Hello,

Brainwave Mind Voyages arose from a thirst for experiential wisdom and a hunger for sharing mind-expanding tools with other like-minded people such as yourself. Shower the seeds of self-empowerment with some modern audio technology, and voila! ....N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Your brain operates much like a resonance chamber or a tuning fork. When you hold two similarly tuned tuning forks together and strike one of the them, the other will also vibrate at the same frequency. The vibrational rate or vibratory frequency determines the tone. Our brain produces waves of currents that flow throughout its neural pathways. The type of brainwave is defined by the frequency at which it is pulsing, and this particular rate of pulsation determines our respective state of mind at any given moment in time.

There are four common types of brainwave patterns, but due to the complexity of our brains there are often several patterns interacting at one time. It is the predominance of one particular brainwave frequency that determines our state of mind. For example, if you are in a beta state, there may be trace levels of alpha and theta but they would minimal compared to the dominating amount of beta present. All of these brainwave states have been scientifically studied and categorized by the subjective states that each range will produce. Below is a simple chart containing the four common types of brainwave frequencies along with their characteristic features and associated mental states. The frequencies are measures in hertz (Hz) which is roughly translated as beats per second or cycles per second.

BETA waves 13 to 30 Hz the fastest waves, most commonly found during our waking state, associated with outward awareness, engaged mind, arousal, actively perceiving and evaluating forms of data through the senses; also present with fear, anger, worry, hunger, and surprise.

ALPHA waves 7 to 13 Hz associated with non-drowsy but relaxed, tranquil state of consciousness, less engagement and arousal, pleasant inward awareness, body/mind integration, present during meditation and states of relaxation

THETA waves 3 to 7 Hz associated with increased recall, creativity, imagery and visualization , free-flowing thought, future planning, inspiration, drowsiness, present during dreaming and REM states

DELTA waves .1 to 3 Hz associated with deep dreamless sleep, deep trance state pituitary release of growth hormone, self-healing, present during deep levels of non-REM sleep.

Your brain is always producing electromagnetic brainwaves that have a measurable frequency and magnitude. The characteristics of your brainwaves at any given moment determines your mood and state of mind. The frequency range and magnitude identify whether you are aroused, alert, asleep or anywhere in between these states.

We are always expanding our knowledge of how our brainwaves can be harnessed to create peak states of consciousness. For example, the best moments of creativity, those Eureka! flashes, occur mostly when theta waves are predominant. The hypnogogic state verging between waking and sleeping is characterized by theta brainwave activity. This explains why we have such great ideas before falling asleep. It is noted in history books that this "border-zone" time period has been utilized by many scientists and other great thinkers who have had flashes of insight while experiencing this holistic state of mind.

Einstein came up with the theory of relativity in this state, and likewise, one of the Watson and Crick pair conceptualized the double helix of DNA in this highly visualistic mind state successfully cracking the illusive architecture of DNA. Time spent in this "border-zone" can be time very well spent. All this information about brainwaves is a preamble to the matter of entraining your brainwaves to specific frequencies.

You can now use the process of brainwave entrainment to tune your brainwaves to any brainwave range. You can experience theta, alpha, delta or even combinations of ranges using multi-layered frequencies that blend several brainwave ranges into one synergistic brainwave pattern like the Awakened Mind Brainwave Pattern. The breakthrough occurs when we use this principle of entrainment to synchronize our brainwaves to specific chosen frequencies. We can do this easily by using binaural beat audio technology and monophonic entrainment tones, as you will soon learn, but first some more background information.

THE TWO HEMISPHERES OF THE BRAIN

Our brains have a left and a right hemisphere. The left hemisphere is linear, logical, practical, and time orientated. The right hemisphere seems to be much more non-linear, abstract, creative, holistic, and non-logical. We tend to use one hemisphere at a time, or better said, we will favor particular hemispheres depending on what we are doing. An accountant probably uses less of his right hemisphere than an artist would during the course of his workday. If you are doing math you would be using more of your left side. If you are painting a picture, you would have more right hemispheric activity.

Obviously, it is not that simplistic because both hemispheres are constantly interacting and both can be in use at the same time. These hemispheres are connected by the corpus callosum. It serves as a conduit or a bridge between both sides. This bridge can literally be exercised and strengthened until it is physically larger and more capable of transmitting data, thoughts and feedback between hemispheres. The famous clairvoyant healer Edgar Cayce was found to have an unusually large corpus callosum, but could it be that everyone else simply has not developed this hemispheric bridge?

By merging both hemispheres and allowing them to work together we can increase our mental fitness and enhance our cognitive functioning in general. It is basically like having a faster computer processor capable of working at faster speeds. Increased integration creates better performance. By using brainwave entrainment technologies, you can increase your hemispheric synchronization. By simply listening to any BMV CD, your brain naturally synchronizes to balance hemispheric activity and adjusts brainwave activity to match the embedded brainwave carrier frequencies. This audio-induced hemispheric coherence produces an optimal state of holistic whole-brain synergy.

For a more in-depth explanation of the powerful audio neuro-technologies, you can click HERE to read the BMV Technology Page.

xxxxx xxxxx xxxxx xxxxx xxxxx

This flac can be used as one long induction program or it could be looped on whatever track you find works best. There are several tracks that were designed to played at night while you are sleeping so the messages can slip into your dreaming awarenesss and hopefully, induce an out-of-body experience.

The selected menu of brainwave entrainment on this particular BRAINWAVE MIND VOYAGES CD is similar to that of the Series I: The Lucid Dreaming Version, but with deeper delta in parts and a slightly increased alpha and increased termittantly timed waking beta entrainment to prevent the slumber of deeper delta levels and to maximize the odds of awakening your awareness.

This journey takes you deep into a viable, non-physical or non-ordinary reality. Soothing seawash, relaxing ripples and hypnotic audioscapes are some of the backdrops for the guided journey into the OBE Astral Realm.
Several different guided vocal approaches, techniques and a few unique, perceptual "reality-benders" provide the ideal environment for inducing an out of body experience.

This psychoacoutic album is a perceptual tool that needs to be experienced to be believed. The entire process takes about 70 minutes, but if you are successful at fully transferring your awareness, you can explore the Non-Physical Realm for as long as you desire. MANY people have had documented OBEs using this CD, and hopefully this it will work for you too!



Brainwave Mind Voyages (Series II) Astral Trance - Out Of Body Experiences Aid (flac  342mb)

01 Brainwave Intro 1:44
02 Out Of Body Experiences Intro 5:29
03 Belief Expansion Aid 5:55
04 Wave Of Relaxation 7:27
05 Awaken The Energy Body 7:13
06 Sense The Energy Body 6:06
07 Stretch The Energy Body 6:24
08 Reposition The Energy Body 9:21
09 Transfer Awareness 12:45
10 Out Of Body Induction All Night Loop 1 3:01
11 Out Of Body Induction All Night Loop 2 3:56

xxxxx xxxxx xxxxx xxxxx xxxxx

Previously

Brainwave Mind Voyages (Series I) (flac  248mb)



xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,


The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.


Today's artist is a Brazilian musician. He has over 55 releases, and plays bossa nova heavily crossed with jazz and funk. He was nominated for an Academy Award for Best Original Song in 2012  Our man is married to Gracinha Leporace, who has performed with him since the early 1970s. Mendes has also collaborated with many artists through the years, including the Black Eyed Peas, with whom he re-recorded in 2006 a version of his breakthrough hit "Mas Que Nada"..... N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

For most of the second half of the '60s, Sergio Mendes was the top-selling Brazilian artist in the United States, charting huge hit singles and LPs that regularly made the Top Five. His records with his group, Brasil '66, regularly straddled the domestic pop and international markets in America, getting played heavily on AM radio stations, both rock and easy listening, and he gave his label, A&M, something to offer light jazz listeners beyond the work of the company's co-founder, Herb Alpert. During this period, he also became an international music star and one of the most popular musicians in South America.

Dance Moderno Born the son of a physician in Niteroi, Brazil, Mendes began studying music at the local conservatory while still a boy, with the intention of becoming a classical pianist. He was living in Rio de Janeiro as the bossa nova craze hit in the mid- to late '50s, and at age 15, he abandoned classical music in favor of bossa nova. Mendes began spending time with other young Brazilian musicians in Rio de Janeiro, absorbing the musical ferment around him in the company of such figures as Antonio Carlos Jobim and João Gilberto. Their company was augmented by the periodic visits of American jazz giants such as Stan Getz, Dizzy Gillespie, Charlie Byrd, Paul Winter, Roy Eldridge, and Herbie Mann. Mendes became the leader of his own group, the Sexteto Bossa Rio, and was heard with them by many visiting musicians.

He made his first recording, Dance Moderno, in 1961 on the Philips Records label. By 1962, Mendes and his band were playing at Birdland in New York in an impromptu performance with Cannonball Adderley (who was officially on the bill). Mendes and Adderley cut an album together for Capitol Records that was released later that year.
Bossa Nova York His early music, represented on albums like Bossa Nova York and Girl from Ipanema, was heavily influenced by Antonio Carlos Jobim, on whose recording Mendes worked. Mendes liked what he had found on his visit to New York, and in 1964 he moved to the United States, initially to play on albums with Jobim and Art Farmer, and formed Brasil '65 the following year. The group recorded for Capitol without attracting too much notice at first. In 1966, however, Mendes and his band -- renamed Brasil '66 -- were signed to A&M Records and something seemed to click between the group and its audience.

Equinox The group, consisting in its first A&M incarnation of Mendes on keyboards, Bob Matthews on bass, João Palma on drums, Jose Soares as percussionist, Lani Hall (aka Mrs. Herb Alpert and A&M's co-founder) on vocals, and Janis Hansen on vocals, was successful upon the release of its first album for the label, with its mix of light jazz, a bossa nova beat, and contemporary soft pop melodies. Their self-titled debut LP rose to number six nationally, propelled by the presence of the single "Mas Que Nada." Their second album, Equinox, yielded a trio of minor hits, "Night and Day,""Constant Rain (Chove Chuva)," and "For Me," but their third, Look Around, rose to number five behind a number three single of the group's cover of the Beatles'"Fool on the Hill" and an accompanying hit with "Scarborough Fair," based on the Simon & Garfunkel version of the folk song. Crystal Illusions, from 1969, featured a version of Otis Redding's "(Sittin' On) The Dock of the Bay" and the hit single "Pretty World." Depending upon one's sensibilities, these covers -- especially "Fool on the Hill" and "Scarborough Fair" -- were either legitimate, internationalized pop versions of the originals, or they were "elevator music."

During this period, Mendes also made several recordings for Atlantic Records separate from his A&M deal, principally aimed at a light jazz audience, and several of them in association with Jobim. Art Farmer, Phil Woods, Hubert Laws, and Claire Fisher were among the jazz figures who appeared on these records, which never remotely attracted the same level of interest or sales as his records with Brasil '66. Mendes successfully walked a fine line between international and domestic audiences for most of the late '60s until the end of the decade. Ye-Me-Le was notably less successful than its predecessors, and its single, "Wichita Lineman," was only a minor hit. Mendes seemed to lose his commercial edge with the turn of the decade, and his next two A&M albums: Stillness, a folk-based collection that contained covers of Joni Mitchell's "Chelsea Morning" and Stephen Stills'"For What It's Worth," and Primal Roots, an album of traditional Brazilian music, failed to make any impression on the charts whatsoever.

The group moved to the much smaller Bell Records label in 1973, and then Mendes jumped to Elektra for his first official solo album, Sergio Mendes. He relaunched his recording career two years later with Sergio Mendes & Brasil '77 to little avail, and then, after a five-year layoff from the public eye, Mendes returned to A&M in 1982. His 1983 comeback album, Sergio Mendes, was his first Top 40 album in nearly a decade and a half, and was accompanied by his biggest chart single ever, "Never Gonna Let You Go," which hit number four. Since then, Mendes has had limited chart success with the single "Alibis" and the LP Confetti. He remained a popular figure internationally, even when his record sales slumped in America, as evidenced by the fact that his entire A&M catalog (and much of his Atlantic work) from the '60s has been reissued on CD in Japan. Indeed, his popularity in the rest of the world, versus America, was even the basis for a comic vignette in one episode of the television series Seinfeld.

During the '90s, Mendes performed with a new group, Brasil '99, and more recently, Brasil 2000, and has been integrating the sounds of Bahian hip-hop into his music. In 1997, A&M's British division released a remastered double-CD set of the best of Mendes' music from his first seven years on the label. Most of Mendes' back catalog was reissued as the 21st century dawned, and in 2006, Concord Records released Timeless, his first album of newly recorded material in eight years. A mere two years later, Encanto appeared, including co-productions from will.i.am of Black Eyed Peas. A third album on Concord, Bom Tempo, was released in 2010. After appearances at numerous festivals and a global tour, Mendes took a short break before beginning to record again. He signed to Sony's revived OKeh imprint and cut a completely new set of songs in Los Angeles, Salvador, and Bahia, with a host of special guests and old friends, including John Legend, will.i.am., and Brazilian artists such as Carlinhos Brown, with whom he cut the first single, "One Nation," issued on One Love, One Rhythm: The 2014 FIFA World Cup Official Album. Mendes' album Magic was released in September.

xxxxx xxxxx xxxxx xxxxx xxxxx

The Beat Of Brazil was released in 1967. Sergio Mendes (piano) is featured with Sebastiao Neto (bass), Edson Maciel (trombone), Raulzinho (valve trombone), Hector Bisignani or Aurino Ferrara (tenor sax) and Edison Machado (drums). This must be the heaviest bossa-samba-jazz album Sergio Mendes ever made. Recorded in Brazil and released in the US on Atlantic it's simply some of the toughest bossa jazz ever recorded with the finest of Rio's musicians in the line-up. Check "Primitivo" and 'Neurotico" - mind-blowing stuff!



Sergio Mendes - The Beat of Brazil   (flac  159mb)

01 Nana 2:22
02 Amor Em Paz (Love In Peace) 2:54
03 Garota De Ipanema (The Girl From Ipanema) 3:18
04 Coisa No.2 2:45
05 Primitivo 4:04
06 Ela É Carioca (She's A Carioca) 2:25
07 Corcovado 4:10
08 Noa Noa 2:21
09 Desafinado 3:18
10 Neurótico 2:23

   (ogg  mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Featuring Mendes's trademark arrangements, the disc soars, as it is an instrumental journey into the sultry music that typified the decade. Dave Grusin arranged, conducted and played organ on these sessions. Sérgio is heard on piano, harpsichord and electric piano. Tom Scott, on loan from ABC, plays flute, soprano sax and piccolo. John Pisano, guest guitarist on Brasil '66's A&M debut album, is here on guitar. Larry Knechtel plays fender bass, Joe Mondragon, bass. Dom Um Romeo's the drummer, Joao Donato and Moacir Santos, percussionists. Highlights are "My Favorite Things, ""I Say a Little Prayer," the Dionne Warwick hit, "Comin' Home Baby," and "Boa Palavra (The Good Word)." Should Mike Myers decide to have his alter-ego "Austin Powers" take another trip back to groovy days of the late 60's, this will be the perfect music with which he can travel.



Sergio Mendes - Favorite Things  (flac  172mb)

01 My Favorite Things 2:52
02 Tempo Feliz (Happy Times) 2:34
03 Ponteio 2:26
04 Veleiro (The Sailboat) 3:21
05 A Banda (Parade) 2:30
06 I Say A Little Prayer 2:08
07 Comin' Home Baby 3:00
08 Boa Palavra (The Good Word) 3:08
09 O Mar É Meu Chão 3:24
10 So What's New 3:01

    (ogg    mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Sergio Mendes took a deep breath, expanded his sound to include strings lavishly arranged by the young Dave Grusin and Dick Hazard, went further into Brazil, and out came a gorgeous record of Brasil '66 at the peak of its form. Here Mendes released himself from any reliance upon Antonio Carlos Jobim and rounded up a wealth of truly great material from Brazilian fellow travelers: Gilberto Gil's jet-propelled "Roda" and Joao Donato's clever "The Frog," Dori Caymmi's stunningly beautiful "Like a Lover," Harold Lobo's carnival-esque "Tristeza," and Mendes himself (the haunting "So Many Stars" and the title track). Mendes was also hip enough to include "With a Little Help From My Friends" from the Beatles' Sgt. Pepper LP. As things evolved, though, the one track that this album would be remembered for is the only other non-Brazilian tune, Burt Bacharach's "The Look of Love," in an inventive, grandiose arrangement with a simplified bossa beat. The tune just laid there on the album until Mendes and company performed it on the Academy Awards telecast in 1968. The performance was a sonic disaster, but no matter; the public response was huge, a single was released, and it become a monster, number four on the pop charts. So much for the reported demise of bossa nova; in Sergio Mendes' assimilating, reshaping hands, allied with Herb Alpert's flawless production, it was still a gold mine.



Sergio Mendes & Brazil 66 - Look Around (flac 177mb)

01 With A Little Help From My Friends 2:33
02 Roda 2:22
03 Like A Lover 3:51
04 The Frog 2:42
05 Tristeza (Goodbye Sadness) 2:52
06 The Look Of Love 2:42
07 Pradizer Adeus (To Say Goodbye) 3:03
08 Batucada (The Beat) 2:19
09 So Many Stars 4:25
10 Look Around 2:59

      (ogg  mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Having hit upon another smash formula -- cover versions of pop/rock hits backed by lavish strings, a simplified bossa nova rhythm, and the leader's piano comping -- Sergio Mendes & Brasil '66 produced two more chart-busting singles, again turning to the Beatles for sustenance with the title track (number six) and Simon & Garfunkel for "Scarborough Fair" (number 16). But again, the bulk of the album was dominated by Brazilians, and by one in particular: the hugely gifted Edu Lobo, whose dramatic "Casa Forte" and infectious "Upa, Neguinho" were the best of his four songs. The tracks were longer now, the string-laden ballads (arranged by Dave Grusin) more lavish and moody, and Lani Hall emerged as the vocal star of the band, eclipsing her new partner, Karen Philipp (although Hall is upstaged on "Lapinha" by future Brasil '77 member Gracinha Leporace). Even though he had become thoroughly embedded in the consciousness of mainstream America, Mendes still managed to have it three ways, exposing first-class tunes from little-known Brazilian talent, garnering commercial hits, and also making some fine records. Cultural note: the striking foldout cover art, depicting Brasil '66 at sunset seated on top of a nude woman, somehow made it past the uptight censors of the day and no doubt boosted sales; it was Mendes' highest-charting album at number three.



Sergio Mendes & Brasil '66 - Fool On The Hill     (flac  195mb)

01 Fool on the Hill 3:17
02 Festa 4:20
03 Casa Forte 4:07
04 Canto Triste 4:20
05 Upa, Neguinho 2:57
06 Lapinha 3:11
07 Scarborough Fair 3:21
08 When Summer Turns to Snow 5:10
09 Laia Ladaia (Reza) 3:12

    (ogg   mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,

Today's artists are sounding like howling witches burning at the stake, their ghoulish shrieks of the 1982 debut single "Incubus Succubus" immediately won the approval of goth rock connoisseurs. However, they weren't able to maintain its black-clad sound, selling out to pop before the inevitable breakup, but they competed with Siouxsie & the Banshees for goth royalty. The band was formed in Hamburg, Germany, in 1980 in an all-girl lineup,.  ......N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Xmal Deutschland was formed in 1980 by Anja Huwe (vocals), Manuela Rickers (guitar), Fiona Sangster (keyboards), Rita Simonsen (bass guitar) and Caro May (drums) in Hamburg, Germany. Their first single, "Schwarze Welt" was released a year later on Alfred Hilsberg’s ZickZack label. The band also contributed to the label compilation Lieber Zuviel Als Zuwenig (ZZ 45). Around this time Rita Simonsen was replaced by Wolfgang Ellerbrock.

In 1982, the band released the goth classic "Incubus Succubus". Drummer Caro May left the band and formed a new band, and the vacant drummer position was filled by Manuela Zwingmann the same year. While German audiences were less than receptive at first, a United Kingdom tour opening for the Cocteau Twins resulted in a deal with independent label 4AD Records. Their debut album, Fetisch and the singles "Qual" and "Incubus Succubus II" were released in 1983, all three making the UK Independent Chart, even though the band wrote and performed in German.

Manuela Zwingmann left the band after that year, being replaced by Peter Bellendir. This lineup, Huwe/Rickers/Sangster/Ellerbrock/Bellendir was the longest lasting. The single "Reigen" and the album Tocsin were released in 1984, followed by a world tour in 1985. Tocsin reached number 86 in the UK Albums Chart.
The Sequenz EP was essentially a remake of a John Peel session, which had been originally recorded on 30 April 1985, and broadcast on 13 May 1985. The EP contained the tracks "Jahr Um Jahr II", "Autumn" (the band’s first song with English lyrics, apart from brief snatches of English that appeared in "Qual", "Young Man" and "Tag für Tag") and "Polarlicht" but omitted "Der Wind", which was played at the Peel sessions.

