerve with their alternative hard rock audience, here releasing their third album of heavy guitars, haunted harmonics, and paranoid musings in Absolution. Frontman Matt Bellamy and company stick to the same disturbed, and sometimes disturbing, formula that's worked in the past: the emotional intensity and style of Radiohead, a rock thunder descended from Black Sabbath, and the baroque drama of Queen. Longtime producer John Leckie sits this one out, and in steps indie ьber-engineer Rich Costey. With Costey manning the desk, the music feels more polished and slick, but less epic and raw. Longtime fans won't miss a beat though, because Bellamy delivers the same Thom Yorke vocal impersonation for which he's known, and continues the same anthemic posturing he's lifted from Freddie Mercury. With song titles and subject matter fueled by fear of the apocalypse and worries about infidelities and random murders, the subject matter is as gloriously pretentious and lovably unlovable as ever. Newcomers to the band should expect killer guitars reminiscent of jackhammers and chainsaws, bloodcurdling choruses, and of course, tender passages of falsetto. A recurring motif of racing samplers suggests nothing less than a rock opera version of the score to Koyaanisqatsi, and then there are the occasional spooky moments where funky rhythms mingle with heavy metal guitars, suggesting a progressive Italian zombie flick soundtrack. There's little point in selecting highlights, because other than some slow moments that feel tacked on, there's not much variation in theme or mood. Many listeners will probably prefer to tackle the album in small doses, and only the most headstrong won't require a breather. Muse continues to make unrelenting hardcore art rock; Absolution is a tad cheesy, a bit too grandiose in its ambitions, bursting at the seams with too many ideas, and thus exactly what any Muse fan craves.

Tracks
1 Intro Bellamy, Howard ... 0:22
2 Apocalypse Please Bellamy, Howard ... 4:12
3 Time Is Running Out Bellamy, Howard ... 3:56
4 Sing for Absolution Bellamy, Howard ... 4:54
5 Stockholm Syndrome Bellamy, Howard ... 4:58
6 Falling Away with You Bellamy, Howard ... 4:40
7 Interlude Bellamy, Howard ... 0:37
8 Hysteria Bellamy, Howard ... 3:47
9 Blackout Bellamy, Howard ... 4:22
10 Butterflies and Hurricanes Bellamy, Howard ... 5:01
11 The Small Print Bellamy, Howard ... 3:29
12 Endlessly Bellamy, Howard ... 3:48
13 Thoughts of a Dying Atheist Bellamy, Howard ... 3:11
14 Ruled by Secrecy Bellamy, Howard ... 4:52

The Men They Couldn't Hang 5 albums + 3 EP

2007-09-02T05:50:00.000-07:00

1985 Night of 1000 Candles
1986 How Green is the Valley
1988 Waiting for Bonaparte
1989 Silvertown
1990 Domino Club

+
3 EP
1984 Singles
1989 - Rain, Steam & Speed EP
1989 - A Map Of Morocco EP *
*including Black Sabbath "Iron Man" in folk-rap style

The Men They Couldn't Hang (from Wikipedia, the free encyclopedia)
Origin London, England
Genre(s) Folk Punk, Punk Rock, Celtic Punk
Years active 1984-1991, 1996-current
Label(s) Demon, Diablo, Magnet, MCA, Silvertone, WEA, Jive, Fun After All, Twah!, Recall
Associated acts: Swill And The Swaggerband, Odgers & Simmonds, Liberty Cage
Website tmtch.net
Members: Phil Odgers, Paul Simmonds, Stefan Cush, Ricky McGuire
Former members: Jon Odgers, Nick Muir, Shanne Bradley

The Men They Couldn't Hang (TMTCH) are a British rock band whose mixture of folk and punk is not dissimilar to that of The Pogues (in fact founder member Shanne Bradley was an original female punk artist and founder of Shane MacGowan's first band, The Nipple Erectors).
The original group consisted of Stefan Cush (Vocals, Guitar), Paul Simmonds (Guitar, Bouzouki, Mandolin, Keyboards), Philip (Swill) Odgers (Vocals, Guitar, Tin Whistle, Melodica), Jon Odgers (Drums, Percussion) and Shanne Bradley (Bass).
[edit] (1984-1991) Controversy and success
Their first single, "The Green Fields of France", was released in 1984. Written by Eric Bogle (of "And The Band Played Waltzing Matilda" fame), the song's protagonist imagined having a conversation with one of the fallen soldiers of World War I whilst sitting by his graveside. It received considerable airplay on the John Peel show on BBC Radio 1 and finished at No.3 in Peel's Festive 50 for that year. It became a big hit on the UK Indie charts.
The following year they were signed by Elvis Costello to his Demon label, and released their debut album, "The Night of a Thousand Candles", and its accompanying single "Ironmasters", a self-penned number by main songwriter Simmonds, linking the Industrial Revolution to the present-day treatment of the working class. The original final line of the song - "and oh, that iron bastard, she still gets her way" (a reference to the then Prime Minister Margaret Thatcher) had to be removed for the single version to ensure radio airplay. They were again named in Peel's yearly Festive 50, this time at No.11. They followed this up with a new single not taken from the album, Greenback Dollar, a cover of the song written by Hoyt Axton and made famous by The Kingston Trio. The single was produced by Nick Lowe.
In 1985 the band signed for MCA records and released "How Green Is The Valley". The record included "Ghosts Of Cable Street", a political number concerning The Battle of Cable Street in 1936 and "Shirt Of Blue", which regarded the miners' strike of 1984-5. At the end of promotion for the album Shanne Bradley left to create music with Wreckless Eric and The Chicken Family, she was replaced on bass by Ricky McGuire (ex UK Subs).
In 1987 the band switched to Magnet Records and the new record released was, what many fans consider their best "Waiting For Bonaparte". Once again the strongest songs were stories of historical origin. "The Colours" told of an English mutineer sailor during the Napoleonic War and "The Crest" a stretcher bearer during World War II. Sadly whilst "The Colours" was at no.61 in the British top 75 it was blacklisted by BBC Radio 1 due to the line "You've Come Here To Watch Me Hang", which echoed the events happening in South African townships at the time. However it didn't stop the album propelling the group to stardom in Europe.
In 1988 the band were on the move again and signed for new label Silvertone (who later put out The Stone Roses debut release). The band were joined by Nick Muir (ex Fire Next Time) at this time on piano organ and accordian, who remained with the band during their time at Silvertone. Muir later found success as an electronic music producer and half of the duo Bedrock.
The band recorded two albums for Silvertone, the first being "Silvertown". Highlights of "Silvertown" included "Rain, Steam and Speed", "A Place In The Sun" and "A Map Of Morocco". They followed this up in 1990 with "The Domino Club", which had a more conventional rock sound dispensing with much of the folk element. "
In August 1990 the band supported David Bowie in his concerts at the Milton Keynes Bowl, as part of his Sound and Vision World Tour.

Lydia Lunch 5 Early + 1 Live Records + Videos

2007-08-29T02:34:00.000-07:00

1979 - Teenage Jesus & The Jerks
1980 - Queen Of Siam
1981 - 8 Eyed Spy

1982 - The Birthday Party (with Lydia Lunch) - The Front
Row is not for the Fragile (bootleg)

1984-1985 - Drowning EP + In Limbo EP 1

1984-1985 - Drowning EP + In Limbo EP 2

1994 - Universal Infiltrators

Videos

Lydia Lunch Biography by Steve Huey

After leaving the seminal New York no wave outfit Teenage Jesus and the Jerks, poet/actress/vocalist Lydia Lunch (b. Lydia Koch) embarked on a solo career marked by frequent collaborations and band changes, plus an attitude of confrontational nihilism expressed in both her sound and her often violent and/or sexually oriented subject matter. Upon leaving Teenage Jesus, Lunch first formed Beirut Slump, but departed after one single. Her solo debut, 1980's Queen of Siam, proved to be one of her most acclaimed efforts, as was her next band, the funk-inflected 8 Eyed Spy. However, that band broke up due to the death of bassist George Scott, and Lunch went back out on her own. After 1982's 13.13, which featured former members of the Weirdos, Lunch began a rash of collaborations, working with the Birthday Party on the EP The Agony Is the Ecstasy, as well as Einstьrzende Neubauten, Die Haut, Sort Sol, Swans' Michael Gira, and members of Sonic Youth. Lunch founded her own Widowspeak label in 1985, immediately delving into spoken word with the EP The Uncensored Lydia Lunch and reissuing much of her back catalog, including a two-CD retrospective, Hysterie, in 1986. Her next collaboration was the first of several with Jim "Foetus" Thirlwell, who remixed a shelved project with Birthday Party members from 1982-1983; it was issued as Honeymoon in Red in 1987. The two also released the Stinkfist EP under Thirlwell's Clint Ruin alias in 1989. That same year, Lunch teamed with Sonic Youth bassist Kim Gordon in Harry Crews, a one-off, all-female noise rock band, for the LP Naked in Garden Hills. Aside from an EP with ex-Birthday Party guitarist Rowland S. Howard in 1991, Shotgun Wedding, plus her acting career in underground films, Lunch has concentrated on the spoken word arena into the '90s; a three-CD retrospective of this aspect of her career, Crimes Against Nature, was issued in 1993, and Lunch has continued her activities throughout the decade. Much of her Widowspeak output was reissued by other independent labels in the mid-'90s.

9 Albums by Zappa from 1966-1970

2007-08-28T00:41:00.000-07:00

Freak Out 1966

Absolutely Free 1967

We're Only In It For The Money 1968

Lumpy Gravy 1968

Cruising With Ruben & Jets 1968

Uncle Meat 1969 Part 1
Uncle Meat 1969 Part2

Hot Rats 1970

Burnt Weeny Sandwich 1970

Weasels Ripped My Flesh 1970

Just Back from Copenhagen

2007-08-27T12:13:00.000-07:00

Last time I have been in Copenhagen 5 years ago. Weird, but this time I have found too much homeless people on the streets in the evening time and lots of immigrants from asia with untolerable manners of behaviour. But in any case city still looking good for walking:

or visit record stores at Lars Bjorn Straade:

or if You're already tired from it - go to Christiania to see their live shows, flea markets, junkies and so on... Don't know why, but danish people seems almost uncommunicative. While was walking through streets of Copenhagen I was able to find themes to talk with Germans, Australians, Estonians, British, Americans, but the only person from Copenhagen to talk with was a guy with Charles Bukowski book. Well - at least - post-beat and hippie cultures makes people more communicable:)

Here comes most popular Dannish band:

DAD or D.A.D. or D:A:D (Disneyland After Dark) Psychopatico (LIVE) 1998

1 Simpatico
2 Empty Heads
3 Bad Craziness
4 Grow or Pay
5 Riding With Sue
6 Hate to Say...
7 I Won't Cut My Hair
8 Cloudy Hours
9 Reconstrucdead
10 Black Crickets
11 Home Alone 5
12 Sleeping My Day Away
13 Jihad
14 Written in Water
15 It's After Dark
16 Laugh'n'Ѕ
17 Jacketless in December

Psychopatico_Cd1
Psychopatico_Cd2

+Videos:
Bad Craziness
Cloudy Hours
Psycopaticola

2 Albums by Gong

2007-08-27T12:02:00.000-07:00

Gazeuse 1976

Shamal 1976

Gong Biography by Jim Powers

Gong slowly came together in the late '60s when Australian guitarist Daevid Allen (ex-Soft Machine) began making music with his wife, singer Gilli Smyth, along with a shifting lineup of supporting musicians. Albums from this period include Magick Brother, Mystic Sister (1969) and the impromptu jam session Bananamoon (1971) featuring Robert Wyatt from the Soft Machine, Gary Wright from Spooky Tooth, and Maggie Bell. A steady lineup featuring Frenchman Didier Malherbe (sax and reeds), Christian Tritsch (bass), and Pip Pyle (drums) along with Allen (glissando guitar, vocals) and Gilli Smyth (space whisper vocals) was officially named Gong and released Camembert Electrique in late 1971, as well as providing the soundtrack to the film Continental Circus and music for the album Obsolete by French poet Dashiel Hedayat.
Camembert Electrique contained the first signs of the band's mythology of the peaceful Planet Gong populated by Radio Gnomes, Pothead Pixies, and Octave Doctors. These characters along with Zero the Hero are the focus of Gong's next three albums, the Radio Gnome Trilogy, consisting of Flying Teapot (1973), Angel's Egg (1974), and You (1975). On these albums, protagonist Zero the Hero is a space traveler from Earth who gets lost and finds the Planet Gong, is taught the ways of that world by the gnomes, pixies, and Octave Doctors and is sent back to Earth to spread the word about this mystical planet. The band themselves adopted nicknames — Allen was Bert Camembert or the Dingo Virgin, Smyth was Shakti Yoni, Malherbe was Bloomdido Bad de Grasse, Tritsch was the Submarine Captain and Pyle the Heap. Over the course of the trilogy, Tritsch and Pyle left and were replaced by Mike Howlett (bass) and Pierre Moerlen (drums). New members Steve Hillage (guitar) and Tim Blake (synthesizers) joined.
After You, Allen, Hillage, and Smyth left the group due to creative differences as well as fatigue. Guitarist Allen Holdsworth joined and the band drifted into virtuosic if unimaginative jazz fusion. Hillage and Allen each released several solo albums and Smyth formed Mothergong. Nevertheless the trilogy lineup has reunited for a few one-off concerts including a 1977 French concert documented on the excellent Gong Est Mort, Vive Gong album. Allen also reunited with Malherbe and Pyle as well as other musicians he had collaborated with over the years for 1992's Shapeshifter album. Hillage also worked as the ambient-techno alias System 7. A number of Gong-related bands have existed over the years, including Mothergong, Gongzilla, Pierre Moerlin's Gong, NY Gong, Planet Gong, and Gongmaison. During the new millennium Gong material continued to be released, including Live 2 Infinitea issued in fall 2000, as well as numerous reissues. I Am Your Egg appeared in 2006 from United States of Distribution.