"Matador", produced by Hugh Cornwell of The Stranglers, was released in 1986. Xmal Deutschland also opened for The Stranglers at a concert in Wembley Arena, London. Their follow-up album, Viva was recorded in Hamburg and was released in 1987, followed by the single "Sickle Moon". Viva contains a large number of English lyrics, among others a poem by Emily Dickinson.

After the release of Viva, Manuela Rickers, Fiona Sangster and Peter Bellendir left the group. Anja Huwe and Wolfgang Ellerbrock continued to work with Frank Z (of Abwärts) on guitar. Producer Henry Staroste played keyboards and studio drummer Curt Cress completed the line-up that recorded the 1989 LP Devils, and the singles "Dreamhouse" and "I'll Be Near You". This also proved to be the last release of Xmal Deutschland, showing a change of direction towards mainstream pop. The group made a few live appearances in 1990, but eventually the group split up.

xxxxx xxxxx xxxxx xxxxx xxxxx

Xmal Deutschland's Fetisch is the kind of album that Batman would listen to while patrolling Gotham City. A dismal, often creepy LP, Fetisch snags the dissonant gloom of early Siouxsie & the Banshees, Bauhaus, and Joy Division and gives it a German accent. Unfortunately, while the album bursts with ferocious energy, the songs are mostly repetitive and monotonous. Rabid goth collectors will probably savor every sinister groove on Fetisch, but nothing here can touch the hellish beat of Xmal's "Incubus Succubus" 12" single. Vocalist Anja Huwe sounds like a Siouxsie Sioux doppelgänger; however, even Sioux's bleakest numbers with the Banshees had keen hooks. Unfortunately, Xmal Deutschland utilizes the same eerie riffs throughout Fetisch. The album is listenable in limited doses. The dense, fuzzy guitars of "Qual" are somewhat hypnotic, and the brooding basslines of "Young Man" and "Orient" certainly catch the ear. Played loud, the shrieking riffs of "Orient" are thrillingly raucous. Xmal Deutschland knows how to bring the noise, but the eerie clamor of Fetisch is Xmal Deutschland lost in the dark.There was no confusion over the German delivery - Anja Huwe epitomized the voice as instrument. (...) the album reached no.3 in the independent charts behind the pulp pop of New Order and Aztec Camera. It stayed there. The seductive foreplay had begun."



Xmal Deutschland - Fetisch (flac  315mb)

01 Qual 3:50
02 Geheimnis 3:19
03 Young Man 3:18
04 In Der Nacht 3:44
05 Orient 4:06
06 Hand In Hand 3:08
07 Kaempfen 2:48
08 Danthem 4:59
09 Boomerang 3:46
10 Stummes Kind 5:15
11 Qual (12" Remix) 6:41
12 Zeit 4:06
13 Sehnsucht 4:40

Xmal Deutschland - Fetisch  (ogg  120mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Xmal Deutschland's second full-length album is a creative high point, a Teutonic marriage of Siouxsie & the Banshees' inviting Goth-pop and the majestic sonic spaces of the Cocteau Twins. Less offputtingly bleak than the quartet's earlier records, but without the unfortunate candy coating of the albums that followed, these 11 songs are precariously balanced between neo-psychedelic pop in the traditional 4AD style -- the opening "Mondlicht" would not sound out of place on a This Mortal Coil album -- and the more aggressive, artsy sound of their first EPs. The former is clearly winning; "Incubus Succubus II," a much glossier remake of the song that first garnered U.K. attention for the group, features a less tortured (but still German-language) vocal from Anja Huwe over a smooth, throbbing pulse that trades in the spiky scrappiness of the original for a clean, but not antiseptic thrust. The clash of styles actually works quite well, giving Tocsin a palpable creative tension that adds a frisson of intensity to what might otherwise be just another collection of Goth-pop tunes.



Xmal Deutschland - Tocsin (flac 290mb)

01 Mondlicht 5:03
02 Eiland 5:31
03 Reigen 3:59
04 Tag Fur Tag 4:51
05 Augen•Blick 3:50
06 Begrab Mein Herz 3:01
07 Nachtschatten 3:56
08 Xmass In Australia 3:14
09 Derwisch 4:32
10 Incubus Succubus II 4:45
11 Vito 4:26

Xmal Deutschland - Tocsin  (ogg  111mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

This is a collection of four of the most powerful songs Xmal have ever recorded. The unique guitar textures, the evil vocals and the hypnotic bass, all intertwine to make these songs unmistakably Xmal's. Anja Huwe (Vocals), Manuela Rickers (Guitar), Fiona Sangster (Keyboards), Wolfgang Ellerbrock (Bass), Peter Bellendir (Drums) were recorded: 30th April 1985, first transmission: 13th May 1985.



Xmal Deutschland - Peel Sessions (flac 101mb)

01 Polarlicht 3:35
02 Der Wind 3:49
03 Jahr Um Jahr 2:58
04 Autumn 4:23

  (ogg  mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Viva represents how Xmal Deutschland mellowed with age. No longer kicking and screaming like Siouxsie & the Banshees in their punk days, Xmal Deutschland tone down the dissonance and funereal atmospherics in Viva. Fans of the group's chaotic early records might disagree, but Viva is Xmal Deutschland's finest moment. Xmal Deutschland aren't trying to be scary anymore -- their 1982 single "Incubus Succubus" was creepy stuff -- just beautifully depressed. The opening track, "Matador," recalls the band's old gothic fury; however, it's more focused and accessible. The jumpy new wave drums and dreamy mid-'80s keyboards of "Matador" edge the group closer to pop, recalling the Cure in their transformation from the horsemen of the apocalypse to melodic gloom-rockers. "Matador," the band's catchiest single since "Incubus Succubus," was remixed for the clubs as well, but only the original can be found on the Viva album. It's inevitable that vocalist Anja Huwe would be compared to Siouxsie Sioux; the similarities are striking, like Ian McCulloch and Jim Morrison. Nevertheless, Huwe has found her own voice on Viva, hitting the high notes on "Matador" with palpable passion. "Sickle Moon" and "Feuerwerk (31.dez)" are haunted by Joy Division's dense guitars and foreboding basslines; they display Xmal Deutschland's more mature approach of crafting songs instead of slamming people over the head with repetitive drones. The abundance of synthesizers also give Viva a lighter feel, preventing the music from becoming overwhelmingly bleak, especially on "Eisengrau,""If Only," and "Illusion (Version)," the latter only appearing on the CD. Although Xmal Deutschland went downhill from here they're kings of the castle on Viva.



Xmal Deutschland - Viva (flac  329mb)

01 Matador 4:03
02 Eisengrau 2:59
03 Sicklemoon 3:37
04 If Only 4:14
05 Feuerwerk (31- Dez) 6:01
06 Illusion (Version) 4:10
07 Morning (Will There Really Be) 6:05
08 Manchmal 3:41
09 Polarlicht 3:18
10 Ozean 4:52
11 Dogmai 4:12
12 4 2:56

Xmal Deutschland - Viva  (ogg  120mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,

Today's artist started singing in doo-wop and R&B groups as a teenager in his hometown of Buffalo, New York. More than a decade later, in the late '70s, when the fortunes of Motown Records seemed to be flagging, our man came along and rescued the company, providing funky hits that updated the label's style and saw it through into the mid-'80s. His epitath states "I've had it all, I've done it all, I've seen it all. It's all about love – God is love  ..... ..... N'joy

xxxxx xxxxx xxxxx xxxxx xxxxx

James Ambrose Johnson, Jr. was born on February 1, 1948, in Buffalo, New York, to Mabel (née Sims) and James Ambrose Johnson, Sr. He was one of eight children. James' father, an autoworker, left the family when James was ten. His mother was a dancer for Katherine Dunham, and later ran errands for a Mafia-connected mob, just to feed her family. James' mother would take him on her collecting route, and it was in bars where she worked that James got to see performers such as John Coltrane, Miles Davis, and Etta James perform. James claimed later in the autobiography, Glow, that he lost his virginity at "age 9 or 10" to a 14-year-old local girl, claiming his "kinky nature came in early". James eventually attended Orchard Park High School and Bennett High School prior to dropping out. James was introduced to drugs at an early age and, as a young teen, was busted for burglary. Due to his stints in jail for theft, James entered the United States Navy at 14 or 15, lying about his age, to avoid the draft. During that time, he also became a drummer for local jazz groups in New York City. Due to him missing his twice-monthly Reserve sessions at the USS Enterprise, he found himself ordered to Vietnam.

In 1965, he fled for Toronto, where he made friendships with then-local musicians Neil Young and Joni Mitchell. To avoid being caught by military authorities, James went under the assumed name, "Ricky James Matthews". That same year, James formed the Mynah Birds, a band that produced a fusion of soul, folk and rock music. In 1965, the band briefly recorded for the Canadian division of Columbia Records, releasing the single, "Mynah Bird Hop"/"Mynah Bird Song". At one point, Nick St. Nicholas of later Steppenwolf fame was a member; eventually bassist Bruce Palmer replaced him by the time "Mynah Bird Hop" was recorded. James and Palmer would recruit guitarists Tom Morgan and Xavier Taylor and drummer Rick Mason to form a new Mynah Birds lineup, and soon traveled to Detroit to record with Motown. Before the group began recording their first songs for the label, Morgan left, unhappy about the label's attitude towards the musicians. Neil Young eventually took his place. It was while in Detroit that James met his musical heroes, Marvin Gaye and Stevie Wonder. After meeting Wonder and telling him his name, Wonder felt the name "Ricky James Matthews" was "too long", and instead told James to shorten it to "Ricky James".

After James got involved in a fight with the group's financial backer in Toronto, the Navy was given a tip regarding James' whereabouts and the singer was soon arrested. Afterwards, Motown dropped the band from the label, and James spent a year in prison. After his release, James moved to California where he resumed his musical career. After forming a duo with musician Greg Reeves, Reeves was soon hired to work as a musician for the rock supergroup, Crosby, Stills, Nash & Young. James returned to Motown as a songwriter in 1968, under the assumed name "Rickie Matthews", and worked with acts such as The Miracles, Bobby Taylor and the Vancouvers, and The Spinners. According to James, he briefly got involved in pimp activity during this time, but stopped because he felt he wasn't qualified for it due to the harsh activity and the abuse of women there. Returning to California from Toronto in 1969, James got involved with hair stylist Jay Sebring, who agreed to invest in James' music.

In late 1968, James formed the rock band Salt and Pepper. James and S&P member Ed Roth later were included in Bruce Palmer's solo album The Cycle is Complete. The duo also recorded as part of the group Heaven and Earth in Toronto. Heaven and Earth eventually changed their name to Great White Cane and recorded an album for Los Angeles label, Lion Records, in 1972, though it was later shelved. James formed another band, Hot Lips, afterwards. In 1973, James signed with A&M Records, where his first single under the name Rick James, "My Mama", was released, becoming a club hit in Europe. In 1976, James returned to Buffalo, New York, and formed the Stone City Band and recorded the song "Get Up and Dance!", which was his second single to be released. In 1977, James and the Stone City Band signed a contract with Motown's Gordy Records imprint, where they began recording their first album in New York City.

In April 1978, James released his debut solo album, Come Get It!, which included the Stone City Band. The album launched the top 20 hit, "You and I", which became his first number-one R&B hit. The album also included the hit single, "Mary Jane". It eventually sold two million copies, launching James' musical career to stardom, and helping out Motown Records at a time when label fortunes had dwindled. In early 1979, James' second album, Bustin' Out of L Seven, followed the previous album's success, eventually selling a million copies. A third album, Fire It Up, was released in late 1979 going gold. Around that same period, James launched his first headlining tour, the Fire It Up Tour, and agreed to invite the then-upcoming artist, Prince, as well as singer Teena Marie, as his opening act. James had produced Marie's successful Motown debut album, Wild and Peaceful and was featured on the hit duet, "I'm a Sucker (For Your Love)". James was credited with naming Marie, "Lady Tee", on the song, a nickname that stuck with Marie for the rest of her career. The Fire It Up tour led to James developing a bitter rivalry with Prince, after he accused the musician for ripping off his act.

Following the end of the tour in 1980, James released the ballads-heavy Garden of Love, which became his fourth gold record. In 1981, James recorded his best-selling album to date, Street Songs, which like his previous four albums, was a concept album. Street Songs featured a fusion mix of different genres, including rock and new wave, as well as James' brand of crossover funk, enabling James' own style of "punk funk". The album featured hit singles such as "Ghetto Life", the Teena Marie duet "Fire and Desire", "Give It to Me Baby", and his biggest crossover hit to date, "Super Freak", which peaked at number sixteen on the Billboard Hot 100, and sold over a million copies. Street Songs peaked at number one R&B and number three pop, and sold over three million copies alone in the United States. Following up that success, James released two more gold albums, 1982's Throwin' Down and 1983's Cold Blooded.

During this period, envious of Prince's success as producer of other acts including The Time and Vanity 6, James launched the acts Process and the Doo-Rags, and the Mary Jane Girls, featuring his former background singer Joanne "JoJo" McDuffie as the lead vocalist and background performer, finding success with the latter group, due to the hits, "All Night Long", "Candy Man", and "In My House". In 1982, James produced the Temptations' Top Ten R&B hit, "Standing On The Top". In 1983, James recorded the hit duet, "Ebony Eyes", with singer Smokey Robinson. In 1985, James produced another hit for entertainer Eddie Murphy with the song "Party All The Time". That same year he appeared on an episode of The A-Team with Isaac Hayes. After the release of his ninth solo album, The Flag, in 1986, James signed with Warner Bros. Records, which released the album Wonderful in 1988, featuring the hit, "Loosey's Rap".

James' controversial and provocative image became troublesome sometimes. During his heyday, James had presented his songs to the then-fledging music video channel, MTV, only to be turned down because James' music didn't fit the network's rock playlist. James accused the network of racism. When MTV and BET both avoided playing the video for "Loosey's Rap" because of its graphic sexual content, James considered the networks hypocritical in light of them still playing provocative videos by Madonna and Cher.

In 1989, James' eleventh album, Kickin', was released only in the UK. By 1990, he had lost his deal with Warner Bros. and James began struggling with personal and legal troubles. That year MC Hammer released his hit signature song, "U Can't Touch This", which sampled the prominent opening riff from "Super Freak". James and his co-writer on "Super Freak", Alonzo Miller, successfully sued Hammer for shared songwriting credit and all three consequently received the 1990 Grammy Award for Best R&B Song. In 1997, James released Urban Rapsody, his first album since his release from prison on assault charges, and he toured to promote the album. That same year, he discussed his life and career in interviews for the VH1 musical documentary series, Behind the Music, which aired in early 1998. James' musical career slowed again after he suffered a minor stroke during a concert. In 1999, James accepted an offer by Eddie Murphy himself to appear in his film, Life

James had three children. With Syville Morgan, a former singer and songwriter, he had daughter Ty and son Rick, Jr. In 1989, James met 17-year-old partygoer Tanya Hijazi. The two began a romance in 1990. In 1993, the couple welcomed the arrival of their only child and James' youngest, Tazman. Following their releases from prison for assaulting Mary Sauger and Frances Alley, the couple married in 1996 and divorced in 2002. On the morning of August 6, 2004, James' caretaker found him dead in James' Los Angeles home at the Oakwood Toluca Hills apartment complex, just outside Burbank. He had died from pulmonary failure and cardiac failure, associated with his various health conditions of diabetes, a stroke, pacemaker, and heart attack. His autopsy found alprazolam, diazepam, bupropion, citalopram, hydrocodone, digoxin, chlorpheniramine, methamphetamine, and cocaine in his blood.

xxxxx xxxxx xxxxx xxxxx xxxxx

After returning to the U.S. from London, where he fronted the blues band Mainline, Rick James cut one album with White Cane before he turned to his own solo venture. By 1977, he'd begun working with the Stone City Band, emerging at the end of the year with an album's worth of delicious funk-rock fusion. Released in spring 1978, Come Get It! was a triumphant debut, truly the sum of all that had gone before, at the same time as unleashing the rudiments of what would become not only his trademark sound, but also his mantra, his manifesto -- his self proclaimed punk-funk. Packed with intricate songs that are full of effusive energy, Come Get It! is marvelously hybridized funk, so tightly structured that, although they have the outward feel of funk's freewheeling jam, they never once cross the line into an uncontrolled frenzy. This is best demonstrated across the monumental, eight-plus-minute "You and I." With enough funk bubbling under the surface to supplant the outward disco sonics of the groove, but brought back to earth via James' vocal interpolations, "You and I" became James' first R&B chart hit, effortlessly slamming into the top spot. "Mary Jane," meanwhile, was James' homage to marijuana -- honoring the love affair through slang, it dipped into the Top Five in fall 1978. More importantly, though, it also offered up a remarkable preview of his subsequent vocal development. With nods to Earth, Wind & Fire on "Sexy Lady," Motown sonics on "Dream Maker," the passionate "Hollywood," and the classic club leanings of "Be My Lady," it's obvious that James was still very much in the throes of transition, still anticipating his future onslaught of hits and superstardom. Many of the songs here have a tendency toward the disco ethics that were inescapable in 1978, and have been faulted as such; nevertheless, what James achieved on this LP was remarkably fresh, and would prove vitally important to funk as it grew older during the next decade.



Rick James - Come Get It   (flac  242mb)

01 Stone City Band, Hi ! 3:27
02 You And I 8:04
03 Sexy Lady 3:50
04 Dream Maker 5:14
05 Be My Lady 4:47
06 Mary Jane 4:58
07 Hollywood 7:27
08 Stone City Band, Bye ! 1:11

Rick James - Come Get It (ogg    95mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Rick James' second album, Bustin' Out of L Seven, maintained his status among R&B fans, almost topping the LP chart and spawning hits in the title track, "High on Your Love Suite," and "Fool on the Street," though none of them matched the popularity of the debut album's "You and I" or "Mary Jane." James managed an effective amalgam of recent R&B big-band styles, from Sly & the Family Stone to Earth, Wind & Fire and Funkadelic, overlaying the result with his jeeringly rendered sex-and-drugs philosophy. What was missing this time was a real pop crossover -- if Come Get It! had suggested he could have the pop success of Earth, Wind & Fire, Bustin' Out of L Seven threatened that his work would find as restricted an audience as Funkadelic, and without the critical cachet.



Rick James - Bustin' Out of L Seven   (flac  319mb)

01 Bustin' Out 5:20
02 High On Your Love Suite / One Mo Hit (Of Your Love) 7:26
03 Love Interlude 1:52
04 Spacey Love 5:24
05 Cop 'N' Blow 5:03
06 Jefferson Ball 7:20
07 Fool On The Street 7:47
08 Bustin' Out (12 Extended Mix) 7:19

Rick James - Bustin' Out of L Seven (ogg   110mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

With Art Stewart gone, from this point on James produced all his own work. All the experimentation of the previous release is gone, but the P-Funk ripoffs continue. Rick's third album in 18 months may have spread the funk a little thin (or saturated the market), since Fire It Up was not as effective as his first two efforts. The usual mix of rock and R&B had some disco added, which dulled the music's edge and made it more formulaic. At the same time, James's single-entendre come ons, notably the album's biggest single, "Love Gun," were beginning to sound less provocative than just smutty. James had all the weapons for success in his arsenal, but he hadn't yet figured out a unified plan of attack, and Fire It Up was a holding action.



Rick James - Fire It Up (flac 346mb)

01 Fire It Up 3:59
02 Love Gun 5:44
03 Lovin' You Is A Pleasure 4:08
04 Love In The Night 6:22
05 Come Into My Life 7:10
06 Stormy Love 2:05
07 When Love Is Gone 7:32
Bonus
08 Love Gun (12-Inch Version) 10:46

Rick James - Fire It Up (ogg   120mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Without a doubt, Garden of Love was Rick James' most underrated release. The album went gold and was far from a flop, but Motown wanted double- or triple-platinum, and anything less was disappointing. And when funk fans reminisce, Garden isn't one of the albums they mention. A departure from the type of hard and rowdy funk that defined Come Get It!, Bustin' Out of L Seven, and Fire It Up, Garden boasted only one major hit ("Big Time") and was surprisingly laid-back by James' standards. The album contains more ballads than usual, and James uses subtlety to his artistic advantage on songs ranging from the clever "Mary Go Round" to the haunting "Summer Love." Unfortunately, some mistook subtlety for wimpiness. But make no mistake: the songs are first-rate, though they lack the type of immediacy he was known for. Those who overlooked Garden need to give it a closer listen.