9 Albums by Bireli Lagrene

2007-08-27T11:55:00.000-07:00

Bireli Lagrene Biography by Scott Yanow
When Bireli Lagrene first emerged in 1980 as a 13-year-old who sounded exactly like Django Reinhardt, he was considered a marvel.
Born (like Django Reinhardt) to a gypsy family, he had been playing guitar since he was four. After a few years and several
recordings, Lagrene purposely got away from the Reinhardt influence, playing high-powered rock-oriented fusion and recording with
Jaco Pastorius in 1986. He sounded more original but much less interesting during this period. The guitarist has since returned
to a quieter form of jazz, playing hard bop versions of standards with hints of his earlier interests in Reinhardt and fusion.
Bireli Lagrene has recorded for Antilles, Jazzpoint, Blue Note, and Dreyfus.

1986 Bireli Lagrene with Jaco Pastorius "Stuttgart Aria"
1990 Acoustic Moments
1992 Standards
1995 My Favorite Django
1999 Reisa
2000 Duet
2000 Front Page
2001 Gipsy Project
2002 Gipsy Project & Friends

Modern Irish Singers/Songwriters

2007-08-27T04:41:00.000-07:00

Enya

Watermark 1988

Shepherd_Moons 1991

The_Celts 1992

The Memory Of Trees 1995

A Day Without Rain 2000

Singles_and_Rarities

Maire Brennan

Misty Eyed Adventures 1995

Whisper To The Wind Water 1999

Shane MacGowan
Snake 1994
The Crock Of Gold 1997
Andy White
Compilation 1998
Rare On 1 2001
Rare On 2 2001

4 Albums by Amon Düül (Amon Duul)

2007-08-27T04:25:00.000-07:00

1969 Phallus Dei

1970 Yeti

1971 Tanz der Lemminge

1974 Live in London

Amon Düül Biography by John Bush

One of the first active Krautrock units, Amon Düül grew out of a multimedia artist commune in Munich that mixed radical political criticism with a unique vision of free-form improvisation tied to American psychedelic rock, especially compared to the avant-garde inclinations of other space rock units like Tangerine Dream and Cluster. Such open-ended and non-musical origins made the later activity of the group quite confusing, as a quartet of (slightly) more musically inclined members branched out in 1969 as Amon Düül II. Meanwhile, the original Amon Düül continued releasing albums, most of which had actually been recorded during a mammoth jam session by the entire conglomeration in 1969. Though Amon Düül ceased recording material by 1972, frequent reissues during the decade — and the resumption of the Amon Düül name by several Amon Düül II alumni in the 1980s — resulted in still more confusion. Listeners unfamiliar with the lineup of every Amon Düül-related release can content themselves with the fact that the main line of the group began with Amon Düül in the late '60s and moved to Amon Düül II for the 1970s recordings.
When originally founded in 1968 however, the group was more of an alternative-living commune project than actual recording artists. Wishing to bring their vision of hippie living to a worldwide audience, the collective named themselves Amon Düül (Amon being an Egyptian sun god, Düül a character from Turkish fiction) and recorded hours of material during what is reportedly one mammoth recording session from early 1969. Even before the release of the self-titled Amon Düül debut that year, several members — led by vocalist Renate Knaup-Kroaetenschwanz (aka Renate Knaup), guitarist Chris Karrer, bassist John (Johannes) Weinzierl, drummer Peter Leopold and organist Falk U. Rogner — had broken away from the original group to form Amon Düül II. That group released its own debut album Phallus Dei in 1969. While three additional albums credited to Amon Düül appeared in 1970 and 1971 (Collapsing/Singvögel Rückwärts & Co., Paradieswärts Düül and Disaster), they were actually comprised of additional recordings from 1969 sessions.
By 1971, it was clear that Amon Düül II was the major unit of the axis. Still, lineups were barely stable enough to credit the same group with all of the work released under the Amon Düül II banner. Members came and went during the early '70s — the only constants were Karrer and Weinzierl — and Amon Düül II gradually progressed away from the acid-improv style of their first recordings to embrace a more pop-oriented approach to progressive rock on 1973's Vive la Trance and the following year's Hijack, which saw many old members returning to the fold. Two new additions, Stefan Zauner and Klaus Ebert, added a keyboard-dominated quasi-disco sound to 1976's Pyragony, and the duo's sound soon dominated the crumbling Amon Düül II lineup. Both Knaup and Weinzierl left the group by 1978 (to play with, respectively, Popol Vuh and Embryo), and Amon Düül II finally halted one year after.
Just two years later, however, Amon Düül II reunited with most of the original lineup to record another album, Vortex. That same year, Weinzierl moved to Wales to begin a British version of the band with old bandmate Dave Anderson. What should have been billed "Amon Düül III" was, however, simply christened Amon Düül. The release of four albums during the 1980s (including Hawk Meets Penguin, Meeting With Menmachines and Die Losung) confused even adept listeners, while Amon Düül II appeared to be finished.

POGUES Discography RE-UP

2007-08-27T04:14:00.000-07:00

1984 Red Roses for Me

1985 Rum Sodomy & the Lash

1987 Yeah, Yeah, Yeah!

1988 If I Should Fall From Grace With God

1989 Peace and Love

1990 Hell's Ditch

1991 The Best of...

1993 Waiting for Herb

1996 Pogue Mahone

Grab it as fast as You can - these link won't live here for a long period!
Album covers still availible in my previous Pogues post.

The Beatles meets Ramones & Metallica

2007-08-26T06:52:00.000-07:00

The Punkles - Pistol
Beatallica - Sgt Hetfields Motorbreath Pub Band

Clannad Early albums

2007-07-23T00:49:00.000-07:00

Clannad I
Clannad II
Dulaman

Clannad Biography by Stephen Thomas Erlewine

Clannad bridged the gap between traditional Celtic music and pop. Usually, their results were an entrancing, enchanting form of pop that managed to fuse the disparate elements together rather seamlessly. Such fusions have earned the band an international cult of fans.
Taking their name from the Gaelic word for "family," Clannad formed in 1970 when the Brennan family — Maire (vocals, harp), Ciaran (vocals, guitar, bass, keyboards), Pol (guitar, percussion, flute, vocals) — began playing at their father Leo's tavern with two of their uncles, Padraig Duggan (guitar, vocals, mandolin) and Noel Duggan (guitar, vocals). Soon afterward, the group began playing folk festivals in Ireland. They released their self-titled first album in 1973, yet the band didn't earn any widespread success until they toured Germany in 1975. Maire's sister, Enya, joined the group in 1979, yet left in 1982, just as the group was beginning to come into some pop success in the U.K. Clannad recorded the theme song for the television program Harry's Game; the single hit number five on the charts and won the band an Ivor Novello Award. The band recorded the soundtrack to the television production Robin of Sherwood in 1984; it won a British Academy Award for best soundtrack the next year. Clannad's success continued in 1986, when U2's Bono was featured on the Top 20 hit "In a Lifetime." The band continued to release albums into the 1990s, building their pop following without losing their folk audience. Landmarks, was issued in early 1998.

Messer Fur Frau Muller (aka-Messer Chups) Sale at ebay!!!

2007-07-18T10:19:00.001-07:00

Messer Fur Frau Muller - Second Hand Dreams CD 2000
Messer Fur Frau Muller - Senors Crakovjak - 1992
Messer Fur Frau Muller - Little Joys - 1992
Messer Fur Frau Muller - Happy End Dead - 1992

Messer Fur Frau Muller (aka-Messer Chups) Sale at ebay!!!

PsychoBilly GrandFather John Zacherley :)

2007-07-14T05:00:00.000-07:00

Part 1
Part 2

John Zacherley - Twist Collection

1 happy halloween

2 let's twist again

3 monster monkey

4 dinner with drac

5 come with me to transylvania

6 monster mash

7 pistol stomp

8 weird watusi

9 dummy doll

10 i was a teenage caveman

11 monsters have problems, too

12 limb from limbo rock

13 frank and drac are back

14 lunch with monster goose

15 hello, dolly

16 a ticket, a casket

17 i'm the ghoul from wolverton mountain

18 ring a ding aurangotang

19 popeye

20 a-b-c

21 eighty two tombstones

22 surfboard

23 dear dear valentine

24 gravy

25 baying at the moon

26 the bat

27 scarey tales from mother goose

28 a sure sign of spring

29 coolest little monster

30 clementine

31 the spider & the fly

32 igor

33 transylvania pta

Messer Fur Frau Muller "Danger Retrobolik" 2006

2007-07-06T09:12:00.000-07:00

Messer Fur Frau Muller - 2006 - Danger Retrobolik

Messer Fur Frau Muller "Little Joys" 1992

2007-07-06T08:56:00.000-07:00

Messer Fur Frau Muller - 1992 - Little Joys

2 early records by Messer Fur Frau Muller

2007-07-03T23:18:00.000-07:00

Messer Fur Frau Muller - 1992 - Senors Crakovjak
Messer Fur Frau Muller - 1992 - Happy End Dead

Messer Fur Frau Muller - 2001 - Second Hand Dreams

2007-07-02T12:56:00.000-07:00

Messer Fur Frau Muller - 2001 - Second Hand Dreams

LET's Skype together:)

2007-06-25T04:17:00.000-07:00

Useful tool to talk with friends for free (do not forget to turn on microphone and speakers for Your computer:)

skype

my skype name is humppazoid

MAGMA "Mekanik Destruktiw Kommandoh"

2007-06-25T04:06:00.001-07:00

Mekanik Destruktiw Kommandoh

Review by Franзois Couture
There is definitely quite a large step from Magma's second LP, 1,001 Degrees Centigrade, to this one, their third. At the same time, MDK represents a transitional period: drummer/composer Christian Vander has definitely abandoned the jazzier leanings of the previous opuses and has now dived head first into martial hymns and a new form of progressive devotional music — extraterrestrial gospel. But he has also chosen to retain the brass section that gave Kobaпa and 1,001 Degrees Centigrade their signature sound. Therefore, the music has yet to become the relentless rhythmic kaleidoscope that the future would promise. MDK was introduced in the LP's original liner notes (an illuminated delirium by Vander, who rechristens himself Zebлhn Straпn dл Geustaah — his text, the essence of which is a revelation transmitted to him by the Prophet Nebлhr Gudahtt, is the key text in Magma's mythology) as the third movement of Theusz Hamttaahk, but it was the first one recorded. The previous two movements are "Theusz Hamttaahk" itself, often performed live but not recorded at the time, and Wьrdah Пtah, which would become the group's next album. All three album-length pieces share elements (some lyrics, rhythmic cells, and chord sequences), but they are individual stand-alone pieces. MDK showcased for the first time the incredible range of singer Klaus Blasquiz and introduced the ground-moving work of bassist Jannick Top, with and for whom Vander will develop an increasingly rhythm-heavy style, already present here. Between the meticulous developments of "Hortz Fur Dлhn Stekлhn West," the possessed free-form screams in "Nebлhr Gudahtt," and the hymnal chorus of "Mekanпk Kommandцh," MDK is one giant creative blow to the guts, and unsuspecting listeners will be left powerless at the end of its onslaught of mutated funk, pummeling gospel rock, and incantatory vocals in a barbaric invented language. It remains one of Magma's crowning achievements (together with Kohntarkosz) and the best point of entry into Christian Vander's unparalleled musical vision. And if the literary concept bothers you, just ignore it: the music has more than enough power to do without it.

Tracks
1 Mekanik Destruktiw Kommandoh Vander 38:47

MAGMA "1,001 Degrees Centigrade"

2007-06-25T03:59:00.000-07:00

1,001 Degrees Centigrade

Review by Wilson Neate
For 1,001 Degrees Centigrade, Magma underwent several personnel changes: guitarist Claude Engel departed without being replaced, and Alain Charlery and Richard Raux made way for Louis Toesca (trumpet) and Jeff Seffer (sax, bass clarinet). This was the second installment in Magma's Kobaпan saga. With lyrics again performed in the band's invented language, the album chronicles the Kobaпan people's return to Earth to save the planet. Despite that conceptual continuity with the group's self-titled debut, this was a somewhat transitional work in musical terms. It shares the first album's jazz direction but also anticipates Magma's subsequent journey into a genre of its own making, one that owed as much to Carl Orff as it did to rock music. 1,001 Degrees Centigrade's divergent sonic identities are encapsulated in the track distribution on the original vinyl release. Penned by Teddy Lasry (woodwinds) and Franзois Cahen (keyboards) respectively, side two's "'Iss' Lanseп Doпa" and "Ki Пahl Ц Lпahk" are fairly standard exercises in Soft Machine-style jazz-rock. Apart from some complex instrumental sections and some idiosyncratic Kobaпan vocal stylings, there's nothing especially memorable, and certainly nothing innovative, about these numbers. The record's original side one, given over to the 22-minute Christian Vander composition "Rпah Sahпltaahk," is another story entirely. Again displaying a jazz orientation with its multiple phases, its abruptly changing time signatures, tempos and intensities, as well as its shifting instrumental emphases (horns, woodwind, electric piano), this epic track also breaks new ground for Magma. Although it lacks the fluidity and the truly grand symphonic gravitas of the band's subsequent magnum opus, Mekanпk Destruktпw Kommandцh, it more than hints at that album's strident, martial rhythms and its Carmina Burana-esque choral dimensions. Ultimately, 1,001 Degrees Centigrade is by no means a classic Magma record, but "Rпah Sahпltaahk" stands out as an excellent document of a band approaching its masterpiece.

Tracks
1 Rпah Sahпltaahk Vander 21:51
2 "Iss" Lanseп Doпa Lasry 11:46
3 Ki Пahl Ц Lпahk Cahen 8:20

Magma Discography by Request

2007-06-20T10:42:00.000-07:00

Part 1

Part 2

Biography by Jason Ankeny

Led by classically-trained drummer Christian Vander, the Paris-based Magma was, in their way, perhaps the ultimate progressive-rock group; while other artists achieved greater commercial success and critical acclaim, Magma typified the many ambitions and excesses of the genre which won it as many detractors as fans, even going so far as to invent their own lyrical and musical language in order to bring their unique vision to life. The son of a jazz pianist, Vander initially followed in his father's footsteps, modeling his technique on the work of John Coltrane alum Elvin Jones and starting his career with a number of jazz and R&B outfits. While in Paris in 1969, however, he was struck by a vision of earth's spiritual and ecological future which so disturbed him that he decided to explore his fears by musical means, assembling Magma with the aid of wife and vocalist Stella, singer Klaus Blasquiz, and fusion bassists Francis Moze and Jannick Top.
As outlined on the group's eponymous 1970 double-album debut, Vander's tale — projected to be told over the course of ten LPs — pitted earth against a rival planet named Kobaia. Over the course of 1971's 1001 Centigrade and 1973's Mekanпk Destructпw Kommandoh (recorded with a choir), the story — much of it told in native Kobaian — unfolded to depict an earth so uninhabitable that its citizens must flee to the nearby planet, where years of conflict culminated in the achievement of cosmic harmony and a reconciliation with the deity Ptдh. Chart success was not forthcoming, and after a few early tours of the U.S. and Britain Magma spent the middle years of the decade almost exclusively in France, where they launched records including 1974's Kohntarkosz and the next year's Live. After the commercial failure of 1976's Udu Wadu and 1977's Edits, Magma essentially disbanded, although the group lived on in various forms, as alumni founded a number of loosely-affiliated splinter groups to carry on Vander's work in subsequent years, including Art Zoyd, Univers Zero, Ensemble Nimbus, Happy Family and Ruins. In 1983, Vander himself resurfaced with the acoustic project Offering, but later returned to more grandiose designs with Les Voix de Magma, an attempt to resurrect his early material for a new generation of listeners.