Rick James - Garden of Love   (flac 343mb)

01 Big Time 6:25
02 Don't Give Up On Love 6:08
03 Island Lady 4:07
04 Gettin' It On (In The Sunshine) 3:03
05 Summer Love 6:18
06 Mary -Go- Round 6:59
07 Gettin' It On (In The Sunshine) Reprise 1:39
Bonus
08 Big Time (Extended Version) 11:40
09 Gypsy Girl (Demo) 3:41

Rick James - Garden of Love (ogg 123mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,

Today's artists are a Scottish post-rock band, formed in 1995 in Glasgow. The band typically compose lengthy guitar-based instrumental pieces that feature dynamic contrast, melodic bass guitar lines, and heavy use of distortion and effects. The band were for several years signed to renowned Glasgow indie label Chemikal Underground, and now use their own label Rock Action Records in the UK, and Sub Pop in North America. The band were frequently championed by John Peel from their early days......N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

The cosmic post-rock band Mogwai was formed in Glasgow, Scotland in 1996 by guitarist/vocalist Stuart Braithwaite, guitarist Dominic Aitchison, and drummer Martin Bulloch, longtime friends with the goal of creating "serious guitar music." Toward that end, they added another guitarist, John Cummings, before debuting in March 1996 with the single "Tuner," a rarity in the Mogwai discography for its prominent vocals; the follow-up, a split single with Dweeb titled "Angels vs. Aliens," landed in the Top Ten on the British indie charts. Following appearances on a series of compilations, Mogwai returned later in the year with the 7""Summer," and after another early 1997 single, "New Paths to Helicon," they issued Ten Rapid, a collection of their earliest material.

Around the time that Mogwai recorded the superb 1997 EP 4 Satin, former Teenage Fanclub and Telstar Ponies member Brendan O'Hare joined the lineup in time for the recording of Mogwai's debut studio LP, Mogwai Young Team. He exited a short time later -- returning to his primary projects Macrocosmica and Fiend -- to be replaced by Barry Burns. Mogwai next issued 1998's Kicking a Dead Pig, a two-disc remix collection; the No Education = No Future (Fuck the Curfew) EP appeared a few months later. In 1999, they released Come on Die Young. Rock Action arrived in early 2001. Late that year, Mogwai released the My Father, My King EP; two years later, they issued the ironically titled Happy Songs for Happy People. Government Commissions: BBC Sessions 1996-2004 arrived early in 2005.

Mr. Beast, which was released in 2006, found the band going in a softer, more reflective direction. Late that year, the band's collaboration with Clint Mansell on the soundtrack to The Fountain arrived; Mogwai also crafted the score for Douglas Gordon's Zidane: A 21st Century Portrait, which was released in the U.K. in 2006 and in the U.S. the following spring. The Batcat EP, which featured a collaboration with garage-psych legend Roky Erickson, arrived in late summer 2008, heralding the release of The Hawk Is Howling -- which reunited the band with producer Andy Miller for the first time in a decade -- that fall. In 2010, Mogwai released their first live album, Special Moves, as a package with the Vincent Moon-directed concert film Burning.

Hardcore Will Never Die, But You Will For 2011's Hardcore Will Never Die, But You Will, the band reunited with Young Team producer Paul Savage for a more streamlined set of songs. Later that year, they followed up with an EP of unreleased material from the Hardcore sessions, Earth Division, released on Sub Pop. Late in 2012, the band issued A Wrenched Virile Lore, a collection of Hardcore Will Never Die, But You Will remixes. Early the following year, the first taste of their score to the French zombie TV series Les Revenants (which was based on the 2004 film of the same name) arrived as a four-song EP; in February 2013, the full-length album appeared.

Mogwai filled the rest of the year with recording their eighth proper album, Rave Tapes, at their Castle of Doom studio, live performances of their Zidane: A 21st Century Portrait score in Glasgow, Manchester, and London, and other live performances. Rave Tapes, which boasted a more streamlined and electronic direction than Mogwai's recent albums, was released in early 2014. Late that year, the band issued the Music Industry 3. Fitness Industry 1 EP, a collection of Rave Tapes remixes as well as new songs.

Cummings left the band in 2015 to work on his own solo projects. Mogwai's first release after his departure was 2016's Atomic, a collection of reworked tracks from their music for Mark Cousins' BBC 4 documentary Atomic: Living in Dread and Promise. They returned later that year with a number of compositions on the collaborative soundtrack for Fisher Stevens and Leonardo DiCaprio's documentary about the impact of climate change, Before the Flood.

xxxxx xxxxx xxxxx xxxxx xxxxx

At first glance, the album title Happy Songs for Happy People seems almost as ironic as the name of their previous album, Rock Action. After listening to the album, however, it's apparent that its title isn't just meant as a joke. Though "happy" isn't necessarily the first word that springs to mind when describing the band's intricate, brooding style, it is a word and emotion that is both simple and profound, much like the direction Mogwai's music takes here. Happy Songs for Happy People takes the focus and restraint of Rock Action to greater lengths, but it never feels like a rehash of their previous work. The palette of sounds the band uses -- which includes rolling guitars and pianos, swelling strings, persuasive but un-showy drumming, and occasional forays into distortion and electronics -- is a relatively small one, but the band uses it wisely on tracks as diverse as the lovely, understated "Kids Will Be Skeletons" (arguably the "happiest" song on the album) and the gloriously dense finale, "Stop Coming to My House," which piles layers and layers of distorted drums, guitars, and synths atop each other. Mogwai also employs its usual quietly beautiful/explosively noisy dynamic formula expertly, particularly on the gorgeous "Killing All the Flies," which feels much longer (in a good way) than four and a half minutes.
Old-school Mogwai fans disappointed by the relative brevity of most of Happy Songs for Happy People's songs should be pleased by "Ratts of the Capital," which, over the course of eight minutes, nearly reaches the epic proportions of the Young Team/Come on Die Young era. Once again, though, it's not merely a return to their old sound: The track begins with darkly chiming guitars and xylophones and then builds to a crushing climax, but even its heaviest moments are leavened with beauty, and its nearly symmetrical rise and fall make it fit perfectly with the rest of the album. Fortunately, though, the new techniques Mogwai explores on this album are just as satisfying, if not more so, than the band's familiar ones: "Golden Porsche"'s richly mellow bass and pianos sound more akin to Americana than post-rock, while "I Know You Are But What Am I?"'s shuffling, piston-like rhythm and twinkling synths are both brooding and childlike. A strangely dreamy, reverent feel winds through the album, surfacing on the Spiritualized-esque "Boring Machines Disturbs Sleep" and "Moses? I Amn't," which has a buzzing synth bass so deep it makes your brain vibrate. In some ways, Happy Songs for Happy People is almost too consistent -- by the time its second half rolls around, it's easy to take its dense beauty for granted. The upside is that it's one of those rare albums where you're convinced that you've just heard the song that is going to be your favorite -- until you hear the next song, and then the song after that. With Happy Songs for Happy People, Mogwai gets to have it both ways -- it's ironic and sincere, concise and expansive, challenging and accessible, and it's one of the band's best albums, no two ways about it.



Mogwai - Happy Songs for Happy People (flac  260mb)

01 Hunted By A Freak 4:18
02 Moses? I Amn't 2:59
03 Kids Will Be Skeletons 5:29
04 Killing All The Flies 4:35
05 Boring Machines Disturbs Sleep 3:05
06 Ratts Of The Capital 8:27
07 Golden Porsche 2:49
08 I Know You Are But What Am I ? 5:17
09 Stop Coming To My House 4:53

Mogwai - Happy Songs for Happy People    (ogg 104mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Government Commissions: BBC Sessions 1996 -- 2003 collects some of Mogwai's best performances on John Peel and Steve Lamacq's programs. The compilation's track selections are inspired: taking two songs from each of the band's albums (except Rock Action, from which only "Secret Pint" appears here) and a handful of tracks from their mid-'90s EPs, Government Commissions gives a good idea of how Mogwai's sound evolved. Pieces like 4 Satin's "Superheroes of BMX" and "New Paths to Helicon Pt I" reflect the band's spare, elongated early work, while "Hunted By a Freak" and "Stop Coming to My House," both of which are from 2003's Happy Songs for Happy People and bookend Government Commissions, are lush, dense and shimmering. The album's sequencing also underscores the band's mastery of dynamics. It builds from subtly taut tracks like "R U Still In 2 It" and "Kappa" to the album's centerpiece, an 18-minute version of "Like Herod" that shows off the song's tense quiet and beautifully ugly guitar mayhem, and then winds down with more reflective songs. The album's live atmosphere, which includes voice-overs from the much-missed Peel, adds to its organic ebb and flow, which is all the more remarkable considering that it spans seven years' worth of performances. Though die-hard Mogwai fans are probably the most likely to pick this up, Government Commissions works so well that it could also double as a Mogwai greatest-hits collection -- something that can't be said about many other live compilations.



Mogwai - Government Commisssions, BBC Sessions 1996-2003 (flac  395mb)

01 Hunted By A Freak 4:09
02 R U Still In 2 It 6:19
03 New Paths To Helicon Pt II 2:53
04 Kappa 4:26
05 Cody 6:08
06 Like Herod 18:30
07 Secret Pint 4:45
08 Superheroes Of BMX 7:30
09 New Paths To Helicon Pt I 8:13
10 Stop Coming To My House 4:42

Mogwai - Government Commisssions BBC Sessions 1996-2003   (ogg 152mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Possibly the most accessible yet sophisticated album Mogwai has released, Mr. Beast strips away most of the electronic embellishment of their recent work in favor of a back-to-basics sound that returns to and expands on the approach they pioneered on Young Team. Mr. Beast is also a surprisingly spontaneous-sounding album -- in the best possible sense, its freshness makes it feel like a recorded practice session and also helps give relatively delicate pieces like "Team Handed" the same amount of impact that heavy, searing tracks like the closer, "We're No Here," have. Interestingly, more of Mr. Beast tends toward the former kind of song than the latter; "Friend of the Night,""Emergency Trap," and the glorious, slow-burning album opener, "Auto-Rock," give the album an unusually refined, even elegant feel that is underscored by the prominent use of piano and lap steel in the arrangements. On songs like "Acid Food" and the magnificent "I Chose Horses" -- which features cavernously deep bass and spoken word vocals by Tetsuya Fukagawa from the Japanese hardcore band Envy -- Mr. Beast feels downright pastoral. However, Mogwai doesn't give up their heavy side entirely, as the aforementioned "We're No Here" and "Glasgow Mega-Snake" show; any song that has either "mega" or "snake" in the title should rock, and this one does, kicking off with a claustrophobic snarl of guitars that makes this one of the most intense pieces Mogwai has ever recorded. Mr. Beast manages to be immediate without sounding dumbed-down..



Mogwai - Mr. Beast  (flac  254mb)

01 Auto Rock 4:18
02 Glasgow Mega-Snake 3:35
03 Acid Food 3:40
04 Travel Is Dangerous 4:01
05 Team Handed 3:58
06 Friend Of The Night 5:30
07 Emergency Trap 3:31
08 Folk Death 95 3:34
09 I Chose Horses 5:13
10 We're No Here 5:39

Mogwai - Mr. Beast  (ogg  91mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Mogwai's Zidane: A 21st Century Portrait doesn't have much in the way of catchy melodies, and its tracks tend to blend into each other -- but these are precisely the reasons why this score is so effective. Droning, hypnotic, but subtly tense, this album is about crafting and sustaining a mood, even more so than the band's collaboration with Clint Mansell on the music for The Fountain. It's understandable why fans expecting another Young Team or even Mr. Beast might find Zidane too monochromatic: on tracks such as "Black Spider," Mogwai shift their famously wide-ranging dynamics into neutral, concentrating on the band's shimmering, introspective side; it's only toward the end of the over 20-minute hidden track tacked onto "Black Spider 2" that Mogwai approach heavier territory. Meanwhile, the moody piano and guitar themes repeat on "Half Time" and "Time and a Half," giving the score a unity that could seem monotonous separated from the film's context. However, while most of Zidane: A 21st Century Portrait is the musical equivalent of a faint but still distinct shadow, several tracks are standouts, albeit subtle ones. "Wake Up and Go Berserk" -- which follows in the footsteps of other ironically named Mogwai works like Rock Action and Happy Songs for Happy People -- is a thing of bleak beauty, mingling vapor-trail electric guitar textures with looping acoustic guitar melodies. Likewise, "7:25" and "I Do Have Weapons" are also sublimely poignant, without ever feeling like they're pandering. It's easy and true enough to say that this album will appeal mostly to Mogwai diehards, but it's such a quietly accomplished musical portrait of one of soccer's most complex and controversial personalities that Zidane: A 21st Century Portrait could very well add some soundtrack buffs and sports aficionados to the band's ranks of fans.



Mogwai - Zidane; A 21st Century Portrait  (flac  322mb)

01 Black Spider 5:04
02 Terrific Speech 2 4:08
03 Wake Up And Go Berserk 4:45
04 Terrific Speech 4:47
05 7:25 5:13
06 Half Time 6:49
07 I Do Have Weapons 4:16
08 Time And A Half 5:56
09 It Would Have Happened Anyway 2:34
10 Black Spider 2 4:12
11 Untitled 23:02

Mogwai - Zidane; A 21st Century Portrait    (ogg  131mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,

Brainwave Mind Voyages arose from a thirst for experiential wisdom and a hunger for sharing mind-expanding tools with other like-minded people such as yourself. Shower the seeds of self-empowerment with some modern audio technology, and voila! ....N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Your brain operates much like a resonance chamber or a tuning fork. When you hold two similarly tuned tuning forks together and strike one of the them, the other will also vibrate at the same frequency. The vibrational rate or vibratory frequency determines the tone. Our brain produces waves of currents that flow throughout its neural pathways. The type of brainwave is defined by the frequency at which it is pulsing, and this particular rate of pulsation determines our respective state of mind at any given moment in time.

There are four common types of brainwave patterns, but due to the complexity of our brains there are often several patterns interacting at one time. It is the predominance of one particular brainwave frequency that determines our state of mind. For example, if you are in a beta state, there may be trace levels of alpha and theta but they would minimal compared to the dominating amount of beta present. All of these brainwave states have been scientifically studied and categorized by the subjective states that each range will produce. Below is a simple chart containing the four common types of brainwave frequencies along with their characteristic features and associated mental states. The frequencies are measures in hertz (Hz) which is roughly translated as beats per second or cycles per second.

BETA waves 13 to 30 Hz the fastest waves, most commonly found during our waking state, associated with outward awareness, engaged mind, arousal, actively perceiving and evaluating forms of data through the senses; also present with fear, anger, worry, hunger, and surprise.

ALPHA waves 7 to 13 Hz associated with non-drowsy but relaxed, tranquil state of consciousness, less engagement and arousal, pleasant inward awareness, body/mind integration, present during meditation and states of relaxation

THETA waves 3 to 7 Hz associated with increased recall, creativity, imagery and visualization , free-flowing thought, future planning, inspiration, drowsiness, present during dreaming and REM states

DELTA waves .1 to 3 Hz associated with deep dreamless sleep, deep trance state pituitary release of growth hormone, self-healing, present during deep levels of non-REM sleep.

Your brain is always producing electromagnetic brainwaves that have a measurable frequency and magnitude. The characteristics of your brainwaves at any given moment determines your mood and state of mind. The frequency range and magnitude identify whether you are aroused, alert, asleep or anywhere in between these states.

We are always expanding our knowledge of how our brainwaves can be harnessed to create peak states of consciousness. For example, the best moments of creativity, those Eureka! flashes, occur mostly when theta waves are predominant. The hypnogogic state verging between waking and sleeping is characterized by theta brainwave activity. This explains why we have such great ideas before falling asleep. It is noted in history books that this "border-zone" time period has been utilized by many scientists and other great thinkers who have had flashes of insight while experiencing this holistic state of mind.

Einstein came up with the theory of relativity in this state, and likewise, one of the Watson and Crick pair conceptualized the double helix of DNA in this highly visualistic mind state successfully cracking the illusive architecture of DNA. Time spent in this "border-zone" can be time very well spent. All this information about brainwaves is a preamble to the matter of entraining your brainwaves to specific frequencies.

You can now use the process of brainwave entrainment to tune your brainwaves to any brainwave range. You can experience theta, alpha, delta or even combinations of ranges using multi-layered frequencies that blend several brainwave ranges into one synergistic brainwave pattern like the Awakened Mind Brainwave Pattern. The breakthrough occurs when we use this principle of entrainment to synchronize our brainwaves to specific chosen frequencies. We can do this easily by using binaural beat audio technology and monophonic entrainment tones, as you will soon learn, but first some more background information.

THE TWO HEMISPHERES OF THE BRAIN

Our brains have a left and a right hemisphere. The left hemisphere is linear, logical, practical, and time orientated. The right hemisphere seems to be much more non-linear, abstract, creative, holistic, and non-logical. We tend to use one hemisphere at a time, or better said, we will favor particular hemispheres depending on what we are doing. An accountant probably uses less of his right hemisphere than an artist would during the course of his workday. If you are doing math you would be using more of your left side. If you are painting a picture, you would have more right hemispheric activity.

Obviously, it is not that simplistic because both hemispheres are constantly interacting and both can be in use at the same time. These hemispheres are connected by the corpus callosum. It serves as a conduit or a bridge between both sides. This bridge can literally be exercised and strengthened until it is physically larger and more capable of transmitting data, thoughts and feedback between hemispheres. The famous clairvoyant healer Edgar Cayce was found to have an unusually large corpus callosum, but could it be that everyone else simply has not developed this hemispheric bridge?

By merging both hemispheres and allowing them to work together we can increase our mental fitness and enhance our cognitive functioning in general. It is basically like having a faster computer processor capable of working at faster speeds. Increased integration creates better performance. By using brainwave entrainment technologies, you can increase your hemispheric synchronization. By simply listening to any BMV CD, your brain naturally synchronizes to balance hemispheric activity and adjusts brainwave activity to match the embedded brainwave carrier frequencies. This audio-induced hemispheric coherence produces an optimal state of holistic whole-brain synergy.

For a more in-depth explanation of the powerful audio neuro-technologies, you can click HERE to read the BMV Technology Page.

xxxxx xxxxx xxxxx xxxxx xxxxx

Alpha brainwaves are those most frequently found when you are in a meditational state. The presence of alpha waves indicates that you are in a relaxed, soothing state of mind, removed from the hustle and bustle of your normal, waking "Beta-mindstate".

There are no vocals on any of the tracks so you can use this Series for whatever purposes you desire. The background audioscape is that of a mild tide of seawash along with the specifically chosen embedded brainwave frequencies.

There are 12 tracks on this Series (72 minutes total playing time) plus one Bonus Track that entrains you to the pulse of the planet, the Schumann Resonance. Of the 12 Alpha tracks, they vary from simple Alpha level entrainment to more complex tracks with multi-layered embedded brainwave frequencies. Each track is designed to be played in loop/repeat mode so in effect you have 12 different programs or 12 different settings to test, evaluate and determine which works best specifically for you...or you can listen to the whole Series (all tracks in a row) and progressively "tune" your brainwaves into deeper and deeper alpha levels.

Alpha brainwaves have been linked to states
of relaxation and have been found to be present during most meditational states.
By using Series III and entraining to ALPHA, you can add a brainwave boost to your meditations or simply summon an Alpha state for any activity that requires inner relaxation, a 'silencing of the mind', or simply a sense of stillness & mental calm.

You can use this
as if it were your own set of
meditational "training wheels".
After experiencing the ALPHA
mindstate you will be that much
more likely toreproduce this
ALPHA-state simply by
intending to do so...

By having the passive assistance of alpha brainwave entrainment you can make the most of your meditations.
Whether you are a beginner or an advanced meditator you can immediately benefit from this Series by achieving concrete, consistent, reliable results & maximizing your overall progress by reducing the initial learning curve.



Brainwave Mind Voyages (Series III) - The Alpha Brainwaves (flac  258mb)

01 Upper Level Alphawaves 5:59
02 Upper Alpha with Mid-Level Mix 5:59
03 Upper Alpha with Low-Level Mix 5:59
04 UpperMiddle Level Alphawaves 5:59
05 UpperMid Alpha with Upper Mix 5:59
06 UpperMid Alpha with Lower Mix 5:59
07 LowerMiddle Level Alphawaves 5:53
08 LowerMid Alpha with Upper Mix 5:52
09 LowerMid Alpha with  Lower Mix 5:53
10 Lower Level Alphawaves 5:59
11 Lower Alpha with Upper Mix 5:59
12 Lower Alpha with Upper Theta Mix 6:00

xxxxx xxxxx xxxxx xxxxx xxxxx

Previously

Brainwave Mind Voyages (Series I) (flac  248mb)
Brainwave Mind Voyages (Series II) (flac  342mb)


xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,

The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.


Today's artist is a Brazilian musician. He has over 55 releases, and plays bossa nova heavily crossed with jazz and funk. He was nominated for an Academy Award for Best Original Song in 2012  Our man is married to Gracinha Leporace, who has performed with him since the early 1970s. Mendes has also collaborated with many artists through the years, including the Black Eyed Peas, with whom he re-recorded in 2006 a version of his breakthrough hit "Mas Que Nada"..... N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

For most of the second half of the '60s, Sergio Mendes was the top-selling Brazilian artist in the United States, charting huge hit singles and LPs that regularly made the Top Five. His records with his group, Brasil '66, regularly straddled the domestic pop and international markets in America, getting played heavily on AM radio stations, both rock and easy listening, and he gave his label, A&M, something to offer light jazz listeners beyond the work of the company's co-founder, Herb Alpert. During this period, he also became an international music star and one of the most popular musicians in South America.