Tracks:
1 Kobaia Vander 10:09
2 Aina Vander 6:15
3 Malaria Vander 4:20
4 Sohia Lasry 7:41
5 Sckxyss Cahen 2:47
6 Aurae Vander 10:52
7 Thaud Zaia Engel 7:00
8 Nau Ektila Thibault 12:55
9 Stoah Vander 8:08
10 Muh Vander 11:17

p/w: humppazoid

If You want more albums by Magma or want to share some - e-mail me:
humppazoid@bk.ru

John Coltrane "First Meditations" Recording Date Sep 2, 1965

2007-06-05T09:02:00.000-07:00

1965 - First Meditations

Review by Scott Yanow

Not released initially until 1977, the music on this 1992 CD was the last recording made by the classic John Coltrane Quartet; other slightly later records found the group augmented by additional musicians. Four of the five movements on this release (which are augmented by a lengthier second version of "Joy") would become part of the better-known Meditations album (along with another movement) 2Ѕ-months later when tenor saxophonist Pharoah Sanders and drummer Rashied Ali temporarily made the group a sextet. Coltrane (sticking here exclusively to tenor) plays passionately, alternating ferocious explorations with more lyrical sections.

Tracks
1 Love Coltrane 8:04
2 Compassion Coltrane 9:30
3 Joy Coltrane 8:49
4 Consequences Coltrane 7:21
5 Serenity Coltrane 6:10
6 Joy [Alternate Version] Coltrane 12:14

John Coltrane Biography by William Ruhlmann

Despite a relatively brief career (he first came to notice as a sideman at age 29 in 1955, formally launched a solo career at 33 in 1960, and was dead at 40 in 1967), saxophonist John Coltrane was among the most important, and most controversial, figures in jazz. It seems amazing that his period of greatest activity was so short, not only because he recorded prolifically, but also because, taking advantage of his fame, the record companies that recorded him as a sideman in the 1950s frequently reissued those recordings under his name and there has been a wealth of posthumously released material as well. Since Coltrane was a protean player who changed his style radically over the course of his career, this has made for much confusion in his discography and in appreciations of his playing. There remains a critical divide between the adherents of his earlier, more conventional (if still highly imaginative) work and his later, more experimental work. No one, however, questions Coltrane's almost religious commitment to jazz or doubts his significance in the history of the music.
Coltrane was the son of John R. Coltrane, a tailor and amateur musician, and Alice (Blair) Coltrane. Two months after his birth, his maternal grandfather, the Reverend William Blair, was promoted to presiding elder in the A.M.E. Zion Church and moved his family, including his infant grandson, to High Point, NC, where Coltrane grew up. Shortly after he graduated from grammar school in 1939, his father, his grandparents, and his uncle died, leaving him to be raised in a family consisting of his mother, his aunt, and his cousin. His mother worked as a domestic to support the family. The same year, he joined a community band in which he played clarinet and E flat alto horn; he took up the alto saxophone in his high school band. During World War II, his mother, aunt, and cousin moved north to New Jersey to seek work, leaving him with family friends; in 1943, when he graduated from high school, he too headed north, settling in Philadelphia. Eventually, the family was reunited there.
While taking jobs outside music, Coltrane briefly attended the Ornstein School of Music and studied at Granoff Studios. He also began playing in local clubs. In 1945, he was drafted into the navy and stationed in Hawaii. He never saw combat, but he continued to play music and, in fact, made his first recording with a quartet of other sailors on July 13, 1946. A performance of Tadd Dameron's "Hot House," it was released in 1993 on the Rhino Records anthology The Last Giant. Coltrane was discharged in the summer of 1946 and returned to Philadelphia. That fall, he began playing in the Joe Webb Band. In early 1947, he switched to the King Kolax Band. During the year, he switched from alto to tenor saxophone. One account claims that this was as the result of encountering alto saxophonist Charlie Parker and feeling the better-known musician had exhausted the possibilities on the instrument; another says that the switch occurred simply because Coltrane next joined a band led by Eddie "Cleanhead" Vinson, who was an alto player, forcing Coltrane to play tenor. He moved on to Jimmy Heath's band in mid-1948, staying with the band, which evolved into the Howard McGhee All Stars until early 1949, when he returned to Philadelphia. That fall, he joined a big band led by Dizzy Gillespie, remaining until the spring of 1951, by which time the band had been trimmed to a septet. On March 1, 1951, he took his first solo on record during a performance of "We Love to Boogie" with Gillespie.
At some point during this period, Coltrane became a heroin addict, which made him more difficult to employ. He played with various bands, mostly around Philadelphia, during the early '50s, his next important job coming in the spring of 1954, when Johnny Hodges, temporarily out of the Duke Ellington band, hired him. But he was fired because of his addiction in September 1954. He returned to Philadelphia, where he was playing, when he was hired by Miles Davis a year later. His association with Davis was the big break that finally established him as an important jazz musician. Davis, a former drug addict himself, had kicked his habit and gained recognition at the Newport Jazz Festival in July 1955, resulting in a contract with Columbia Records and the opportunity to organize a permanent band, which, in addition to him and Coltrane, consisted of pianist Red Garland, bassist Paul Chambers, and drummer "Philly" Joe Jones. This unit immediately began to record extensively, not only because of the Columbia contract, but also because Davis had signed with the major label before fulfilling a deal with jazz independent Prestige Records that still had five albums to run. The trumpeter's Columbia debut, 'Round About Midnight, which he immediately commenced recording, did not appear until March 1957. The first fruits of his association with Coltrane came in April 1956 with the release of The New Miles Davis Quintet (aka Miles), recorded for Prestige on November 16, 1955. During 1956, in addition to his recordings for Columbia, Davis held two marathon sessions for Prestige to fulfill his obligation to the label, which released the material over a period of time under the titles Cookin' (1957), Relaxin' (1957), Workin' (1958), and Steamin' (1961).
Coltrane's association with Davis inaugurated a period when he began to frequently record as a sideman. Davis may have been trying to end his association Prestige, but Coltrane began appearing on many of the label's sessions. After he became better known in the 1960s, Prestige and other labels began to repackage this work under his name, as if he had been the leader, a process that has continued to the present day. (Prestige was acquired by Fantasy Records in 1972, and many of the recordings in which Coltrane participated have been reissued on Fantasy's Original Jazz Classics [OJC] imprint.)
Coltrane tried and failed to kick heroin in the summer of 1956, and in October, Davis fired him, though the trumpeter had relented and taken him back by the end of November. Early in 1957, Coltrane formally signed with Prestige as a solo artist, though he remained in the Davis band and also continued to record as a sideman for other labels. In April, Davis fired him again. This may have given him the impetus finally to kick his drug habit, and freed of the necessity of playing gigs with Davis, he began to record even more frequently. On May 31, 1957, he finally made his recording debut as a leader, putting together a pickup band consisting of trumpeter Johnny Splawn, baritone saxophonist Sahib Shihab, pianists Mal Waldron and Red Garland (on different tracks), bassist Paul Chambers, and drummer Al "Tootie" Heath. They cut an album Prestige titled simply Coltrane upon release in September 1957. (It has since been reissued under the title First Trane.)
In June 1957, Coltrane joined the Thelonious Monk Quartet, consisting of Monk on piano, Wilbur Ware on bass, and Shadow Wilson on drums. During this period, he developed a technique of playing several notes at once, and his solos began to go on longer. In August, he recorded material belatedly released on the Prestige albums Lush Life (1960) and The Last Trane (1965), as well as the material for John Coltrane With the Red Garland Trio, released later in the year. (It was later reissued under the title Traneing In.) But Coltrane's second album to be recorded and released contemporaneously under his name alone was cut in September for Blue Note Records. This was Blue Train, featuring trumpeter Lee Morgan, trombonist Curtis Fuller, pianist Kenny Drew, and the Miles Davis rhythm section of Chambers and "Philly" Joe Jones; it was released in December 1957. That month, Coltrane rejoined Davis, playing in what was now a sextet that also featured Cannonball Adderley. In January 1958, he led a recording session for Prestige that produced tracks later released on Lush Life, The Last Trane, and The Believer (1964). In February and March, he recorded Davis' album Milestones..., released later in 1958. In between the sessions, he cut his third album to be released under his name alone, Soultrane, issued in September by Prestige. Also in March 1958, he cut tracks as a leader that would be released later on the Prestige collection Settin' the Pace (1961). In May, he again recorded for Prestige as a leader, though the results would not be heard until the release of Black Pearls in 1964.
Coltrane appeared as part of the Miles Davis group at the Newport Jazz Festival in July 1958. The band's set was recorded and released in 1964 on an LP also featuring a performance by Thelonious Monk as Miles & Monk at Newport. In 1988, Columbia reissued the material on an album called Miles & Coltrane. The performance inspired a review in Down Beat, the leading jazz magazine, that was an early indication of the differing opinions on Coltrane that would be expressed throughout the rest of his career and long after his death. The review referred to his "angry tenor," which, it said, hampered the solidarity of the Davis band. The review led directly to an article published in the magazine on October 16, 1958, in which critic Ira Gitler defended the saxophonist and coined the much-repeated phrase "sheets of sound" to describe his playing.
Coltrane's next Prestige session as a leader occurred later in July 1958 and resulted in tracks later released on the albums Standard Coltrane (1962), Stardust (1963), and Bahia (1965). All of these tracks were later compiled on a reissue called The Stardust Session. He did a final session for Prestige in December 1958, recording tracks later released on The Believer, Stardust, and Bahia. This completed his commitment to the label, and he signed to Atlantic Records, doing his first recording for his new employers on January 15, 1959, with a session on which he was co-billed with vibes player Milt Jackson, though it did not appear until 1961 with the LP Bags and Trane.
In March and April 1959, Coltrane participated with the Davis group on the album Kind of Blue. Released on August 17, 1959, this landmark album known for its "modal" playing (improvisations based on scales or "modes," rather than chords) became one of the best-selling and most-acclaimed recordings in the history of jazz. In between the sessions for the album, Coltrane began recording what would be his Atlantic Records debut, Giant Steps, released in early 1960. The album, consisting entirely of Coltrane compositions, in a sense marked his real debut as a leading jazz performer, even though the 33-year-old musician had released three previous solo albums and made numerous other recordings. His next Atlantic album, Coltrane Jazz, was mostly recorded in November and December 1959 and released in February 1961. In April 1960, he finally left the Davis band and formally launched his solo career, beginning an engagement at the Jazz Gallery in New York, accompanied by pianist Steve Kuhn (soon replaced by McCoy Tyner), bassist Steve Davis, and drummer Pete La Roca (later replaced by Billy Higgins and then Elvin Jones). During this period, he increasingly played soprano saxophone as well as tenor.
In October 1960, Coltrane recorded a series of sessions for Atlantic that would produce material for several albums, including a final track used on Coltrane Jazz and tunes used on My Favorite Things (March 1961), Coltrane Plays the Blues (July 1962), and Coltrane's Sound (June 1964). His soprano version of "My Favorite Things," from the Richard Rodgers/Oscar Hammerstein II musical The Sound of Music, would become a signature song for him. During the winter of 1960-1961, bassist Reggie Workman replaced Steve Davis in his band and saxophone and flute player Eric Dolphy, gradually became a member of the group.
In the wake of the commercial success of "My Favorite Things," Coltrane's star rose, and he was signed away from Atlantic as the flagship artist of the newly formed Impulse! Records label, an imprint of ABC-Paramount, though in May he cut a final album for Atlantic, Olй (February 1962). The following month, he completed his Impulse! debut, Africa/Brass. By this time, his playing was frequently in a style alternately dubbed "avant-garde," "free," or "The New Thing." Like Ornette Coleman, he played seemingly formless, extended solos that some listeners found tremendously impressive, and others decried as noise. In November 1961, John Tynan, writing in Down Beat, referred to Coltrane's playing as "anti-jazz." That month, however, Coltrane recorded one of his most celebrated albums, Live at the Village Vanguard, an LP paced by the 16-minute improvisation "Chasin' the Trane."
Between April and June 1962, Coltrane cut his next Impulse! studio album, another release called simply Coltrane when it appeared later in the year. Working with producer Bob Thiele, he began to do extensive studio sessions, far more than Impulse! could profitably release at the time, especially with Prestige and Atlantic still putting out their own archival albums. But the material would serve the label well after the saxophonist's untimely death. Thiele acknowledged that Coltrane's next three Impulse! albums to be released, Ballads, Duke Ellington and John Coltrane, and John Coltrane with Johnny Hartman (all 1963), were recorded at his behest to quiet the critics of Coltrane's more extreme playing. Impressions (1963), drawn from live and studio recordings made in 1962 and 1963, was a more representative effort, as was 1964's Live at Birdland, also a combination of live and studio tracks, despite its title. But Crescent, also released in 1964, seemed to find a middle ground between traditional and free playing, and was welcomed by critics. This trend was continued with 1965's A Love Supreme, one of Coltrane's best-loved albums, which earned him two Grammy nominations, for jazz composition and performance, and became his biggest-selling record. Also during the year, Impulse! released the standards collection The John Coltrane Quartet Plays... and another album of "free" playing, Ascension, as well as New Thing at Newport, a live album consisting of one side by Coltrane and the other by Archie Shepp.
1966 saw the release of the albums Kulu Se Mama and Meditations, Coltrane's last recordings to appear during his lifetime, though he had finished and approved release for his next album, Expression, the Friday before his death in July 1967. He died suddenly of liver cancer, entering the hospital on a Sunday and expiring in the early morning hours of the next day. He had left behind a considerable body of unreleased work that came out in subsequent years, including "Live" at the Village Vanguard Again! (1967), Om (1967), Cosmic Music (1968), Selflessness (1969), Transition (1969), Sun Ship (1971), Africa/Brass, Vol. 2 (1974), Interstellar Space (1974), and First Meditations (For Quartet) (1977), all on Impulse! Compilations and releases of archival live recordings brought him a series of Grammy nominations, including Best Jazz Performance for the Atlantic album The Coltrane Legacy in 1970; Best Jazz Performance, Group, and Best Jazz Performance, Soloist, for "Giant Steps" from the Atlantic album Alternate Takes in 1974; and Best Jazz Performance, Group, and Best Jazz Performance, Soloist, for Afro Blue Impressions in 1977. He won the 1981 Grammy for Best Jazz Performance, Soloist, for Bye Bye Blackbird, an album of recordings made live in Europe in 1962, and he was given the Grammy Lifetime Achievement Award in 1992, 25 years after his death.
John Coltrane is sometimes described as one of jazz's most influential musicians, but one is hard put to find followers who actually play in his style. Rather, he is influential by example, inspiring musicians to experiment, take chances, and devote themselves to their craft. The controversy about his work has never died down, but partially as a result, his name lives on and his recordings continue to remain available and to be reissued frequently.