Dance Moderno Born the son of a physician in Niteroi, Brazil, Mendes began studying music at the local conservatory while still a boy, with the intention of becoming a classical pianist. He was living in Rio de Janeiro as the bossa nova craze hit in the mid- to late '50s, and at age 15, he abandoned classical music in favor of bossa nova. Mendes began spending time with other young Brazilian musicians in Rio de Janeiro, absorbing the musical ferment around him in the company of such figures as Antonio Carlos Jobim and João Gilberto. Their company was augmented by the periodic visits of American jazz giants such as Stan Getz, Dizzy Gillespie, Charlie Byrd, Paul Winter, Roy Eldridge, and Herbie Mann. Mendes became the leader of his own group, the Sexteto Bossa Rio, and was heard with them by many visiting musicians.

He made his first recording, Dance Moderno, in 1961 on the Philips Records label. By 1962, Mendes and his band were playing at Birdland in New York in an impromptu performance with Cannonball Adderley (who was officially on the bill). Mendes and Adderley cut an album together for Capitol Records that was released later that year.
Bossa Nova York His early music, represented on albums like Bossa Nova York and Girl from Ipanema, was heavily influenced by Antonio Carlos Jobim, on whose recording Mendes worked. Mendes liked what he had found on his visit to New York, and in 1964 he moved to the United States, initially to play on albums with Jobim and Art Farmer, and formed Brasil '65 the following year. The group recorded for Capitol without attracting too much notice at first. In 1966, however, Mendes and his band -- renamed Brasil '66 -- were signed to A&M Records and something seemed to click between the group and its audience.

Equinox The group, consisting in its first A&M incarnation of Mendes on keyboards, Bob Matthews on bass, João Palma on drums, Jose Soares as percussionist, Lani Hall (aka Mrs. Herb Alpert and A&M's co-founder) on vocals, and Janis Hansen on vocals, was successful upon the release of its first album for the label, with its mix of light jazz, a bossa nova beat, and contemporary soft pop melodies. Their self-titled debut LP rose to number six nationally, propelled by the presence of the single "Mas Que Nada." Their second album, Equinox, yielded a trio of minor hits, "Night and Day,""Constant Rain (Chove Chuva)," and "For Me," but their third, Look Around, rose to number five behind a number three single of the group's cover of the Beatles'"Fool on the Hill" and an accompanying hit with "Scarborough Fair," based on the Simon & Garfunkel version of the folk song. Crystal Illusions, from 1969, featured a version of Otis Redding's "(Sittin' On) The Dock of the Bay" and the hit single "Pretty World." Depending upon one's sensibilities, these covers -- especially "Fool on the Hill" and "Scarborough Fair" -- were either legitimate, internationalized pop versions of the originals, or they were "elevator music."

During this period, Mendes also made several recordings for Atlantic Records separate from his A&M deal, principally aimed at a light jazz audience, and several of them in association with Jobim. Art Farmer, Phil Woods, Hubert Laws, and Claire Fisher were among the jazz figures who appeared on these records, which never remotely attracted the same level of interest or sales as his records with Brasil '66. Mendes successfully walked a fine line between international and domestic audiences for most of the late '60s until the end of the decade. Ye-Me-Le was notably less successful than its predecessors, and its single, "Wichita Lineman," was only a minor hit. Mendes seemed to lose his commercial edge with the turn of the decade, and his next two A&M albums: Stillness, a folk-based collection that contained covers of Joni Mitchell's "Chelsea Morning" and Stephen Stills'"For What It's Worth," and Primal Roots, an album of traditional Brazilian music, failed to make any impression on the charts whatsoever.

The group moved to the much smaller Bell Records label in 1973, and then Mendes jumped to Elektra for his first official solo album, Sergio Mendes. He relaunched his recording career two years later with Sergio Mendes & Brasil '77 to little avail, and then, after a five-year layoff from the public eye, Mendes returned to A&M in 1982. His 1983 comeback album, Sergio Mendes, was his first Top 40 album in nearly a decade and a half, and was accompanied by his biggest chart single ever, "Never Gonna Let You Go," which hit number four. Since then, Mendes has had limited chart success with the single "Alibis" and the LP Confetti. He remained a popular figure internationally, even when his record sales slumped in America, as evidenced by the fact that his entire A&M catalog (and much of his Atlantic work) from the '60s has been reissued on CD in Japan. Indeed, his popularity in the rest of the world, versus America, was even the basis for a comic vignette in one episode of the television series Seinfeld.

During the '90s, Mendes performed with a new group, Brasil '99, and more recently, Brasil 2000, and has been integrating the sounds of Bahian hip-hop into his music. In 1997, A&M's British division released a remastered double-CD set of the best of Mendes' music from his first seven years on the label. Most of Mendes' back catalog was reissued as the 21st century dawned, and in 2006, Concord Records released Timeless, his first album of newly recorded material in eight years. A mere two years later, Encanto appeared, including co-productions from will.i.am of Black Eyed Peas. A third album on Concord, Bom Tempo, was released in 2010. After appearances at numerous festivals and a global tour, Mendes took a short break before beginning to record again. He signed to Sony's revived OKeh imprint and cut a completely new set of songs in Los Angeles, Salvador, and Bahia, with a host of special guests and old friends, including John Legend, will.i.am., and Brazilian artists such as Carlinhos Brown, with whom he cut the first single, "One Nation," issued on One Love, One Rhythm: The 2014 FIFA World Cup Official Album. Mendes' album Magic was released in September.

xxxxx xxxxx xxxxx xxxxx xxxxx

Equinox continues the scrumptiously winning sound that Sergio Mendes cooked up in the mid-'60s, this time a bit more fleshed out with John Pisano's guitar, a slightly thicker texture, and even an imitation sitar (this was, after all, 1967). Again, the mix of American pop tunes old and new and Brazilian standards and sleepers is impeccable (although it didn't yield any substantial hits), and the treatments are smooth, swinging, and very much to the point. While Mendes reaps a predictable harvest from Antonio Carlos Jobim -- he was one of the first to discover and record "Triste" and "Wave" -- he also likes to explore the work of other outstanding Brazilian writers like Jorge Ben, Joao Gilberto, and especially Edu Lobo (whose "For Me," with its bright flashes of combo organ, is one of the album's highlights). Lani Hall's star was just rising at this time, and it is her cool, clear voice that haunts the memory most often. Like its predecessor, Equinox is exceedingly brief in duration, yet not a motion is wasted.



Sergio Mendes & Brasil '66 - Equinox (flac  152mb)

01 Constant Rain (Chove Chuva) 3:15
02 Cinnamon And Clove 2:26
03 Watch What Happens 2:44
04 For Me 3:21
05 Bim-Bom 1:52
06 Night And Day 3:30
07 Triste 2:09
08 Gente 1:52
09 Wave 2:20
10 So Danco Samba (Jazz 'N' Samba) 1:57

   (ogg  mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Perhaps the Sergio Mendes & Brasil '66 sound was at last beginning to show signs of wear, for not only didn't Ye-Me-Le produce any hits ("Wichita Lineman" reached a lowly number 95), but the album is also less enterprising and fresh-sounding than its predecessors. There is a surprising shortage of Brazilian material, which was always Mendes' most valuable contribution in the long run, and more reliance upon routine covers of pop/rock standards like "Easy to Be Hard" and "What the World Needs Now." But there are special moments, like the hypnotic "Masquerade" (no relation to the Leon Russell/George Benson hit), Sergio Mihanovich's haunting "Some Time Ago," and another winning treatment of a Beatles tune, "Norwegian Wood," where Mendes cuts loose a killer solo on electric piano (believe it or not, the 45 rpm single version features more of that solo than the LP).



Sergio Mendes & Brasil 66 - Ye-Me-Le  (flac  166mb)

01 Wichita Lineman 2:48
02 Norwegian Wood 3:53
03 Some Time Ago 2:24
04 Moanin' 3:05
05 Look Who's Mine 3:35
06 Ye-Me-Le 2:27
07 Easy To Be Hard 2:45
08 Where Are You Coming From? 4:05
09 Masquerade 3:37
10 What The World Needs Now 2:14

    (ogg    mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

The sound and band that served Sergio Mendes well on Fool on the Hill remain intact on Crystal Illusions, with few modifications. Dave Grusin is right there with a lush, haunting orchestral chart when needed; Lani Hall is thrust further into the vocal spotlight, as cool and alluring as ever in Portuguese or English. Mendes remained on the lookout for fresh Brazilian tunes, and he came up with a coup, one of the earliest covers of a Milton Nascimento tune to reach North America, "Vera Cruz" (with Hall's English lyrics, it became "Empty Faces"), as well as Dori Caymmi's "Dois Dias." The two singles, the perky "Pretty World" and sax-streaked cover of Otis Redding's "The Dock of the Bay," are nice slices of Mendes pop, though they were not significant hits. And yes, Sergio Mendes & Brasil '66 did take a large risk on the title track, a lengthy, kaleidoscopic treatment of an Edu Lobo tune that, inspired perhaps by "MacArthur Park," shattered radio's time barrier at seven minutes and 50 seconds. Yet while Grusin goes into a psychedelic freakout, we get a rare chance to hear Mendes stretch out a bit on electric piano. Weird and overblown, but wonderful.



Sergio Mendes & Brazil 66 - Crystal Illusion (flac 189mb)

01 (Sittin On) The Dock Of The Bay 3:08
02 Viola 3:47
03 Song Of No Regrets 3:55
04 Salt Sea 2:29
05 Empty Faces 2:48
06 Pretty World 3:20
07 Dois Dias 2:29
08 You Stepped Out Of A Dream 2:34
09 Crystal Illusions (Memorias de Marta Sare) 7:50

      (ogg  mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

This live album from the prime of Sergio Mendes and his "classic" Brasil '66 lineup was released for the Japanese market only. The official reason that this album was a Japanese-only release was probably that all of these tunes (dating from "Herb Alpert Presents" through "Ye-Me-Le") were available in the U.S. in polished studio versions. On-stage live in Osaka, Japan, the smooth vocal blend from the L.A. studios was nowhere to be heard. Some obvious pitch problems were not corrected by re-recording, and their timbres clash, the latter effect exacerbated by the placing of each singer on a separate stereo channel (Hall on the left, Philipp on the right). Yet there is much to be said for this once-difficult-to-get release. It's an honest record, catching the sextet au naturel without the backing orchestrations of the studio records, no longer at the mercy of the airplay stopwatch and ready to groove. It's a rare chance to hear Mendes stretch out at some length on acoustic grand piano during this period, revealing that his roots as a player were and are more attuned to mainstream American jazz than strictly Brazilian idioms. The arrangements sometimes follow the contours of the studio versions for awhile, then veer away for some serious, extended jamming ("Day Tripper,""Scarborough Fair"). The vocalists do have their moments; Hall gets off some passages of persuasive passion on "The Dock of the Bay," as does the earthier-toned Philipp in spots. There is also a bonus track from the concert that's not on the original LP -- Marcos Valle's "Viola," which builds from a delicate opening to a simmering heat. .



Sergio Mendes & Brasil '66 - Live at the Expo '70    (flac  316mb)

01 What the World Needs Now-Pretty World (Sa Marina) 5.29
02 Going Out of My Head  3.35
03 Pra Dizer Adeus (To Say Goodbye)  4.36
04 (Sittin' On) The Dock of the Bay  3.17
05 Day Tripper  7.07
06 The Fool on the Hill  3.47
07 Scarborough Fair  7.25
08 Norwegin Wood  6.02
09 Mas Que Nada  6.14
10 Viola  4.45

Sergio Mendes & Brasil '66 - Live at the Expo '70     (ogg   128mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello, were back to the seventies that laid the basis for the creative explosion of the eighties, there were many acts that got their limelight taken by the Sex Pistols, interestingly today's guys soldier on to this day...Oi !

While most of the early British punk bands spoke of working-class concerns -- primarily unemployment and the shrinking U.K. economy, which was leaving a generation with nothing to do and nowhere to go -- many of the pioneering groups had working-class credentials that were suspect at best; the Sex Pistols' career was being molded by a haberdasher and would-be artist, while the Clash were led by the son of a diplomat. Today's artists, however, were different; proletarian and proud of it, they were the voice of the people in the first wave of British punk, and if they were never as fashionable as such contemporaries as the Sex Pistols, the Clash, Wire, or the Jam (who, in their early days, shared Sham's provincial outlook and "we're with the kids" fan solidarity), they enjoyed a long run of chart successes and were a major influence on the street punk and Oi! movements which followed.......N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Sham 69 was formed in the working-class community of Hersham (in Surrey) in 1975 by singer and lyricist Jimmy Pursey; the name came from an ancient bit of graffiti celebrating a local football team's winning season in 1969. From the start, Sham 69's politics were populist, and their sound accessible; straight-ahead four-square punk with a hard rock influence and lyrics that often used sing-along slogans in their choruses, such as "If the Kids Are United" and "(Gonna Be A) Borstal Breakout." The band went through a revolving cast of musicians early on before settling on the lineup of Pursey, Dave Parsons on guitar, Albie Slider on bass, and Mark Cain behind the drums. They began scaring up gigs where they could, and began playing the notorious London punk venue the Roxy on a regular basis, where they built up a loyal following.

Step Forward, a small independent label, released the band's first single, "I Don't Wanna," in September 1977. The success of the single and the band's growing fan base prompted Polydor to sign the band in the U.K., and their first album, Tell Us the Truth -- one side recorded live, the other in the studio -- was released in early 1978. (Sire released the album in the United States, and it would prove to be the only Sham 69 album released in America until the late '80s.) By the time the album came out, Albie Slider had left the band and Dave "Kermit" Tregenna took over on bass. Sham's second album, That's Life, was released in the fall of 1978, and featured two major hit singles, "Hurry Up Harry" and "Angels With Dirty Faces"; and as many of the first wave of U.K. punk bands were beginning to peter out, Sham 69's popularity continued to grow.

However, there was a fly in the ointment for Sham 69; the band's rowdy, sing-along attitude began attracting a violent and undiscriminating audience, and fighting became increasing common at the band's live shows. The group also found their gigs were becoming recruiting grounds for Britain 's extreme right-wing (and racist) political party, the National Front; while Pursey often spoke out against the NF, for some reason it was an association that wouldn't go away. While the group's third album, The Adventures of the Hersham Boys, was a commercial success (as were the singles "If The Kids Are United" and "You're A Better Man Than I"), the increasing violence at concerts made it harder to tour, and Pursey began producing other bands and investigating new musical directions.

(Drummer Mark Cain also quit the band, with Ricky Goldstein taking over on percussion.) After the group's fourth album, The Game, received a lukewarm reception from both reviewers and fans, Pursey opted to split up Sham 69 in mid-1980. Pursey went on to a solo career, briefly working with former Sex Pistols Steve Jones and Paul Cook, while Dave Parsons and Dave Tregenna formed a short-lived band called the Wanderers with former Dead Boys vocalist Stiv Bators. After "the Sham Pistols" failed to work out, Pursey recorded a series of ambitious but commercially unsuccessful solo albums, and Tregenna joined the Lords of the New Church. In 1987, Pursey and Parsons assembled a new edition of Sham 69;

In 2005, the band gained media attention when the band's anthemic tune "If the Kids Are United" was played during UK Prime Minister Tony Blair's entrance at the Labour Party Conference. As a result of this, the band was invited on BBC TV's current affairs programme Newsnight to sing a version of the song. Pursey sang altered lyrics, including "Mr. Blair/We know you care/So bring them home/Don't leave them there", referring to the troops remaining in Iraq after the 2003 invasion. In 2006, listeners to Christian O'Connell's Breakfast Show on Virgin Radio voted overwhelmingly for the band to record a song to support the England national football team in the 2006 FIFA World Cup.[6] Released under "Sham 69 and The Special Assembly" (O'Connell and Blur guitarist Graham Coxon were also involved), the song was based on the Sham 69 hit "Hurry Up Harry", with the lyrics "We're going down the pub", changed to "We're going to win the cup!" The resulting single, "Hurry Up England" reached number 10 in the UK Singles Chart, becoming the band's first such hit in 26 years.

In late 2006, Sham 69 broke up, and Dave Parsons stated his wish to independently continue as 'Sham 69'. On 26 January 2007, BBC News announced that Sham 69 had split because of a bitter fallout between Pursey and Parsons. NME reported that a statement released by Parsons included the message: "Sham 69 have left Jimmy Pursey on the eve of their 30th anniversary. The band had become increasingly fed up with Jimmy's lack of interest in playing live and continually letting down both promoters and fans by pulling out of gigs at the last moment". Parsons and Whitewood continued as Sham 69 with Tim V on vocals and Rob Jefferson on bass. This line-up performed tours of the United States, played at many punk festivals across Europe, and released the album, Hollywood Hero, in August 2007.

In May 2011, Parsons stated on his website that he had disbanded Sham 69, although this was disputed by the other members. In July 2011, Pursey announced on Twitter the re-formation of most of the 1977 line-up, comprising Pursey, Parsons and Tregunna. This meant that there were two active bands using the same name, with three of the original line-up (Pursey, Parsons and Tregunna) in one band, and Harris in the other. In June 2012, Pursey registered the name as a trademark. As of 2016, both bands are still touring using the name, with the Pursey version often using the "Original 1977 line-up" tagline, and the other using the "Tim V" name.

xxxxx xxxxx xxxxx xxxxx xxxxx

The first wave of British punk was overrun with smart kids from upper-class backgrounds playacting at being working-class yobs. (The Clash did this first, and did it better than practically anyone.) But Sham 69 was different; every bit as thick-headed and provincial as the band sounded, Sham 69 took a perversely populist pride in its lack of musical or intellectual sophistication. If there's a point where British punk began to evolve from smart, edgy bands like the Sex Pistols and the Adverts into beer-soaked Neanderthals such as the Exploited and the Anti-Nowhere League, Sham 69 marks the spot, and while its first album, Tell Us the Truth, is the band's strongest work, the album also shows that most of Sham 69's flaws were in plain sight from the start.
Side one of Tell Us the Truth was recorded live, and it's inarguably fascinating as an anthropological document, capturing the Cockney yob in his native environment, complete with football chants and a spontaneous chorus of "Knees Up, Mother Brown." Jimmy Pursey's communication with his audience is inarguably impressive, and some of the songs have a good head of straight-ahead energy (especially "Borstal Breakout"), but the sound is thin and the band seems to have a hard time getting into fifth gear. The studio side actually sounds more impressive; the performances are tighter, Dave Parsons' guitar benefits from a bit of double-tracking, and Pursey sings more than he hectors. But Pursey was already starting to sound a bit pompous, and time has not been the least bit kind to songs like "I'm a Man I'm a Boy" and "Hey Little Rich Boy," which for all their sincerity don't say anything dozens of other bands haven't said better. Tell Us the Truth sounds passionate, belligerent, and kinda dumb, but that's an improvement over Sham 69's later work, where the band sounds overblown, strident, and really, really dumb.



Sham 69 - Tell Us the Truth (flac 319mb)

01 We Got A Fight (Live) 2:20
02 Rip Off (Live) 2:09
03 Ulster (Live) 3:38
04 George Davis Is Innocent (Live) 2:10
05 They Don't Understand (Live) 2:41
06 Borstal Breakout (Live) 3:01
07 Family Life 2:14
08 Hey Little Rich Boy 1:43
09 I'm A Man I'm A Boy 1:56
10 What About The Lonely 1:25
11 Tell Us The Truth 2:10
12 It's Never Too Late 2:05
13 Who's Generation 2:56
Bonus
14 What Have We Got 2:27
15 I Don't Wanna 1:44
16 Red London 1:54
17 Ulster (Single Version) 2:51
18 Borstal Breakout (Single Version) 2:11
19 George Davis Is Innocent (Demo) 1:49
20 They Don't Understand (Demo) 1:43
21 Borstal Breakout (Demo) 2:15

Sham 69 - Tell Us the Truth  (ogg  105mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Probably the first (or only) concept punk rock record. The first wave of punk was all about singles and there are two fine ones here: Hurry Up Harry and Angels With Dirty Faces. Jimmy Pursey's everyman vocals are best taken in smaller doses so the reality bits between songs actually help set the songs up. Anyone who can suffer through an episode of East Enders should be able to follow the "day in the life" narrative. The biggest problem is the best music is all on side two which I realize is almost meaningless in the digital world. Anyway a pretty great record that is anchored up by two great singles and a novel concept for an LP.



Sham 69 - That's Life (flac  271mb)

01 Leave Me Alone 3:26
02 Who Gives A Damn 4:04
03 Everybody's Right Everybody's Wrong 5:08
04 That's Life 2:52
05 Win Or Lose 3:37
06 Hurry Up Harry 3:53
07 Evil Way 2:37
08 Reggae Pick Up Part 1 1:24
09 Sunday Morning Nightmare 2:55
10 Reggae Pick Up Part 2 2:55
11 Angels With Dirty Faces 2:55
12 Is This Me Or Is This You 3:34
13 The Cockney Kids Are Innocent 1:54
14 No Entry 2:31

Sham 69 - Thats Life  (ogg  93mb)


xxxxx xxxxx xxxxx xxxxx xxxxx

On their first album, Sham 69 sounded like a gang of energetic punk rock simpletons, well-meaning and enthusiastic if not especially gifted, but things had taken a decided turn for the worst by the time they'd cut The Adventures of Hersham Boys in 1979. Where their early recordings took a lean, stripped-down approach, like a Cockney version of the Ramones, this album is dominated by sludgy tempos, pompous "anthemic" melodies, absurd neo-Rick Wakeman keyboard lines, and shouted mass choruses that suggest anyone willing to drink a free beer was allowed to bellow into the mike. And while Jimmy Pursey's lead vocals are a bit more expert this time out, his attempts towards a more musical sound simply betray the fact that he doesn't have much of a vocal range, which hardly helps on songs like "Fly Dark Angel", "Joey's on the Street," and "Lost on Highway 46," which combine the worst aspects of Meat Loaf and Bruce Springsteen with British punk at its most intellectually challenged. The Adventures of Hersham Boys was one of Sham 69's most successful albums and launched two major chart singles, "Hersham Boys" and "Questions and Answers," proving there's a British corollary to H.L. Menken's statement that no one will ever go broke underestimating the taste of the American public.



Sham 69 - The Adventures of the Hersham Boys (flac 395mb)

01 Money 3:13
02 Fly Dark Angel 3:03
03 Joey's On The Street 3:04
04 Cold Blue In The Night 2:47
05 You're A Better Man Than I 3:10
06 Hersham Boys 4:46
07 Lost On Highway 46 3:35
08 Voices 2:52
09 Questions And Answers 3:14
10 What Have We Got (Live) 2:54
Bonus
11 Borstal Breakout (12" Single Version)8:25
12 If The Kids Are United (12" Single Version) 16:20

Sham 69 - The Adventures of the Hersham Boys   (ogg  133mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Shams Last Stand is a live and compilation album by Sham 69 and Sham Pistols, was recorded in 1977-1979 at Rainbow Theatre, London, England. It was released as live album in 1989 and on 24 August 1999 as compilation album. The tracks includes "Pretty Vacant" by Sex Pistols and "White Riot" by The Clash was later featured on compilation album and was covered by Sham 69. Sham's Last Stand is an emotional, last-chance gas.



Sham 69 - Last Stand (flac  300mb)

01 What Have We Got 3:08
02 I Don't Wanna 1:57
03 They Don't Understand 2:01
04 Angels With Dirty Faces 2:45
05 Tell Us The Truth 2:24
06 That's Life 2:28
07 Rip Off 2:24
08 The Cockney Kids Are Innocent 2:12
09 Voices 2:56
10 Borstal Breakout 3:12
11 Pretty Vacant (Sham Pistols) 3:26
12 White Riot (Sham Pistols) 2:27
13 If The Kids Are United (Sham Pistols)3:56
14 What Have We Got (Sham Pistols) 2:31
15 Hurry Up Harry 2:30
16 Hersham Boys 3:24
17 Questions And Answers 3:18

Sham 69 - Last Stand  (ogg  101mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,

These days i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here  remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up.

Looka here another batch of 23 re-ups, requests fulfilled up to January 12th. There's much more to be had here. My tip here randomly pick an archive date and move up or down a few pages to older or newer posts, browse what you get there and maybe you'll find something of your liking or it may triggers a memory of what you'd really want and then do a search  ...N' Joy

xxxxx xxxxx xxxxx xxxxx xxxxx


3x Aetix Back in Flac (Miss Kittin & The Hacker - 1st Album, Client - Client, Electric Indigo - The New Electro)


2x Grooves NOW in Flac ( INCredible Sound Of Gilles Peterson 1, INCredible Sound Of Gilles Peterson 2)


3x Beats NOW in Flac (Kid Loco - Blues Project, Kid Loco - A Grand Love Story, Kid Loco - Jesus Life For Children Under 12 Inches)


3x Beats NOW In Flac (Laurent Garnier - Unreasonable Behaviour, Laurent Garnier - Retrospective, Laurent Garnier - Retrospective 2)


5x Aetix NOW in Flac (Cosey Fanni Tutti - Time to Tell, Chris & Cosey - Songs of Love and Lust, Chris And Cosey - Exotika + Take Five, Chris and Cosey - Obsession EP, Chris and Cosey - Trust)


3x Beats NOW in Flac (Kid Loco - Kill Your Darlings, Kid Loco - The Graffiti Artist, Kid Loco - VA - DJ Kicks)


4x Roots NOW in Flac (King Sunny Adé - The Classic Years, King Sunny Adé - Juju Music, King Sunny Adé -Synchro System & Aura)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,

Today's artist started singing in doo-wop and R&B groups as a teenager in his hometown of Buffalo, New York. More than a decade later, in the late '70s, when the fortunes of Motown Records seemed to be flagging, our man came along and rescued the company, providing funky hits that updated the label's style and saw it through into the mid-'80s. His epitath states "I've had it all, I've done it all, I've seen it all. It's all about love – God is love  ..... ..... N'joy

xxxxx xxxxx xxxxx xxxxx xxxxx

James Ambrose Johnson, Jr. was born on February 1, 1948, in Buffalo, New York, to Mabel (née Sims) and James Ambrose Johnson, Sr. He was one of eight children. James' father, an autoworker, left the family when James was ten. His mother was a dancer for Katherine Dunham, and later ran errands for a Mafia-connected mob, just to feed her family. James' mother would take him on her collecting route, and it was in bars where she worked that James got to see performers such as John Coltrane, Miles Davis, and Etta James perform. James claimed later in the autobiography, Glow, that he lost his virginity at "age 9 or 10" to a 14-year-old local girl, claiming his "kinky nature came in early". James eventually attended Orchard Park High School and Bennett High School prior to dropping out. James was introduced to drugs at an early age and, as a young teen, was busted for burglary. Due to his stints in jail for theft, James entered the United States Navy at 14 or 15, lying about his age, to avoid the draft. During that time, he also became a drummer for local jazz groups in New York City. Due to him missing his twice-monthly Reserve sessions at the USS Enterprise, he found himself ordered to Vietnam.

In 1965, he fled for Toronto, where he made friendships with then-local musicians Neil Young and Joni Mitchell. To avoid being caught by military authorities, James went under the assumed name, "Ricky James Matthews". That same year, James formed the Mynah Birds, a band that produced a fusion of soul, folk and rock music. In 1965, the band briefly recorded for the Canadian division of Columbia Records, releasing the single, "Mynah Bird Hop"/"Mynah Bird Song". At one point, Nick St. Nicholas of later Steppenwolf fame was a member; eventually bassist Bruce Palmer replaced him by the time "Mynah Bird Hop" was recorded. James and Palmer would recruit guitarists Tom Morgan and Xavier Taylor and drummer Rick Mason to form a new Mynah Birds lineup, and soon traveled to Detroit to record with Motown. Before the group began recording their first songs for the label, Morgan left, unhappy about the label's attitude towards the musicians. Neil Young eventually took his place. It was while in Detroit that James met his musical heroes, Marvin Gaye and Stevie Wonder. After meeting Wonder and telling him his name, Wonder felt the name "Ricky James Matthews" was "too long", and instead told James to shorten it to "Ricky James".

After James got involved in a fight with the group's financial backer in Toronto, the Navy was given a tip regarding James' whereabouts and the singer was soon arrested. Afterwards, Motown dropped the band from the label, and James spent a year in prison. After his release, James moved to California where he resumed his musical career. After forming a duo with musician Greg Reeves, Reeves was soon hired to work as a musician for the rock supergroup, Crosby, Stills, Nash & Young. James returned to Motown as a songwriter in 1968, under the assumed name "Rickie Matthews", and worked with acts such as The Miracles, Bobby Taylor and the Vancouvers, and The Spinners. According to James, he briefly got involved in pimp activity during this time, but stopped because he felt he wasn't qualified for it due to the harsh activity and the abuse of women there. Returning to California from Toronto in 1969, James got involved with hair stylist Jay Sebring, who agreed to invest in James' music.

In late 1968, James formed the rock band Salt and Pepper. James and S&P member Ed Roth later were included in Bruce Palmer's solo album The Cycle is Complete. The duo also recorded as part of the group Heaven and Earth in Toronto. Heaven and Earth eventually changed their name to Great White Cane and recorded an album for Los Angeles label, Lion Records, in 1972, though it was later shelved. James formed another band, Hot Lips, afterwards. In 1973, James signed with A&M Records, where his first single under the name Rick James, "My Mama", was released, becoming a club hit in Europe. In 1976, James returned to Buffalo, New York, and formed the Stone City Band and recorded the song "Get Up and Dance!", which was his second single to be released. In 1977, James and the Stone City Band signed a contract with Motown's Gordy Records imprint, where they began recording their first album in New York City.

In April 1978, James released his debut solo album, Come Get It!, which included the Stone City Band. The album launched the top 20 hit, "You and I", which became his first number-one R&B hit. The album also included the hit single, "Mary Jane". It eventually sold two million copies, launching James' musical career to stardom, and helping out Motown Records at a time when label fortunes had dwindled. In early 1979, James' second album, Bustin' Out of L Seven, followed the previous album's success, eventually selling a million copies. A third album, Fire It Up, was released in late 1979 going gold. Around that same period, James launched his first headlining tour, the Fire It Up Tour, and agreed to invite the then-upcoming artist, Prince, as well as singer Teena Marie, as his opening act. James had produced Marie's successful Motown debut album, Wild and Peaceful and was featured on the hit duet, "I'm a Sucker (For Your Love)". James was credited with naming Marie, "Lady Tee", on the song, a nickname that stuck with Marie for the rest of her career. The Fire It Up tour led to James developing a bitter rivalry with Prince, after he accused the musician for ripping off his act.

Following the end of the tour in 1980, James released the ballads-heavy Garden of Love, which became his fourth gold record. In 1981, James recorded his best-selling album to date, Street Songs, which like his previous four albums, was a concept album. Street Songs featured a fusion mix of different genres, including rock and new wave, as well as James' brand of crossover funk, enabling James' own style of "punk funk". The album featured hit singles such as "Ghetto Life", the Teena Marie duet "Fire and Desire", "Give It to Me Baby", and his biggest crossover hit to date, "Super Freak", which peaked at number sixteen on the Billboard Hot 100, and sold over a million copies. Street Songs peaked at number one R&B and number three pop, and sold over three million copies alone in the United States. Following up that success, James released two more gold albums, 1982's Throwin' Down and 1983's Cold Blooded.

During this period, envious of Prince's success as producer of other acts including The Time and Vanity 6, James launched the acts Process and the Doo-Rags, and the Mary Jane Girls, featuring his former background singer Joanne "JoJo" McDuffie as the lead vocalist and background performer, finding success with the latter group, due to the hits, "All Night Long", "Candy Man", and "In My House". In 1982, James produced the Temptations' Top Ten R&B hit, "Standing On The Top". In 1983, James recorded the hit duet, "Ebony Eyes", with singer Smokey Robinson. In 1985, James produced another hit for entertainer Eddie Murphy with the song "Party All The Time". That same year he appeared on an episode of The A-Team with Isaac Hayes. After the release of his ninth solo album, The Flag, in 1986, James signed with Warner Bros. Records, which released the album Wonderful in 1988, featuring the hit, "Loosey's Rap".

James' controversial and provocative image became troublesome sometimes. During his heyday, James had presented his songs to the then-fledging music video channel, MTV, only to be turned down because James' music didn't fit the network's rock playlist. James accused the network of racism. When MTV and BET both avoided playing the video for "Loosey's Rap" because of its graphic sexual content, James considered the networks hypocritical in light of them still playing provocative videos by Madonna and Cher.

In 1989, James' eleventh album, Kickin', was released only in the UK. By 1990, he had lost his deal with Warner Bros. and James began struggling with personal and legal troubles. That year MC Hammer released his hit signature song, "U Can't Touch This", which sampled the prominent opening riff from "Super Freak". James and his co-writer on "Super Freak", Alonzo Miller, successfully sued Hammer for shared songwriting credit and all three consequently received the 1990 Grammy Award for Best R&B Song. In 1997, James released Urban Rapsody, his first album since his release from prison on assault charges, and he toured to promote the album. That same year, he discussed his life and career in interviews for the VH1 musical documentary series, Behind the Music, which aired in early 1998. James' musical career slowed again after he suffered a minor stroke during a concert. In 1999, James accepted an offer by Eddie Murphy himself to appear in his film, Life

James had three children. With Syville Morgan, a former singer and songwriter, he had daughter Ty and son Rick, Jr. In 1989, James met 17-year-old partygoer Tanya Hijazi. The two began a romance in 1990. In 1993, the couple welcomed the arrival of their only child and James' youngest, Tazman. Following their releases from prison for assaulting Mary Sauger and Frances Alley, the couple married in 1996 and divorced in 2002. On the morning of August 6, 2004, James' caretaker found him dead in James' Los Angeles home at the Oakwood Toluca Hills apartment complex, just outside Burbank. He had died from pulmonary failure and cardiac failure, associated with his various health conditions of diabetes, a stroke, pacemaker, and heart attack. His autopsy found alprazolam, diazepam, bupropion, citalopram, hydrocodone, digoxin, chlorpheniramine, methamphetamine, and cocaine in his blood.

xxxxx xxxxx xxxxx xxxxx xxxxx

Disappointed because Garden of Love wasn't as well received as it should have been, Rick James made a triumphant return to defiant, in-your-face funk with the triple-platinum Street Songs. This was not only his best-selling album ever, it was also his best period, and certainly the most exciting album released in 1981. The gloves came all the way off this time, and James is as loud and proud as ever on such arresting hits as "Super Freak,""Give It to Me Baby," and "Ghetto Life." Ballads aren't a high priority, but those he does offer (including his stunning duet with Teena Marie, "Fire and Desire") are first-rate. One song that's questionable (to say the least) is the inflammatory "Mr. Policeman," a commentary on police misconduct that condemns law enforcement in general instead of simply indicting those who abuse their authority. But then, the thing that makes this hot-headed diatribe extreme is what makes the album on the whole so arresting -- honest, gut-level emotion. James simply follows what's in his gut and lets it rip. Even the world's most casual funksters shouldn't be without this pearl of an album.



Rick James - Street Songs   (flac  399mb)

01 Give It To Me Baby 4:08
02 Ghetto Life 4:21
03 Make Love To Me 4:48
04 Mr. Policeman 4:17
05 Super Freak 3:24
06 Fire And Desire 7:17
07 Call Me Up3:53
08 Below The Funk (Pass The J)2:35
The 12-Inch Mixes
09 Give It To Me Baby (12" Version) 5:42
10 Give It To Me Baby (Instrumental) 6:48
11 Super Freak (12" Version) 7:05
12 Super Freak (Instrumental) 3:33

Rick James - Street Songs (ogg    142mb)

xxxxx Bonus

This here amounts to the lone legitimate Rick James live set. A dynamite performance, it’s worthy of its own artwork and detachment from a catalog series. Technically taken from two Long Beach gigs that went down on July 30 and 31, 1981, as Street Songs was the number one R&B album in the U.S. -- while opener Teena Marie held up the second spot with It Must Be Magic -- the set is rather evenly spread between Street Songs and each of James’ earlier albums. James, backed by his Stone City Band, Punk Funk Horns, and Mary Jane Band, proficiently delivers everything (even “Mary Jane”) with a high level of energy. There’s plenty of stage-crowd interaction, with James acknowledging the Atlanta child murders, the killing of anti-racism activists in Greensboro, NC, and the death of Bob Marley, all recent events, yet without bringing down the party. A middle stretch features Teena Marie performing “I’m a Sucker for Love” (albeit with Levi Ruffin, Jr. taking James’ place) and “Square Biz” (which had just entered the R&B chart’s Top Ten). Of course, the remastered Street Songs itself, released in 2002 with the 12” mixes of “Give It to Me Baby” and “Super Freak,” is absolutely essential, but this release -- for any Rick James freak -- is pretty close to it.


Rick James - Live In Long Beach, CA, July 1981   (flac  554mb)

01 Introduction 1:46
02 Ghetto Life 4:21
03 Big Time 7:08
04 Come Into My Life 4:14
05 I'm A Sucker For Love 8:28
06 Square Biz 7:01
07 Fire It Up 3:35
08 Love Gun 5:42
09 Do You Want Some Funk (Interlude) 2:22
10 Mary Jane 10:39
11 Super Freak 4:21
12 You And I 11:48
13 Give It To Me Baby 6:05

Rick James - Live In Long Beach, CA, July 1981 (ogg    182mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Rick James fans generally agree that 1981's Street Songs is his finest album -- in fact, Street Songs is essential listening for anyone with even a casual interest in hardcore funk. Unfortunately, James tried to recycle the album's formula on many of his subsequent albums, and by the mid-'80s, he had become a very predictable and redundant caricature of himself. But in 1982, James was still exciting. That year's Throwin' Down, the album that followed Street Songs, falls short of essential but is still rewarding. Many of the songs are excellent, including the cynical "Money Talks" and the major hits "Standing on the Top" (which features the Temptations) and "Dance Wit' Me." Not surprisingly, hardcore funk dominates the record, although Throwin' Down contains a few pleasing soul ballads as well. "Happy," a duet with Teena Marie, and "Teardrops" point to the fact that James can be a very expressive ballad singer even though he is best known for his up-tempo material. This album does sound like recycled Street Songs at times, but in 1982, James had yet to run the formula into the ground. All things considered, Throwin' Down was an enjoyable, if imperfect and slightly uneven, addition to the funkster's catalog.



Rick James - Throwin' Down   (flac  230mb)

01 Dance Wit' Me 7:16
02 Money Talks 4:50
03 Teardrops 4:49
04 Throwdown 3:17
05 Standing On The Top 3:51
06 Hard To Get 4:07
07 Happy 5:29
08 69 Times 4:11
09 My Love 2:53

Rick James - Throwin' Down (ogg   87mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

By the mid-'80s, Rick James' funk had become a very tired cliché. Hits like 1984's "17" found an artist who had been so exciting only a few years earlier sounding increasingly formulaic and predictable. But he got out of his artistic rut in a major way with the excellent Glow. In interviews, James had expressed a desire to record an all-out rock album, and while Glow doesn't fit that description, he does incorporate rock and pop elements with splendid results on everything from the new wave-ish "Can't Stop" to the sweaty "Rock & Roll Control." But make no mistake: this is an R&B album first and foremost, and seductive numbers like "Moonchild" and the title song would be worthy of Kashif or Luther Vandross. Regrettably, James' risk-taking didn't pay off, and Glow was far from a major hit. Next to Garden of Love, Glow may be the most underrated album of Rick James' career.



Rick James - Glow (flac 292mb)

01 Can't Stop 6:08
02 Spend The Night With Me 4:11
03 Melody Make Me Dance 5:12
04 Somebody (The Girl's Got) 5:11
05 Glow 5:40
06 Moon Child 4:22
07 Sha La La La La (Come Back Home) 5:23
08 Rock And Roll Control 4:43
09 Glow (Reprise) 1:39

Rick James - Glow (ogg   110mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

After an eight-year stay at Motown, Rick James moved to Reprise/Warner Bros. with 1988's Wonderful. By that time, the funkster wasn't nearly as popular as he had been in the late '70s and early '80s, and he hoped to make a major comeback with this album. Reprise was delighted when the single "Loosey's Rap" (which features rapper Roxanne Shanté) went to number one on Billboard's R&B singles chart, but Wonderful didn't contain any other major hits -- and it isn't hard to understand why. This is a very uneven effort that sometimes misses the mark, although it has its moments. The singer tries different things, sometimes incorporating pop/rock, synth funk, and hip-hop elements. However, only a few of the songs are memorable -- most notably, the above-mentioned "Loosey's Rap," the Cameo-minded "So Tight," and the dramatic ballad "I Believe in U." Wonderful (which was James' only album for Reprise) was an improvement over 1986's The Flag. Hardly essential, Wonderful is mainly recommended to completists.



Rick James - Wonderful    (flac 327mb)

01 Wonderful 4:19
02 Judy 4:58
03 Loosey's Rap 3:54
04 So Tight 4:28
05 Sexual Luv Affair 5:13
06 Love's Fire 4:43
07 I Believe In U 5:53
08 In The Girls' Room 4:41
09 Hypnotize 4:19
10 Sherry Baby 4:43
11 Hot Summer Nights 5:10

Rick James - Wonderful (ogg 123mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,


Today's artists are a Scottish post-rock band, formed in 1995 in Glasgow. The band typically compose lengthy guitar-based instrumental pieces that feature dynamic contrast, melodic bass guitar lines, and heavy use of distortion and effects. The band were for several years signed to renowned Glasgow indie label Chemikal Underground, and now use their own label Rock Action Records in the UK, and Sub Pop in North America. The band were frequently championed by John Peel from their early days, but now the final post on Mogwai.......N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

The cosmic post-rock band Mogwai was formed in Glasgow, Scotland in 1996 by guitarist/vocalist Stuart Braithwaite, guitarist Dominic Aitchison, and drummer Martin Bulloch, longtime friends with the goal of creating "serious guitar music." Toward that end, they added another guitarist, John Cummings, before debuting in March 1996 with the single "Tuner," a rarity in the Mogwai discography for its prominent vocals; the follow-up, a split single with Dweeb titled "Angels vs. Aliens," landed in the Top Ten on the British indie charts. Following appearances on a series of compilations, Mogwai returned later in the year with the 7""Summer," and after another early 1997 single, "New Paths to Helicon," they issued Ten Rapid, a collection of their earliest material.