Various Artists tribute to Vic Chesnutt "1996 - Sweet Relief II - Gravity Of The Situation" 1996

2007-05-18T10:11:00.000-07:00

tribute to Vic Chesnutt

Review by Denise Sullivan

Madonna, R.E.M., Live, and Hootie & the Blowfish are among the artists who tackle Athens, GA, singer/songwriter Chesnutt's music on this volume for Sweet Relief, the foundation Victoria Williams established to assist ailing musicians such as herself and Chesnutt, who is paraplegic. Although the hard grunge "Sponge," contributed by hometown friends R.E.M., makes perfect sense, other contributions meet with questionable results. "Guilty by Association" by Madonna and her brother-in-law Joe Henry turns a dark ballad into a semi-orchestrated piece.
Nanci Griffith and Darius Rucker's "Gravity of the Situation" is bland. But fans of quirky singer Mary Margaret O'Hara will be enthralled by her spare "Florida," and the Chesnutt/Williams collaboration "God Is Good" closes the set on a hope-filled note; it's the best of the 14 tracks.

Tracks

1 Kick My Ass (Garbage) 2:31

2 Sponge (REM) 4:06

3 Gravity of the Situation (Nanci Griffith and Hootie & The Blowfish) 4:35

4 When I Ran off & Left Her (Soul Asylum) 3:57

5 Dodge (Dog's Eye View) 4:44

6 Supernatural (Live) 3:28

7 Sad Peter Pan (Smashing Pumpkins and Red Red Meat) 5:08

8 West of Rome (Sparklehorse) 5:44

9 Guilty by Association (Joe Henry and Madonna) 4:26

10 Panic Pure (Kristin) Hersh 2:54

11 Withering (Cracker) 4:14

12 Free of Hope (Indigo Girls) 5:43

13 Florida (Mary Margaret O'Hara) 2:51

14 God Is Good (Vic Chesnutt & Victoria Williams) 5:19

5 Tom Waits Boots

2007-05-18T05:03:00.000-07:00

The Dime Store Novels Vol.1 Part 1 (1974)

The Dime Store Novels Vol.1 Part 2 (1974)

The Heart of the Shaboo Night (1976)

Invitation to the Blues Part 1 (1977)
Invitation to the Blues Part 2 (1977)
Romeo is Bleeding Part1 (1979)
Romeo is Bleeding Part2 (1979)

Shadow of Intolerance Part1 (1982)
Shadow of Intolerance Part2 (1982)

David Byrne "Grown Backwards" 2004

2007-05-18T04:29:00.000-07:00

Grown Backwards (2004)

Review by James Christopher Monger

David Byrne, like fellow New York transplant David Bowie, has reached a well-deserved apex in his career. After eight post-Talking Heads solo outings, the eccentric composer, songwriter, artist, and world music entrepreneur has transcended the inconsistencies of his previous efforts and created a genuinely moving and wickedly fun record. Like Bowie's Heathen and Reality, Grown Backwards is a mature work by an icon who has come to terms with his past, present, and future, and there's a joy in the simple act of creativity here that gives even the heaviest of subject matter an effervescent charm. Opening with "Glass, Concrete, and Stone," Byrne finds the perfect middle ground between his orchestral epic The Forest and the South American-inspired Rei Momo — in fact, it's the latter that informs many of Backwards' arrangements. Texas-based chamber group the Tosca Strings feature on nearly every track, giving the more experimental cuts a much needed fluidity, especially on the arias Un Di Felice, Eterea, from Verdi's La Traviata, and Au Fond du Temple Saint, a duet from Bizet's The Pearl Fishers. It's no great surprise that the shape-shifting Byrne has chosen opera as his latest foray, but what is surprising is that it works. The Bizet duet in particular, featuring Rufus Wainwright, is lent an emotional resonance by the juxtaposition of the pair's wildly different vocal styles — when they finally meet in harmony it's like two Central Park bums behind Tavern on the Green, clinking their 40-ounce bottles and weeping into a dumpster beneath a sea of summer stars. The wonderfully acerbic "Empire," with its refrain of "The weak among us perish," is Byrne at his political best, emphasizing the "play" in wordplay like a sinister Paul Simon. While by no means a protest record, it bristles with liberal wit and social commentary, especially on the Broadway-style "The Other Side of This Life," a hilarious and scathing jab at the entertainment empires and their minions. "Tiny Apocalypse" finds Byrne at his surreal best, nearly rapping the lyrics "A three-tone carpet and a Jackie Chan spear/lookin' at a hairdo and a bellyful of beer/well, I ain't no poet, ain't got no rhyme/but I got me a car and I know how to drive" over an easy Tropicalia groove. As with many of the prolific artist's releases, the record could be trimmed by five or six songs, but fans have grown accustomed to these aberrations — which are still of higher quality that many in the industry — and are willing to either let them go or let them grow. While by no means perfect, Grown Backwards is the colorful, multiethnic sound of a New York City enthralled with itself, and like a select few of the Big Apple's denizens, Byrne is a perfect conduit for its love.