Around the time that Mogwai recorded the superb 1997 EP 4 Satin, former Teenage Fanclub and Telstar Ponies member Brendan O'Hare joined the lineup in time for the recording of Mogwai's debut studio LP, Mogwai Young Team. He exited a short time later -- returning to his primary projects Macrocosmica and Fiend -- to be replaced by Barry Burns. Mogwai next issued 1998's Kicking a Dead Pig, a two-disc remix collection; the No Education = No Future (Fuck the Curfew) EP appeared a few months later. In 1999, they released Come on Die Young. Rock Action arrived in early 2001. Late that year, Mogwai released the My Father, My King EP; two years later, they issued the ironically titled Happy Songs for Happy People. Government Commissions: BBC Sessions 1996-2004 arrived early in 2005.

Mr. Beast, which was released in 2006, found the band going in a softer, more reflective direction. Late that year, the band's collaboration with Clint Mansell on the soundtrack to The Fountain arrived; Mogwai also crafted the score for Douglas Gordon's Zidane: A 21st Century Portrait, which was released in the U.K. in 2006 and in the U.S. the following spring. The Batcat EP, which featured a collaboration with garage-psych legend Roky Erickson, arrived in late summer 2008, heralding the release of The Hawk Is Howling -- which reunited the band with producer Andy Miller for the first time in a decade -- that fall. In 2010, Mogwai released their first live album, Special Moves, as a package with the Vincent Moon-directed concert film Burning.

Hardcore Will Never Die, But You Will For 2011's Hardcore Will Never Die, But You Will, the band reunited with Young Team producer Paul Savage for a more streamlined set of songs. Later that year, they followed up with an EP of unreleased material from the Hardcore sessions, Earth Division, released on Sub Pop. Late in 2012, the band issued A Wrenched Virile Lore, a collection of Hardcore Will Never Die, But You Will remixes. Early the following year, the first taste of their score to the French zombie TV series Les Revenants (which was based on the 2004 film of the same name) arrived as a four-song EP; in February 2013, the full-length album appeared.

Mogwai filled the rest of the year with recording their eighth proper album, Rave Tapes, at their Castle of Doom studio, live performances of their Zidane: A 21st Century Portrait score in Glasgow, Manchester, and London, and other live performances. Rave Tapes, which boasted a more streamlined and electronic direction than Mogwai's recent albums, was released in early 2014. Late that year, the band issued the Music Industry 3. Fitness Industry 1 EP, a collection of Rave Tapes remixes as well as new songs.

Cummings left the band in 2015 to work on his own solo projects. Mogwai's first release after his departure was 2016's Atomic, a collection of reworked tracks from their music for Mark Cousins' BBC 4 documentary Atomic: Living in Dread and Promise. They returned later that year with a number of compositions on the collaborative soundtrack for Fisher Stevens and Leonardo DiCaprio's documentary about the impact of climate change, Before the Flood.

xxxxx xxxxx xxxxx xxxxx xxxxx

With each album, Mogwai discovers new ways of balancing the power and subtlety of their music. On The Hawk Is Howling, the band returns to its roots, working with producer Andy Miller for the first time in a decade and delivering its first set of completely instrumental songs in several albums' time. This is the most massive Mogwai's music has felt in quite awhile -- and for a band that turns in expansive pieces as regularly as they do, that's saying something. "I'm Jim Morrison, I'm Dead" opens the album with shades of Mr. Beast's sparkling beauty, but it uses every second of its nearly seven minutes to more climactic effect than the previous album's subdued approach: beginning with intertwining pianos and keyboards, it teeters on the edge between beautiful and ominous, ratcheting up the tension until the song finally dies out with a violin that bleeds into feedback. That still doesn't quite prepare listeners for the wallop that "Batcat" -- which is The Hawk Is Howling's lead single -- packs. It's no secret that Mogwai loves metal and has never shied away from heaviness in their own music, but even their most churning workouts seemed to hover; "Batcat" hits the ground hard, and with a blunter impact, than any of their previous guitar workouts.

As fantastic as "Batcat" is, it represents The Hawk Is Howling only as proof of how wide-ranging the album's sound is. "The Sun Smells Too Loud" is aptly trippy and surprisingly poppy, with wispy electronic textures and a huge rhythm section that gives the song almost planetary heft; and though "Daphne and the Brain" doesn't hit any peaks or valleys, its rolling majesty and shadowy guitar melodies are still awe-inspiring. Between these major statements, The Hawk Is Howling takes breathers with smaller-scale tracks, like the glittering "Kings Meadow," that reveal their intricacy with repeated listens. The album's second half expands on that subtlety in different ways: Though the Heathers-quoting "I Love You, I'm Going to Blow Up Your School" climaxes in a skewering guitar solo, it's preceded by six minutes of artful counterpoint and jazz-tinged drumming; "Scotland's Shame" takes the opposite approach, with strong rhythms propelling a pensive melody for a uniquely mournful yet hard-hitting result. These tracks demand close listening, which makes "The Precipice"'s slow-burning tribal rhythms and swarming guitars even more dramatic as the album's final statement. At first, it's tempting to want all of The Hawk Is Howling to be as obviously powerful as its biggest tracks, but with time it reveals itself as one of Mogwai's most masterful blends of delicacy and strength.



Mogwai - The Hawk is Howling (flac  414mb)

01 I'm Jim Morrison, I'm Dead 6:44
02 Batcat 5:25
03 Danphe And The Brain 5:18
04 Local Authority 4:15
05 The Sun Smells Too Loud 6:58
06 Kings Meadow 4:42
07 I Love You, I'm Going To Blow Up Your School 7:33
08 Scotland's Shame 8:00
09 Thank You Space Expert 7:53
10 The Precipice 6:42

Mogwai - The Hawk is Howling   (ogg 165mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

For a band whose epic compositions and dramatic dynamics play so well in concert, it's somewhat surprising that Mogwai didn’t release an official live album until 2010's Special Moves. For fans who have seen the band live and novices alike, the set was worth the wait. Recorded at one of the band's 2009 Brooklyn shows, Special Moves is beautifully mixed, balancing all of their onstage elements carefully while capturing the sheer power of their concerts; there’s also just enough audience noise to remind listeners that they’re playing in front of a devoted crowd. This sense of balance extends to the rest of the album, from its even-handed mix of songs from each of Mogwai's albums, to its equal measure of introspective and bombastic moments. True to the band, Special Moves' setlist is somewhat willful; it’s not just a playlist of Mogwai's best-known songs. Happy Songs for Happy People's "Hunted by a Freak" is as close as the band gets to playing a hit single, a relatively concise moment in a generous set dominated by expansive performances. The two biggest showpieces come from the band’s first proper album Young Team: "Fear Satan," which the band plays after they've warmed up a bit, goes from pin-drop silence to massive walls of guitar over the course of 12 minutes, and "Like Herod," a dark, angular, 11-minute workout that, in retrospect, shows that Mogwai have been big metal fans throughout their existence. Meanwhile, Mr. Beast's "Friend of the Night" and Rock Action's "2 Rights Make 1 Wrong" demonstrate how the band's gentler moments blossom in a live setting. The show ends with the literal bang of "Glasgow Megasnake," a three-minute reminder that Mogwai excels at short and long-form rocking. While nothing can capture the true feeling of being flattened by one of Mogwai's shows except attending one, Special Moves is still a great live document. Coupled with Vincent Moon's moody black-and-white concert film Burning (which is worth the price of admission for "Batcat" alone), it's the complete Mogwai concert experience.



Mogwai - Special Moves (flac  456mb)

01 I'm Jim Morrison I'm Dead 6:02
02 Friend Of The Night 5:30
03 Hunted By A Freak 4:07
04 Mogwai Fear Satan 11:43
05 Cody 6:11
06 You Don't Know Jesus 5:31
07 I Know You Are But What Am I ? 4:05
08 I Love You, I'm Going To Blow Up Your School 7:57
09 2 Rights Make 1 Wrong 9:06
10 Like Herod 10:38
11 Glasgow Megasnake 3:51

Mogwai - Special Moves   (ogg 160mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

By the 2010s, post-rock had been around long enough that the style’s artists could look back to their roots. Mogwai does that on Hardcore Will Never Die, But You Will, from the title’s bone-dry humor to the band’s reunion with Young Team producer Paul Savage. The musical DNA of Young Team -- and its definitive track “Like Herod” in particular -- is everywhere on Hardcore Will Never Die, informing the doomy coda of “Too Raging to Cheers” as well as opening track “White Noise”'s graceful melodic arcs, which lure the listener in rather than making a grand statement. Indeed, the album carries much of its emotional weight in its keyboard melodies, whether it’s the subtle soar of “Death Rays” or the more mournful tones of “Letters to the Metro.” Compared to the epic sprawl of The Hawk Is Howling, Hardcore Will Never Die feels simpler and more structured. The album’s rock songs, including “Mexican Grand Prix” and “San Pedro,” feel almost like a theme Mogwai returns to throughout the album, with driving motorik rhythms and precipitous riffing that get heads nodding vigorously, if not exactly banging. Mogwai tease listeners with tantalizing glimpses of their full power as the album progresses with “Rano Pano”'s shimmering majesty and “How to Be a Werewolf”'s epic solo, but they save Hardcore Will Never Die's definitive onslaught for last. “You’re Lionel Richie” combines the driest wit with the heaviest rock -- a quintessential Mogwai move -- as it builds from quasi-classical guitar figures to a scorching climax. As impressive as this moment is, it underscores how much smaller and subtler this album is than what came before it. While the album is far from rote, Hardcore Will Never Die, But You Will certainly feels familiar; it may not be as immediately impressive as some Mogwai albums, but its back-to-basics approach makes it another fine addition to their body of work.



Mogwai - Hardcore Will Never Die, But You Will  (flac  456mb)

01 White Noise 5:04
02 Mexican Grand Prix 5:18
03 Rano Pano 5:15
04 Death Rays 6:01
05 San Pedro 3:27
06 Letters To The Metro 4:41
07 George Square Thatcher Death Party 4:00
08 How To Be A Werewolf 6:23
09 Too Raging To Cheers 4:30
10 You're Lionel Richie 8:29
11 Music For A Forgotten Future (The Singing Mountain) 23:09

Mogwai - Hardcore Will Never Die, But You Will   (ogg  166mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

While post-rock may have fizzled to a damp halt years ago, it’s been to Mogwai’s credit that the Scottish survivors have been ever ready to change things up and carry on moving through a music scene that changes so swiftly. This latest collection of remixes is proof that the lads are still up on their tunes, and they’ve managed to rope in a whole gang of able bodies to shake up their sounds and chance upon something brand new. Drone king Tim Hecker’s throbbing rework of ‘Rano Piano’ is probably going to be the one everyone flicks to first, and it’s certainly a triumph, but we’ve also got some corkers from the retro synth set. Zombi, Umberto and Xander Harris all pop up with their typically nuanced dedications to Goblin, Fabio Frizzi and Giorgio Moroder giving Mogwai’s compositions a gnarly horror-afflicted bite they’ve always needed (but likely never thought to remedy). The uber-prolific Justin Broadrick turns in a remix under his own name too and seems totally at home as he pieces together the component parts accenting the drums and bringing back warm memories of Jesu’s scene-changing ‘Silver’. Coming to a close with a glorious slice of melancholy reductionism from main man Robert Hampson, and we’re left with a sense that ‘A Wrenched Virile Lore’ is far from the regular, lazy remix record and has been put together with a bit of care and attention, and not least some respect and reverence from the artists involved. Good stuff all round, and well worth a closer look.



Mogwai - A Wrenched Virile Lore  (flac  387mb)

01 George Square Thatcher Death Party (Justin K Broadrick Reshape) 5:09
02 Rano Pano (Mogwai Is My Dick RMX) 7:19
03 White Noise EVP Mix By Cylob) 5:20
04 How To Be A Werewolf (Xander Harris Remix) 6:50
05 Letters To The Metro (Zombi Remix) 7:21
06 Mexican Grand Prix (Reworked By RM Hubbert) 4:34
07 Rano Pano (Tim Hecker Remix) 4:45
08 San Pedro (The Soft Moon Remix) 3:53
09 To Raging To Cheers (Umberto Remix) 6:29
10 La Mort Blanche (Robert Hampson Remix) 13:41

Mogwai - A Wrenched Virile Lore   (ogg  141mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,

Brainwave Mind Voyages arose from a thirst for experiential wisdom and a hunger for sharing mind-expanding tools with other like-minded people such as yourself. Shower the seeds of self-empowerment with some modern audio technology, and voila! ....N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Your brain operates much like a resonance chamber or a tuning fork. When you hold two similarly tuned tuning forks together and strike one of the them, the other will also vibrate at the same frequency. The vibrational rate or vibratory frequency determines the tone. Our brain produces waves of currents that flow throughout its neural pathways. The type of brainwave is defined by the frequency at which it is pulsing, and this particular rate of pulsation determines our respective state of mind at any given moment in time.

There are four common types of brainwave patterns, but due to the complexity of our brains there are often several patterns interacting at one time. It is the predominance of one particular brainwave frequency that determines our state of mind. For example, if you are in a beta state, there may be trace levels of alpha and theta but they would minimal compared to the dominating amount of beta present. All of these brainwave states have been scientifically studied and categorized by the subjective states that each range will produce. Below is a simple chart containing the four common types of brainwave frequencies along with their characteristic features and associated mental states. The frequencies are measures in hertz (Hz) which is roughly translated as beats per second or cycles per second.

BETA waves 13 to 30 Hz the fastest waves, most commonly found during our waking state, associated with outward awareness, engaged mind, arousal, actively perceiving and evaluating forms of data through the senses; also present with fear, anger, worry, hunger, and surprise.

ALPHA waves 7 to 13 Hz associated with non-drowsy but relaxed, tranquil state of consciousness, less engagement and arousal, pleasant inward awareness, body/mind integration, present during meditation and states of relaxation

THETA waves 3 to 7 Hz associated with increased recall, creativity, imagery and visualization , free-flowing thought, future planning, inspiration, drowsiness, present during dreaming and REM states

DELTA waves .1 to 3 Hz associated with deep dreamless sleep, deep trance state pituitary release of growth hormone, self-healing, present during deep levels of non-REM sleep.

Your brain is always producing electromagnetic brainwaves that have a measurable frequency and magnitude. The characteristics of your brainwaves at any given moment determines your mood and state of mind. The frequency range and magnitude identify whether you are aroused, alert, asleep or anywhere in between these states.

We are always expanding our knowledge of how our brainwaves can be harnessed to create peak states of consciousness. For example, the best moments of creativity, those Eureka! flashes, occur mostly when theta waves are predominant. The hypnogogic state verging between waking and sleeping is characterized by theta brainwave activity. This explains why we have such great ideas before falling asleep. It is noted in history books that this "border-zone" time period has been utilized by many scientists and other great thinkers who have had flashes of insight while experiencing this holistic state of mind.

Einstein came up with the theory of relativity in this state, and likewise, one of the Watson and Crick pair conceptualized the double helix of DNA in this highly visualistic mind state successfully cracking the illusive architecture of DNA. Time spent in this "border-zone" can be time very well spent. All this information about brainwaves is a preamble to the matter of entraining your brainwaves to specific frequencies.

You can now use the process of brainwave entrainment to tune your brainwaves to any brainwave range. You can experience theta, alpha, delta or even combinations of ranges using multi-layered frequencies that blend several brainwave ranges into one synergistic brainwave pattern like the Awakened Mind Brainwave Pattern. The breakthrough occurs when we use this principle of entrainment to synchronize our brainwaves to specific chosen frequencies. We can do this easily by using binaural beat audio technology and monophonic entrainment tones, as you will soon learn, but first some more background information.

THE TWO HEMISPHERES OF THE BRAIN

Our brains have a left and a right hemisphere. The left hemisphere is linear, logical, practical, and time orientated. The right hemisphere seems to be much more non-linear, abstract, creative, holistic, and non-logical. We tend to use one hemisphere at a time, or better said, we will favor particular hemispheres depending on what we are doing. An accountant probably uses less of his right hemisphere than an artist would during the course of his workday. If you are doing math you would be using more of your left side. If you are painting a picture, you would have more right hemispheric activity.

Obviously, it is not that simplistic because both hemispheres are constantly interacting and both can be in use at the same time. These hemispheres are connected by the corpus callosum. It serves as a conduit or a bridge between both sides. This bridge can literally be exercised and strengthened until it is physically larger and more capable of transmitting data, thoughts and feedback between hemispheres. The famous clairvoyant healer Edgar Cayce was found to have an unusually large corpus callosum, but could it be that everyone else simply has not developed this hemispheric bridge?

By merging both hemispheres and allowing them to work together we can increase our mental fitness and enhance our cognitive functioning in general. It is basically like having a faster computer processor capable of working at faster speeds. Increased integration creates better performance. By using brainwave entrainment technologies, you can increase your hemispheric synchronization. By simply listening to any BMV CD, your brain naturally synchronizes to balance hemispheric activity and adjusts brainwave activity to match the embedded brainwave carrier frequencies. This audio-induced hemispheric coherence produces an optimal state of holistic whole-brain synergy.

For a more in-depth explanation of the powerful audio neuro-technologies, you can click HERE to read the BMV Technology Page.

xxxxx xxxxx xxxxx xxxxx xxxxx

The BMV Series 4: The Theta Brainwaves flac combines the power of audio brainwave training with recent biofeedback research and brainwave entrainment technologies to allow you experience deep states of meditation, quickly and easily. You can use this powerful flac to take advantage of the numerous benefits that Theta Brainwave Training has to offer. It's an open-ended audio mind tool that can allow you to choose which levels of Theta brainwave entrainment that you would like to experience.

The whole program progressively slows your waking Beta brainwaves into a soothingly relaxed Theta brainwave state. The tracks vary from simple Theta level entrainment to more complex tracks with multi-layered embedded brainwave frequencies. You can listen to the whole Series (all tracks in a row) and progressively tune your brainwaves into deeper and deeper Theta levels. Theta brainwaves have been linked to states of relaxation and have been found to be present during most meditational states. Theta brainwaves are most common right before going to bed and immediately upon waking from sleep, and they can be used to enhance your perceptual functioning and boost your holistic thought-flowing ability.

Theta brainwaves have been linked to states of mental reverie, deep relaxation, increased visualization abilities, increased levels of creativity, highly free-flowing holistic thought, brainstorming, problem solving and many other positive influences. Theta brainwaves have also been linked to benefits of the physical body like decreased levels of stress, decreased levels of certain stress-related chemicals in your bloodstream such as adrenalin and hydrocortisol. Theta brainwaves often create increased visualization ability, free-flowing thoughts and access to "Eureka !" moments when the perfect solutions and needed answers just pop into your head.

By using this powerful BMV flac and entraining to Theta, you can add a brainwave boost to your meditations or simply summon an Theta state for any activity that requires inner relaxation, silencing of the mind, or simply a sense of stillness & mental calm. The whole program progressively slows your waking Beta brainwaves into an expanded, holistic, visualistic Theta brainwave range.



Brainwave Mind Voyages (Series IV) - The Theta Brainwaves (flac  263mb)

01 Upper Level Thetawaves
02 Upper Theta with Mid-Level Mix
03 Upper Theta with Low-Level Mix
04 UpperMiddle Level Thetawaves
05 UpperMid Theta with Upper Mix
06 UpperMid Theta with Lower Mix
07 LowetMiddle Level Thetawaves
08 LowerMid Theta with Upper Mix
09 LowerMid Theta with Lower Mix
10 Lower Level Thetawaves
11 Lower Theta with Upper Mix
12 Lower Theta with upper Delta Mix
13 The Holovibe The Schumann Resonance (7.8 Hz)

xxxxx xxxxx xxxxx xxxxx xxxxx

Previously

Brainwave Mind Voyages (Series I) (flac  248mb)
Brainwave Mind Voyages (Series II) (flac  342mb)
Brainwave Mind Voyages (Series III) (flac  258mb)


xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,

The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.


Today's artist is a Brazilian musician. He has over 55 releases, and plays bossa nova heavily crossed with jazz and funk. He was nominated for an Academy Award for Best Original Song in 2012  Our man is married to Gracinha Leporace, who has performed with him since the early 1970s. Mendes has also collaborated with many artists through the years, including the Black Eyed Peas, with whom he re-recorded in 2006 a version of his breakthrough hit "Mas Que Nada"..... N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

For most of the second half of the '60s, Sergio Mendes was the top-selling Brazilian artist in the United States, charting huge hit singles and LPs that regularly made the Top Five. His records with his group, Brasil '66, regularly straddled the domestic pop and international markets in America, getting played heavily on AM radio stations, both rock and easy listening, and he gave his label, A&M, something to offer light jazz listeners beyond the work of the company's co-founder, Herb Alpert. During this period, he also became an international music star and one of the most popular musicians in South America.

Dance Moderno Born the son of a physician in Niteroi, Brazil, Mendes began studying music at the local conservatory while still a boy, with the intention of becoming a classical pianist. He was living in Rio de Janeiro as the bossa nova craze hit in the mid- to late '50s, and at age 15, he abandoned classical music in favor of bossa nova. Mendes began spending time with other young Brazilian musicians in Rio de Janeiro, absorbing the musical ferment around him in the company of such figures as Antonio Carlos Jobim and João Gilberto. Their company was augmented by the periodic visits of American jazz giants such as Stan Getz, Dizzy Gillespie, Charlie Byrd, Paul Winter, Roy Eldridge, and Herbie Mann. Mendes became the leader of his own group, the Sexteto Bossa Rio, and was heard with them by many visiting musicians.

He made his first recording, Dance Moderno, in 1961 on the Philips Records label. By 1962, Mendes and his band were playing at Birdland in New York in an impromptu performance with Cannonball Adderley (who was officially on the bill). Mendes and Adderley cut an album together for Capitol Records that was released later that year.
Bossa Nova York His early music, represented on albums like Bossa Nova York and Girl from Ipanema, was heavily influenced by Antonio Carlos Jobim, on whose recording Mendes worked. Mendes liked what he had found on his visit to New York, and in 1964 he moved to the United States, initially to play on albums with Jobim and Art Farmer, and formed Brasil '65 the following year. The group recorded for Capitol without attracting too much notice at first. In 1966, however, Mendes and his band -- renamed Brasil '66 -- were signed to A&M Records and something seemed to click between the group and its audience.

Equinox The group, consisting in its first A&M incarnation of Mendes on keyboards, Bob Matthews on bass, João Palma on drums, Jose Soares as percussionist, Lani Hall (aka Mrs. Herb Alpert and A&M's co-founder) on vocals, and Janis Hansen on vocals, was successful upon the release of its first album for the label, with its mix of light jazz, a bossa nova beat, and contemporary soft pop melodies. Their self-titled debut LP rose to number six nationally, propelled by the presence of the single "Mas Que Nada." Their second album, Equinox, yielded a trio of minor hits, "Night and Day,""Constant Rain (Chove Chuva)," and "For Me," but their third, Look Around, rose to number five behind a number three single of the group's cover of the Beatles'"Fool on the Hill" and an accompanying hit with "Scarborough Fair," based on the Simon & Garfunkel version of the folk song. Crystal Illusions, from 1969, featured a version of Otis Redding's "(Sittin' On) The Dock of the Bay" and the hit single "Pretty World." Depending upon one's sensibilities, these covers -- especially "Fool on the Hill" and "Scarborough Fair" -- were either legitimate, internationalized pop versions of the originals, or they were "elevator music."

During this period, Mendes also made several recordings for Atlantic Records separate from his A&M deal, principally aimed at a light jazz audience, and several of them in association with Jobim. Art Farmer, Phil Woods, Hubert Laws, and Claire Fisher were among the jazz figures who appeared on these records, which never remotely attracted the same level of interest or sales as his records with Brasil '66. Mendes successfully walked a fine line between international and domestic audiences for most of the late '60s until the end of the decade. Ye-Me-Le was notably less successful than its predecessors, and its single, "Wichita Lineman," was only a minor hit. Mendes seemed to lose his commercial edge with the turn of the decade, and his next two A&M albums: Stillness, a folk-based collection that contained covers of Joni Mitchell's "Chelsea Morning" and Stephen Stills'"For What It's Worth," and Primal Roots, an album of traditional Brazilian music, failed to make any impression on the charts whatsoever.

The group moved to the much smaller Bell Records label in 1973, and then Mendes jumped to Elektra for his first official solo album, Sergio Mendes. He relaunched his recording career two years later with Sergio Mendes & Brasil '77 to little avail, and then, after a five-year layoff from the public eye, Mendes returned to A&M in 1982. His 1983 comeback album, Sergio Mendes, was his first Top 40 album in nearly a decade and a half, and was accompanied by his biggest chart single ever, "Never Gonna Let You Go," which hit number four. Since then, Mendes has had limited chart success with the single "Alibis" and the LP Confetti. He remained a popular figure internationally, even when his record sales slumped in America, as evidenced by the fact that his entire A&M catalog (and much of his Atlantic work) from the '60s has been reissued on CD in Japan. Indeed, his popularity in the rest of the world, versus America, was even the basis for a comic vignette in one episode of the television series Seinfeld.

During the '90s, Mendes performed with a new group, Brasil '99, and more recently, Brasil 2000, and has been integrating the sounds of Bahian hip-hop into his music. In 1997, A&M's British division released a remastered double-CD set of the best of Mendes' music from his first seven years on the label. Most of Mendes' back catalog was reissued as the 21st century dawned, and in 2006, Concord Records released Timeless, his first album of newly recorded material in eight years. A mere two years later, Encanto appeared, including co-productions from will.i.am of Black Eyed Peas. A third album on Concord, Bom Tempo, was released in 2010. After appearances at numerous festivals and a global tour, Mendes took a short break before beginning to record again. He signed to Sony's revived OKeh imprint and cut a completely new set of songs in Los Angeles, Salvador, and Bahia, with a host of special guests and old friends, including John Legend, will.i.am., and Brazilian artists such as Carlinhos Brown, with whom he cut the first single, "One Nation," issued on One Love, One Rhythm: The 2014 FIFA World Cup Official Album. Mendes' album Magic was released in September.

xxxxx xxxxx xxxxx xxxxx xxxxx

Equinox continues the scrumptiously winning sound that Sergio Mendes cooked up in the mid-'60s, this time a bit more fleshed out with John Pisano's guitar, a slightly thicker texture, and even an imitation sitar (this was, after all, 1967). Again, the mix of American pop tunes old and new and Brazilian standards and sleepers is impeccable (although it didn't yield any substantial hits), and the treatments are smooth, swinging, and very much to the point. While Mendes reaps a predictable harvest from Antonio Carlos Jobim -- he was one of the first to discover and record "Triste" and "Wave" -- he also likes to explore the work of other outstanding Brazilian writers like Jorge Ben, Joao Gilberto, and especially Edu Lobo (whose "For Me," with its bright flashes of combo organ, is one of the album's highlights). Lani Hall's star was just rising at this time, and it is her cool, clear voice that haunts the memory most often. Like its predecessor, Equinox is exceedingly brief in duration, yet not a motion is wasted.



Sergio Mendes & Brasil '77 - Pais Tropical (flac  222mb)

01 País Tropical 2:42
02 So Many People 3:20
03 Morro Velho 4:24
04 Zanzibar 4:55
05 Tonga (A Tonga da Mironga Do Kabulete) 4:25
06 Gone Forever 3:35
07 Asa Branca 2:15
08 I Know You 4:07
09 After Midnight 4:36
10 Pais Toropical(Japanese Version) 2:36

Sergio Mendes & Brasil '77 - Pais Tropical    (ogg  84mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

In the mid- to late '60s, Sergio Mendes & Brasil '66 were one of the most successful acts doing stark Latin pop for A&M. By the early '70s, the members of the classic Brasil '66 lineup had moved on and styles had changed. Mendes ended up on Elektra/Asylum in the mid- to late '70s, when the label was best-known for its laid-back and polished pop/rock artists like Carly Simon, the Eagles, and Jackson Browne. For this 1977 set, Mendes didn't pick up an acoustic guitar and sign on Waddy Watchel, however. Sergio Mendes & the New Brasil '77 has Mendes in a fully updated, glossy R&B/pop/jazz mode. For fans that might not be the best news. The covers of "Love Me Tomorrow" and "Mozambique" have all of the accoutrements of stylish late-'70s R&B/jazz and most of their facelessness. The sleek cover of "If You Leave Me Now" does have Mendes' trademark close, halting harmonies, and an inventive arrangement. Stevie Wonder contributes two B+ tracks, "Love City" and "The Real Thing," and both warmly bear his harmonic signatures. Players who were part of Wonder's great '70s band Wonderlove also contribute tracks, like the aforementioned "Mozambique" and the playful "P-Ka-Boo." Like many artists doing albums like this, Mendes all but disappears in the gloss of the mix. The results are fair to good, but anyone liking his '60s work can't help but feel disappointed.



Sergio Mendes e The New Brasil 77  (flac  207mb)

01 Love Me Tomorrow 3:30
02 Love City 3:32
03 Mozambique 3:02
04 If You Leave Me Now 3:50
05 Penninsula 2:14
06 Why 3:29
07 The Real Thing 4:45
08 P-Ka-Boo 3:56
09 Life 3:53

Sergio Mendes e The New Brasil 77     (ogg   78mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

At long last, Sergio Mendes seemed to be getting a bit weary of the constant chore of chasing hits in the North American pop field, and the siren call of his native Brazil beckoned. So while the overall sound of Arara remains mostly stuck in Mendes''80s dance-pop manner, the material is all Brazilian and the CD is sometimes open to more complex rhythms than what Mendes had been using since the mid-'70s. In other words, this is not far away from the concept that The Manhattan Transfer tried on its Brasil album, but not nearly as bold nor as moving. As in the '60s, Mendes draws from the top of the deck of Brazilian writers -- Ivan Lins, Djavan, Milton Nascimento, Jorge Ben, Gilberto Gil, Dori Caymmi -- for material. There is also a remake from the Brasil '66 days, a "Mas Que Nada" electronically updated for the end of the '80s -- a little stiffer, perhaps, but the tune shines through anyway. Though only a partial return to Brazil, this record nevertheless signaled a welcome trend in Mendes' work, where he would return more and more to his roots in the future.



Sergio Mendes - Arara (flac 260mb)

01 Sarara (Bring Me The Sunlight) 4:00
02 Mas Que Nada 3:50
03 Some Morning 3:46
04 Nightlife 3:37
05 Cinnamon And Clove (Cravo E Canela) 3:30
06 Balafon 3:28
07 Surrender 4:21
08 Keep This Heart 3:28
09 Toucan's Dance (Instrumental) 3:48
10 The Island 3:37

Sergio Mendes - Arara    (ogg  95mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

What 1989's Arara hinted at, 1991's Brasileiro delivers with a vengeance, for at long last, here is a genuine, back-to-Brazil tour de force by expatriate Mendes. Taking up the long-abandoned thread of his prophetic Primal Roots album of 1972, Mendes went back to the taproots of his heritage, calling upon a plethora of explosive Brazilian rhythms and sounds recorded mostly in Brazil. Though he returned to California to pile on additional tracks from L.A. sessionmen and give the production a finished sheen, there is no sense of any watering down; the thrust of the music bears the added weight and polish easily. With the rat-a-tat opening of thunderous Bahian-influenced percussion from the streets of Rio, "Fanfarra (Cabua-Le-Le)" gets the CD off to a tremendous start, and "Magalenha" continues the assault directly from the hands of Bahian percussionists. Energetic fusions of this and that abound on this recording. Combining forro and samba reggae with Indiado stomps and shouts (the convincing horn riffs are performed on synths), "What Is This" -- good question -- is a romping Bahian take on hip-hop, and "Kalimba" grafts Portuguese vocals onto a swinging American funk groove. Mendes once again draws upon the giants and comers of Brazilian songwriting -- Ivan Lins, Gilberto Gil, Joao Bosco, Carlinhos Brown, and Guinga -- and the unusual 3/4-meter samba "Pipoca" is the creation of do-everything mystery man Hermeto Pascoal. Dominating the signature Mendes vocal blend is Gracinha Leporace (Mrs. Mendes), who sounds more vibrant than ever on these tracks, and bassist Sebastian Neto also returns to the Mendes fold. This was Mendes' most electrifying album in at least two decades; you have to go back all the way to -- well -- Primal Roots to hear this artist operating at such a peak.



Sergio Mendes - Brasileiro    (flac  353mb)

01 Fanfarra (Cabua-le-le) 4:01
02 Magalenha 3:37
03 Indiado 4:16
04 What Is This? 4:44
05 Lua Soberana 4:13
06 Sambadouro3:15
07 Senhoras Do Amazonas 4:40
08 Kalimba 4:18
09 Barabare 3:23
10 Esconjuros 3:39
11 Pipoca 3:09
12 Magano 4:34
13 Chorado 3:23
14 Fanfarra (Despedida) 0:29

Sergio Mendes - Brasileiro     (ogg   137mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,

Today's artists influenced future hardcore punk bands with their fast-paced, energetic playing style and attitude. Along with the Sex Pistols and the Clash, they helped to spearhead the punk movement in the United Kingdom. They are sometimes referred to as British punk's "band of firsts," having made accomplishments mentioned previously, as well as other "firsts" like the first punk band to break up and come back........N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

With punk's history having entered a new millennium, the impact of the band initially judged "the least likely to" seems to grow ever more each day. The Ramones hold deserved pride of place for kick-starting the whole thing, while the Sex Pistols -- and to a lesser extent, the Clash -- helped take it to an even more notorious level, serving as role models for many young bands to this day. But arguably just as important and memorable were the Damned, London contemporaries of the Pistols and Clash that made their own mark from the start. Eschewing political posing, ill-fitting outside rhetoric, and simply doing the same thing over and over again, the group -- which lacked anything like a stable lineup -- took punk's simplicity and promise as a starting point and ran with it. The end result, at the group's finest: a series of inspired, ambitious albums and amazing live shows combining full-on rock energy, a stylish sense of performance, and humorous deadpan cool. Not necessarily what anyone would have thought when Ray Burns and Chris Millar met in 1974, when both ended up working backstage at the Croydon Fairfield Hall.

Burns and Millar -- more famously known in later years as guitarist/singer Captain Sensible and manic drummer Rat Scabies -- kept in touch as both struggled in the stultifying mid-'70s London scene. Things picked up when Scabies talked his way into a rehearsal with London S.S., the shifting lineup ground zero of U.K. punk that nearly everybody seemed to belong to at one point or another. There he met guitarist Brian James, while in a separate venture overseen by Malcolm McLaren, casting about for his own particular group to oversee, Scabies first met theatrical singer Dave Vanian, still working through his New York Dolls/Alice Cooper obsession. Vanian's own history allegedly included singing "I Love the Dead" and "Dead Babies" while working as a gravedigger, but whatever the background, he proved to be a perfect frontman. Scabies put Sensible in touch with Vanian and James and the Damned were born, with Sensible switching over to bass while James handled guitar and songwriting.

Though the Sex Pistols became the most publicized of all the original London punk groups, forming and playing before everyone else, the Damned actually ended up scoring most of the firsts on its own, notably the first U.K. punk single -- "New Rose" -- in 1976 and the first album, Damned Damned Damned, the following year. Produced by Nick Lowe, both were clipped, direct explosions of sheer energy, sometimes rude but never less than entertaining. The group ended up sacked from the Pistols' cancellation-plagued full U.K. tour after only one show, but rebounded with a opening slot on the final T. Rex tour, while further tweaking everyone else's noses by being the first U.K. act to take punk back to America via a New York jaunt. Things started to get fairly shaky after that, however, with Lu Edmonds drafted in on second guitar and plans for the group's second album, Music for Pleasure, not succeeding as hoped for. The members wanted legendary rock burnout Syd Barrett to produce, but had to settle for his Pink Floyd bandmate Nick Mason. The indifferent results and other pressures convinced Scabies to call it a day, and while future Culture Club drummer Jon Moss was drafted in to cover, the group wrapped it up in early 1978.

Or so it seemed; after various go-nowhere ventures (Sensible tried the retro-psych King, Vanian temporarily joined glam-too-late oddballs the Doctors of Madness), all the original members save James realized they still enjoyed working together. Settling the legal rights to the name after some shows incognito in late 1978, the group, now with Sensible playing lead guitar (and also the first U.K. punk band to reunite), embarked on its most successful all-around period. With a series of bassists -- first ex-Saints member Algy Ward, then Eddie & the Hot Rods refugee Paul Gray and finally Bryn Merrick -- the Damned proceeded to make a run of stone-cold classic albums and singles. There'd be plenty of low points amidst the highs, to be sure, but it's hard to argue with the results. Vanian's smart crooning and spooky theatricality ended up more or less founding goth rock inadvertently (with nearly all his clones forgetting what he always kept around -- an open sense of humor). Sensible, meanwhile, turned out to be an even better guitarist than James, a master of tight riffs and instantly memorable melodies and, when needed, a darn good keyboardist, while Scabies' ghost-of-Keith Moon drumming was some of the most entertaining yet technically sharp work on that front in years.

Machine Gun Etiquette The one-two punch of Machine Gun Etiquette, the 1979 reunion record, and the following year's The Black Album demonstrated the band's staying power well, packed with such legendary singles as the intentionally ridiculous "Love Song," the anthemic "Smash It Up," and "Wait for the Blackout" and the catchy Satanism (if you will) of "I Just Can't Be Happy Today." On the live front, the Damned were unstoppable, riding out punk's supposed death with a series of fiery performances laden with both great playing and notable antics, from Sensible's penchant for clothes-shedding to Vanian's eye for horror style and performance. Released in 1982, Strawberries found the Damned creating another generally fine release, but to less public acclaim than Sensible's solo work, the guitarist having surprisingly found himself a number one star with a version of "Happy Talk" from South Pacific. While the dual career lasted for a year or two more, the Damned found themselves starting to fracture again with little more than a hardcore fan base supporting the group work -- Sensible finally left in mid-1984 after disputes over band support staff hirings and firings. Second guitarist Roman Jugg, having joined some time previously, stepped to the lead and the band continued on.

Phantasmagoria To everyone's surprise, not only did the Damned bounce back, they did so in a very public way -- first by ending up on a major label, MCA, who issued Phantasmagoria in 1985, then scoring a massive U.K. hit via a cover of "Eloise," a melodramatic '60s smash for Barry Ryan. It was vindication on a commercial level a decade after having first started, but the Anything album in 1986, flashes of inspiration aside, felt far more anonymous in comparison, the band's worst since Music for Pleasure.

After a full career retrospective release, The Light at the End of the Tunnel, the band undertook a variety of farewell tours, including dates with both Sensible and James joining the then-current quartet. The end of 1989 brought a final We Really Must Be Going tour in the U.K., featuring the original quartet in one last bow, which would seem to have been the end to things. Anything but. The I Didn't Say It tour arrived in 1991, with Paul Gray rejoining the band to play along with the quartet. It was the first in a series of dates and shows throughout the '90s which essentially confirmed the group as a nostalgia act, concentrating on the early part of its career for audiences often too young to have even heard about them the first time around. It was a good nostalgia act, though, with performances regularly showing the old fire (and Sensible his legendary stage presence, often finishing shows nude). After some 1992 shows, the Damned disappeared again for a while -- but when December 1993 brought some more dates, an almost all-new band was the result. Only Scabies and Vanian remained, much like the late '80s lineup; their cohorts were guitarists Kris Dollimore and Alan Lee Shaw and bassist Moose.

This quintet toured and performed in Japan and Europe for about two years, also recording demos here and there that Vanian claimed he believed were for a projected future album with both Sensible and James contributing. Whatever the story, nothing more might have happened if Scabies hadn't decided to work out a formal release of those demos as Not of This Earth, first appearing in Japan in late November 1995. Vanian, having reestablished contact with Sensible during the former's touring work with his Phantom Chords band, responded by breaking with Scabies, reuniting fully with Sensible and recruiting a new group to take over the identity of the Damned. Initially this consisted of Gray once again, plus drummer Garrie Dreadful and keyboardist Monty. However, Gray was replaced later in 1996 following an on-stage tantrum by, in a totally new twist, punk veteran Patricia Morrison, known for her work in the Gun Club and the Sisters of Mercy among many other bands. Scabies reacted to all this with threats of lawsuits and vituperative public comments, but after all was said and done, Vanian, Sensible, and company maintained the rights to the name, occasional billing as "ex-members of the Damned" aside, done to avoid further trouble.

Since then, this latest version of the Damned has toured on a fairly regular basis, though this time with instability in the drumming department (Dreadful left at the end of 1998, first replaced by Spike, then later in 1999 by Pinch). While Vanian continued to pursue work with the Phantom Chords, for the first time in years, the Damned started to become a true outfit once again, the lineup gelling and holding together enough to warrant further attention. The capper was a record contract in 2000 with Nitro Records, the label founded and run by longtime Damned fanatic Dexter Holland, singer with the Offspring (who covered "Smash It Up" for the Batman Forever soundtrack in the mid-'90s). In a fun personal note, meanwhile, Morrison and Vanian married, perhaps making them the ultimate punk/goth couple of all time. Grave Disorder By 2001, the Vanian/Sensible-led Damned looked to be in fine shape, releasing the album Grave Disorder on Nitro and touring to general acclaim. Knowing the fractured history of the band -- captured in the literally endless series of releases, authorized and otherwise, from all periods of its career, live, studio, compilations, and more -- only a foolish person would claim things would stay on an even keel for the future.