Tracks
1 Glass, Concrete & Stone Byrne 4:13
2 The Man Who Loved Beer Book, Wagner 2:40
3 Au Fond du Temple Saint Bizet 4:49
4 Empire Byrne 4:12
5 Tiny Apocalypse Byrne 4:03
6 She Only Sleeps Byrne 2:57
7 Dialog Box Byrne 3:31
8 The Other Side of This Life Byrne 4:00
9 Why Byrne 2:55
10 Pirates Byrne 3:53
11 Civilization Byrne 3:17
12 Astronaut Byrne 2:55
13 Glad Byrne 1:57
14 Un Di Felice, Eterea Verdi 2:55
15 Lazy [*] Byrne, X Press Two 9:36

Talking Heads Discography

2007-05-18T03:44:00.000-07:00

Talking_Heads 77 (1977)
More Songs About Buildings & Food (1978)
Fear Of Music (1979)
Remain In Light (1980)
Speaking In Tongues (1983)

Stop Making Sense (Live) (1984)

Little Creatures (1985)

True Stories (1986)

Naked (1988)

Once In A Lifetime (Compilation) (1992)

Talking Heads Biography by Stephen Thomas Erlewine

At the start of their career, Talking Heads were all nervous energy, detached emotion, and subdued minimalism. When they released their last album about 12 years later, the band had recorded everything from art-funk to polyrhythmic worldbeat explorations and simple, melodic guitar pop. Between their first album in 1977 and their last in 1988, Talking Heads became one of the most critically acclaimed bands of the '80s, while managing to earn several pop hits. While some of their music can seem too self-consciously experimental, clever, and intellectual for its own good, at their best Talking Heads represent everything good about art-school punks.
And they were literally art-school punks. Guitarist/vocalist David Byrne, drummer Chris Frantz, and bassist Tina Weymouth met at the Rhode Island School of Design in the early '70s; they decided to move to New York in 1974 to concentrate on making music. The next year, the band won a spot opening for the Ramones at the seminal New York punk club CBGB. In 1976, keyboardist Jerry Harrison, a former member of Jonathan Richman's Modern Lovers, was added to the lineup. By 1977, the band had signed to Sire Records and released its first album, Talking Heads: 77. It received a considerable amount of acclaim for its stripped-down rock & roll, particularly Byrne's geeky, overly intellectual lyrics and uncomfortable, jerky vocals.
For their next album, 1978's More Songs About Buildings and Food, the band worked with producer Brian Eno, recording a set of carefully constructed, arty pop songs, distinguished by extensive experimenting with combined acoustic and electronic instruments, as well as touches of surprisingly credible funk. On their next album, the Eno-produced Fear of Music, Talking Heads began to rely heavily on their rhythm section, adding flourishes of African-styled polyrhythms. This approach came to a full fruition with 1980's Remain in Light, which was again produced by Eno. Talking Heads added several sidemen, including a horn section, leaving them free to explore their dense amalgam of African percussion, funk bass and keyboards, pop songs, and electronics.
After a long tour, the band concentrated on solo projects for a couple of years. By the time of 1983's Speaking in Tongues, the band had severed its ties with Eno; the result was an album that still relied on the rhythmic innovations of Remain in Light, except within a more rigid pop-song structure. After its release, Talking Heads embarked on another extensive tour, which would turn out to be their last; it's captured on the Jonathan Demme-directed concert film Stop Making Sense. After releasing the straightforward pop album Little Creatures in 1985, Byrne directed his first movie, True Stories, the following year; the band's next album featured songs from the film. Two years later, Talking Heads released Naked, which marked a return to their worldbeat explorations, although it sometimes suffered from Byrne's lyrical pretensions.
After its release, Talking Heads were put on "hiatus"; Byrne pursued some solo projects, as did Harrison, and Frantz and Weymouth continued with their side project, Tom Tom Club. In 1991, the band issued an announcement that they had broken up. Five years later, the original lineup minus Byrne reunited as the Heads for the album No Talking Just Head. Then in 1999, all four worked together to promote a 15th-anniversary edition of Stop Making Sense.

Robert Fripp & The League of Crafty Guitarists "Intergalactic Boogie Express: Live in Europe" 1991

2007-05-16T12:21:00.000-07:00

Intergalactic Boogie Express: Live in Europe

Review by Ted Mills

A brilliant live recording of Robert Fripp's League of Crafty Guitarists. From King Crimson covers and Fripp-written exercises (the several "Circulation" tracks, that turn the assembled group into a web of interconnected notes) to Bach preludes and a cover of "Wabash Cannonball," the group is incredibly sharp, disciplined, and the total opposite of loose. The title track is all that and more: an unstoppable machine rushing headlong at the listener. Probably one of the best League recordings, this is almost a final statement on the ideas and techniques of Fripp's Guitar Craft workshops (though they continue to this day). You will soon forget these are acoustic guitars: it's pure steel.

Tracks
1 A Connecticut Yankee in the Court of King Arthur Gavin 2:30
2 Rhythm of the Universes Gavin 4:05
3 Larks' Thrak Fripp 2:37
4 Circulation I Fripp, Fripp 1:17
5 Intergalactic Boogie Express Fripp 2:25
6 G Force Gavin 3:03
7 Eye of the Needle Fripp 3:02
8 Corrente Bach 1:36
9 Driving Force Fripp 3:27
10 Groove Penetration Buttram 2:03
11 Flying Home Golden, McSurely 2:06
12 Circulation II Fripp 2:40
13 Fireplace Ball 3:37
14 Fragments of Skylab Russino 3:07
15 Asturias Lams 3:14
16 Prelude Circulation Bach 2:03
17 Cheeseballs Ball 1:07
18 Prelude in C Minor Bach 1:38
19 Wabash Cannonball Traditional 9:18
20 2:12

P.S. Dieses ist ganz spezielles hochladen fьr meinen sehr, sehr, sehr spezielle und lieben Freund Johanna - hope You'll like it!:)

The Birthday Party Discography

2007-05-15T03:23:00.000-07:00

Hee Haw (1981)

Prayers On Fire (1981)

Junk Yard (1982)

Mutiny (The Bad Seed E.P) (1983)

The Peel Sessions

The Birthday Party Biography by Stephen Thomas Erlewine

The Birthday Party were one of the darkest and most challenging post-punk groups to emerge in the early '80s, creating bleak and noisy soundscapes that provided the perfect setting for vocalist Nick Cave's difficult, disturbing stories of religion, violence, and perversity. Under the direction of Cave and guitarist Rowland S. Howard, the band tore through reams of blues and rockabilly licks, spitting out hellacious feedback and noise at an unrelenting pace. As the Birthday Party's career progressed, Cave's vision got darker and the band's songs alternated between dirges to blistering sonic assaults.
Originally, the Australian band was called the Boys Next Door, comprising Cave, Howard, Mick Harvey (guitar, drums, organ, piano), bassist Tracy Pew, and drummer Phill Calvert. After the Door Door album and Hee Haw EP under that name, the band moved to London and switched its name to the deceptively benign Birthday Party. Once they arrived in Britain, their demented, knotty post-punk began to gel. They released their first international album, Prayers on Fire, in 1981, earning critical praise in the U.K. and U.S. While the band was preparing to record the follow-up, Pew was jailed for drunk driving; former Magazine member Barry Adamson, Harry Howard, and Chris Walsh filled in for the absent Pew on 1982's Junkyard. After the release of Junkyard, the Birthday Party fired Calvert and moved to Germany, where they began collaborating with such experimental post-punk acts like Lydia Lunch and Einstürzende Neubauten. Harvey left in the summer of 1983. The group briefly continued with drummer Des Heffner, but it soon disbanded after a final concert in Melbourne, Australia. Cave had the most successful solo career, recording a series of albums in the '80s and '90s that maintained his status as a popular cult figure; Harvey joined Cave's backing band, the Bad Seeds. Howard joined Crime & the City Solution, which also featured his brother Harry and Harvey.

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