Permanently losing Scabies would seem to have been a killer blow on first blush, but the group has soldiered on regardless, a welcome influence from the past as well as a group of fine entertainers for the present. The year 2005 found both eras of the band being represented. While the new lineup was touring and working on a new album, the original lineup was honored by the three-disc box set Play It at Your Sister, which was released on the Sanctuary label. The limited-edition set covered the years 1976-1977, featuring all the tracks from the first two albums along with John Peel sessions and live material. It soon came time for the new lineup to issue its own album, which arrived in 2008 in the form of a slick, pop-influenced record titled So, Who's Paranoid? Extensive touring ensued, and in early 2015, with Sensible present, a documentary titled The Damned: Don't You Wish That You Were Dead premiered at the SXSW Film Festival. Merrick, who had been performing in a Ramones tribute band, died later that year of cancer.

xxxxx xxxxx xxxxx xxxxx xxxxx

While the Sex Pistols will always have a prominent place in the story of U.K. punk, the Damned did nearly everything first, including the first single, the smoking "New Rose," and the first album, namely this stone classic of rock & roll fire. At just half an hour long, Damned Damned Damned is a permanent testimony to original guitarist Brian James' songwriting (ten of the 12 tracks are his) and the band's take-no-prisoners aesthetic. Starting with Captain Sensible's sharp bassline for "Neat Neat Neat," which rapidly explodes into a full band thrash, the Damned left rhetoric for the theoreticians and political posing for the Clash. All the foursome wanted to do was rock, and that they do here. Dave Vanian already has his spooky-voiced theatrics down cold; "Feel the Pain" indulges his Alice Cooper fascination while the band creates some creepy fun behind him. Most of the time, he's yelping with the best of them, but with considerably more control than most of the era's shouters. Scabies' considerable reputation as a drummer starts here; comparisons flew thick and fast to Keith Moon, and not just for on-stage antics (of which there were plenty). His sense of stop-start rhythm and fills is simply astounding, whether on "So Messed Up" or in his own one-minute goof, "Stab Yer Back." Though the Captain doesn't get his full chance to shine on bass, he's more than adequate, while James just cranks the amps and lets fly. Concluding with a version of the Stooges'"I Feel Alright" that sounds hollower than the original but no less energetic, Damned Damned Damned is and remains rock at its messy, wonderful best.



The Damned - Damned Damned Damned (flac  222mb)

01 Neat Neat Neat 2:46
02 Fan Club 2:59
03 I Fall 2:08
04 Born To Kill 2:37
05 Stab Your Back 1:03
06 Feel The Pain 3:37
07 New Rose 2:44
08 Fish 1:38
09 See Her Tonite 2:29
10 1 Of The 2 3:10
11 So Messed Up 1:55
12 I Feel Alright4:26

The Damned - Damned Damned Damned  (ogg  72mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Produced, for numerous arcane reasons, by Pink Floyd drummer Nick Mason, the second Damned album, Music for Pleasure, was considered a disaster at the time and led to their being dropped from Stiff and their first break-up. In retrospect, however, it's quite a respectable punk artifact, though the Damned themselves rejected it and never performed any of its songs again. More a historical document than a great LP, Music for Pleasure's highlights include "Politics,""Alone,""Your Eyes," and "Creep (You Can't Fool Me)." There's some great Lol Coxhill sax wailing on "You Know," and Beatles completists will be interested in the band's cover of "Help." Not essential, but a good solid album for collectors of '70s punk.



The Damned - Music For Pleasure   (flac 259mb)

01 Problem Child 2:13
02 Don't Cry Wolf 3:15
03 One Way Love 3:44
04 Politics 2:26
05 Stretcher Case 1:52
06 Idiot Box 5:00
07 You Take My Money 2:04
08 Alone 3:37
09 Your Eyes 2:53
10 Creep (You Can't Fool Me) 2:12
11 You Know 5:05
12 Help 1:45
13 Sick Of Being Sick 2:32
14 Singalong A Scabies 0:59

The Damned - Music For Pleasure   (ogg  85mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Rejoining forces without Brian James, who pursued his own interests from then on (only hooking up with the band again for a late-'80s "farewell" show), the remaining three brought in young Saints veteran Ward on bass, recorded an album, and hoped for the best. That best proved much better than expected; while singles ended up on the charts, Machine Gun Etiquette itself was deservedly hailed as another classic from the band. Over time, its reputation has grown to equal the original Damned Damned Damned; while no less strong than that record, the Damned here bring in a wide variety of touches and influences to create a record that most of their contemporaries could never have approached. The group's wicked way around witty punk hadn't ebbed a bit; the opening cut, "Love Song," is a hilarious trashing of romantic clichés (sample lyric: "I'll be the rubbish, you'll be the bin!") that barely lasts two minutes, while "Noise, Noise, Noise" and "Liar" work in the same general vein. These, however, only scratch the surface. "Melody Lee," written by the Captain for a favorite comic character, starts with a lovely piano intro, whereas the celebratory angst of "I Just Can't Be Happy Today" chugs along with garagey élan and keyboards á la the Electric Prunes. Other prime standouts include "Plan 9 Channel 7," a Grand Guignol of an epic about James Dean and Vampira with a fantastic Vanian vocal; the merry mayhem of "These Hands" (belonging to a killer circus clown, with appropriate carnival music, of course); and a great rip through the MC5's "Looking at You." The best moment was saved for last, though: "Smash It Up," a two-part number divided between an affecting instrumental tribute to longtime supporter and Captain hero Marc Bolan, and a perfect trash-the-rules-and-party pop/punk/R&B scorcher



The Damned - Machine Gun Etiquette (flac 432mb)

01 Love Song 2:21
02 Machine Gun Etiquette 1:48
03 I Just Can't Be Happy Today 3:42
04 Melody Lee 2:07
05 Anti-Pope 3:19
06 These Hands 2:02
07 Plan 9 Channel 7 5:08
08 Noise, Noise, Noise 3:09
09 Looking At You 5:07
10 Liar 2:43
11 Smash It Up (Parts 1 & 2) 5:11
Bonus Tracks
12 Love Song (Ed Hollis Version) 2:03
13 Noise, Noise, Noise (Ed Hollis Version) 3:25
14 Suicide 3:18
15 Smash It Up (Part 2) (Backing Track - Singalonga Damned) 2:56
16 Smash It Up (Part 4)1:57
17 Burglar 3:33
18 I Just Can't Be Happy Today (DJ Edit) 3:00
19 Ballroom Blitz 3:28
20 Turkey Song 1:32

The Damned - Machine Gun Etiquette  (ogg  148mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

The fact that one of its songs is called "Hit or Miss" is quite appropriate for the double-vinyl Black Album; while not perfect, it's definitely got some high points on it. Given the intentionally parodic reference to the Beatles' own two-disc sprawler, perhaps the semi-schizophrenia is perfectly intentional. Some of the numbers show the band following their original punk vein, but by this point the four (joined here by a new bassist, Paul Gray) were leaving straight, three-chord thrash to the cul-de-sac revivalists. The album begins with a Damned classic, "Wait for the Blackout," a dramatic psych/punk surge infected with Vanian's glorious croon, celebrating the joys of the night while steering clear of overtly-serious goth affectations. After that, things start to vary, but tracks of note are still thick on the ground, including "Lively Arts," a nicely barbed take on culture with some harpsichord to match, and the goofy but still enjoyable "Drinking About My Baby." Regardless, things get a bit restful at points, and while Vanian often steps forward to continue carrying it along, sometimes even the band isn't happy with the results. "History of the World (Part One)" has always carried the credit "overproduced by Hans Zimmer" because they felt the guest synth player did just that! However, the final two studio tracks are doozies: "Therapy," a Sensible/Vanian-sung romp with a great chorus, and the sidelong "Curtain Call," perhaps the most unlikely thing the Damned ever did. That said, it's still a surprisingly good blast, a tour de force for Vanian particularly and a chance for the band to try everything from straightforward rock to gentler atmospherics.



The Damned - The Black Album (flac  368mb)

01 Wait For The Blackout 3:51
02 Lively Arts 2:55
03 Silly Kid's Games 2:15
04 Drinking About My Baby 3:27
05 Twisted Nerve 4:35
06 Hit Or Miss 2:36
07 Dr Jeckyll And Mr Hyde 4:31
08 Sick Of This And That 1:47
09 The History Of The World (Part 1) 3:52
10 13th Floor Vendetta 5:04
11 Therapy 6:11
12 Curtain Call 17:12

The Damned - The Black Album  (ogg  129mb)

xxxxx

The Damned - The Black Album bonus (flac  343mb)

01 Love Song (Live) 2:10
02 Second Time Around (Live) 1:46
03 Smash It Up Parts 1 & 2 (Live) 4:24
04 New Rose (Live) 1:50
05 I Just Can't Be Happy Today (Live) 3:55
06 Plan 9 Channel 7 (Live) 5:12
07 White Rabbit 3:00
08 Rabid (Over You) 3:43
09 Seagulls 2:36
10 The History Of The World (Part 1) (Single Version) 3:48
11 I Believe The Impossible 2:54
12 Sugar And Spite 1:30
13 There Ain't No Sanity Clause 2:27
14 Looking At You (Live) 5:51
15 White Rabbit (Extended Version) 5:22

The Damned - The Black Album bonus  (ogg  119mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,

These days i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here  remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up.

Looka here another batch of 33 re-ups, requests fullfilled up to January 18th. There's much more to be had here. My tip here randomly pick an archive date and move up or down a few pages to older or newer posts, browse what you get there and maybe you'll find something of your liking or it may triggers a memory of what you'd really want and then do a search  ...N' Joy

xxxxx xxxxx xxxxx xxxxx xxxxx


3x Sundaze Back in Flac (Field Rotation - Licht Und Schatten, Field Rotation - Acoustic Tales, Field Rotation - And Tomorrow I Will Sleep)


4x Aetix NOW in Flac (Echo and the Bunnymen - Heaven Up Here, Echo And The Bunnymen - Ocean Rain, Echo and The Bunnymen - Crocodiles, Echo and The Bunnymen - Porcupine)


3x Aetix NOW in Flac (Modern English - After The Snow, General Public - All The Rage, still in ogg Fingerprintz - The Very Dab)


3x Aetix NOW In Flac (Thompson Twins - Into The Gap extended, Echo and The Bunnymen - Porcupine extended, still in ogg Nasmak - Silhoutte +Flexi)


4x Roots Back in Flac (UB40 - Present Arms, UB40 - Present Arms In Dub, Musical Youth - Anthology, + UB40 - Signing Off )


3x Roots Back in Flac (Linton Kwesi Johnson ‎- Tings An' Times, Linton Kwesi Johnson - More Time, Linton Kwesi Johnson - Live In Paris)


3x Aetix Back in Flac (Anna Domino - Anna Domino, Anna Domino - This Time, Anna Domino - Mysteries Of America)


3x Aetix NOW in Flac (The Pop Group - Y, The Pop Group - For How Much Longer Do We Tolerate Mass Murder, VA - In The Beginning There Was Rhythm)

7x Wavetrain Back in Flac ( The Future and The Human League - The Golden Hour Of The Future, Human League - Travelogue , Heaven 17 - Endless, Clock DVA - Thirst, Cabaret Voltaire - Drinking Gasoline, still in ogg Hula - Cut From Inside, In The Nursery - Koda)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello, did you feel that shift in 'the force' today, the US will no longer borrow from their future-fat chance- no it's America will be great again, like it was before the Vietnam war (i assume), when the militairy industrial complex was still relatively weak, question is does president Trump and his Breitbart friends see it this way, and should they, how to get control over this extremely dangerous leech that bleeds the US dry and what to do about those corporations that hardly pay tax. It's the enemy within that endangers the US, not China or those insane Daesh clowns. I predict that Trump will succumb to paranoia before a patsy bullit strikes him...



Today's artists interacted with numerous music industry personalities, one in particular was Motown producer Norman Whitfield. Whitfield gradually became associated with the group by hiring it for recording sessions; the group also worked with Yvonne Fair, the Undisputed Truth, and the Temptations through Whitfield's influence. After a couple of years of seasoning, the group began production on its debut album under Whitfield's supervision. Also during this time, MCA Records was seeking an artist for the soundtrack to the movie Car Wash. Whitfield convinced executives that the band was more than competent for the job. So the material that Whitfield had assembled for the group's debut album became the soundtrack's material, and the start of their music career..... N'joy

xxxxx xxxxx xxxxx xxxxx xxxxx

The Los Angeles-based group originally comprised Henry Garner (drums), Terral "Terry" Santiel (congas), Lequeint "Duke" Jobe (bass), Michael Moore (saxophone), Kenny Copeland (trumpet, lead vocals), Kenji Brown (guitar, lead vocals), Freddie Dunn (trumpet), and Victor Nix (keyboards). The group began in the early 1970s, when members of several backup bands from the Watts and Inglewood areas of Los Angeles united under the name Total Concept Unlimited. In 1973, this collective toured England and Japan behind Motown soul star Edwin Starr. Starr introduced them to Norman Whitfield, Motown's 'psychedelic shaman' who was responsible for bringing a progressive funk-rock slant to the company, via such productions as Starr's "War", The Undisputed Truth's "Smiling Faces Sometimes" and The Temptations'"Papa Was A Rolling Stone".

Whitfield, after a decade at Motown, wanted to start a company of his own. He took the T.C.U. octet under his wing and signed them to his label. The group, now called Magic Wand, began working with Yvonne Fair and became the studio and concert band for The Undisputed Truth. During a tour stop in Miami, Undisputed Truth leader Joe Harris stumbled upon a singer named Gwen Dickey, then a member of a local group called The Jewels. Harris informed Whitfield of his discovery and Dickey was flown to Los Angeles to audition. In Dickey, Whitfield found the ingredient he felt was missing in Magic Wand: a charismatic female singer. He gave her the stage name Rose Norwalt. The original band lineup, now complete, prepared their debut album.

During this time Whitfield was contacted by film director Michael Schultz, fresh from the success of his first feature, Cooley High. Schultz offered Whitfield the opportunity to score his next picture, Car Wash. Whitfield would utilize the film to launch his new group, and began composing music based on script outlines. He and the band visited the film set, soaking up the atmosphere. This was one of the rare instances in Hollywood in which the music was composed concurrently with the picture instead of after the fact. In the spirit of the soundtrack, the band's name was changed one final time to 'Rose Royce'. The name not only referenced the movie's automotive theme, but it also placed Gwen "Rose" Dickey front and center. Further, it hinted at a touch of class the band strove to bring to 1970s soul-funk.

The movie Car Wash and the soundtrack were great successes, bringing the group national fame. Whitfield won the Best Music award at the Cannes Film Festival, and the album received the Grammy for Best Motion Picture Score Album of the Year. Released in late 1976, the soundtrack featured three Billboard R&B Top Ten singles: "Car Wash,""I Wanna Get Next to You," and "I'm Going Down." The first of these was also a number one single on the Billboard popular music charts, and "I Wanna Get Next to You" reached number ten.

The group's follow-up album, Rose Royce II: In Full Bloom, produced two Top Ten singles, "Do Your Dance" and "Ooh Boy". It also included "Wishing on a Star", which for Rose Royce was a top-10 hit only in the UK; it became notable elsewhere through its cover versions, including The Cover Girls' Top Ten single in 1992. During 1978, they released their third album, entitled Rose Royce III: Strikes Again!, and it featured "I'm in Love (And I Love the Feeling)" and "Love Don't Live Here Anymore". Both singles entered the Billboard R&B Top Five. "Love Don't Live Here Anymore" was a #2 smash hit in the UK, and would later gain greater exposure through its cover versions, most notably by Madonna in 1984 and 1995.

The group followed with a series of modest successes that reached the charts, but never gained the status that their previous songs did. Dickey left the group in April 1980 and the band temporarily disbanded. However, the remaining members regrouped, adjusted the line-up, and kept the group somewhat popular in the UK, where they remained a marquee attraction. Rose Royce was featured in the TV One's seasonal series, Unsung during the spring of 2010. The story featured the successes and internal bickering of the group. Dickey, Copeland, Jobe, Moore and Garner were the only members of the band who gave interviews throughout the program. Dickey now performs as a solo artist in the UK, but mentioned during the interview that she would not mind performing with the group once again.

xxxxx xxxxx xxxxx xxxxx xxxxx

Inspiration can hit at any moment; even while you're eating chicken. Songwriter/producer Norman Whitfield had hits with such Motown acts as the Temptations, Marvin Gaye, Gladys Knight and the Pips, and Undisputed Truth. While playing a basketball game, he stopped to write down lyrics on a bag of Kentucky Fried Chicken. He'd been trying to write music for Car Wash, an upcoming movie from Universal Pictures starring Richard Pryor, Franklin Ajaye, George Carlin, Ivan Dixon, and Bill Duke. Whitfield was initially less than thrilled about being involved with the project, but was wooed by director Michael Schultz (Cooley High, Krush Groove), the salary, and its use as a good exposure tool for a new group that was working with called Rose Royce. The group was allowed to watch the filming of the movie and kept Whitfield abreast of its plot line. Written and produced by Whitfield, Rose Royce's "Car Wash" went platinum, selling over two million copies, holding the number one R&B spot for two weeks while going to number one pop in late 1976. The movie, made at a cost of two million, grossed 20 million. The Car Wash soundtrack went gold, spawning the R&B/pop Top Ten hit "I Wanna Get Next to You" and "I'm Going Down."



Rose Royce - Car Wash (OST)   (flac  425mb)

01 Car Wash 5:06
02 6 O'Clock DJ (Let's Rock) 1:09
03 I Wanna Get Next To You 3:58
04 Put Your Money Where Your Mouth Is 3:25
05 Zig Zag 2:30
06 You're On My Mind 3:27
07 Mid Day DJ Theme 1:43
08 Born To Love You 3:06
09 Daddy Rich 3:24
10 Richard Pryor Dialogue 5:05
11 You Gotta Believe (Voc Pointer Sisters) 2:51
12 I'm Going Down 3:36
13 Yo Yo 4:17
14 Sunrise 10:46
15 Righteous Rhythm 2:30
16 Water 3:31
17 Crying 2:57
18 Doin' What Comes Naturally 3:10
19 Keep On Keepin' On 6:39

Rose Royce - Car Wash (OST) (ogg    167mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

As strong as any of the songs featured on 1976's Car Wash soundtrack, Rose Royce's 1977 outing,II: In Full Bloom, allowed them to fully shine in their own right and on their own terms. Although their early incarnation as Total Concept Unlimited had paired them with Motown labelmates the Temptations and given them clout in the label stable, it was the addition of powerhouse vocalist Gwen Dickey and continued pairing with über-producer Norman Whitfield that brought the band into their own. Packed with tight funk jams and horn-heavy construction, tempered only occasionally by Dickey's sweet ballads, II: In Bloom is a disco-funk masterpiece -- a pure fusion of both genres that works better than it has a right to, courtesy of both the band's own confidence and Whitfield's artful magic. The wistful and absolutely sublime ballad "Wishing on a Star" opens the set and should have been a chart-heavy hitter. In fact, it reached only number 52 on the R&B charts, proving that the band's fans were truly in the mood to dance. Rose Royce wouldn't disappoint, as the nine-minute funk monster "Do Your Dance" was uncaged. Shaved to a four-minute highlights version, the song gave the band a Top Five R&B hit. The full album version, however, is a far superior workout, while the equally funky "You Can't Please Everybody" and eight-minute epic "It Makes You Feel Like Dancin'" keep the groove moving smoothly. Rose Royce may have shot to stardom with the Car Wash craze, but they are far better without the celluloid glitter covering up their own pure gold.



Rose Royce - In Full Bloom   (flac  365mb)

01 Wishing On A Star 4:52
02 You Can't Please Everybody 3:50
03 Ooh Boy 4:16
04 Do Your Dance 9:18
05 You're My World Girl 4:11
06 Love, More Love 3:17
07 Funk Factory 3:07
08 It Makes You Feel Like Dancin' 8:49
Bonus
09 Do Your Dance (Part 1) 3:30
10 Ooh Boy (Single Version) 3:50
11 Wishing On A Star (Single Version) 3:59
12 It Makes You Feel Like Dancin' (Single Version) 4:27

Rose Royce - In Full Bloom (ogg   137mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Rose Royce's third album contains two killer ballads: "I'm in Love (And I Love the Feeling)," and the much recorded "Love Don't Live Here Anymore" which Gwen Dickey works like Mary J. Blige wishes she could. Norman Whitfield's productions often included doses of classical elements and this album is no exception, the sampling and borrowing occur frequently. "Angel in Disguise," another sweet ballad, sounds a bit contrived. As effective on upbeat tunes "That's What's Wrong with Me,""Do It, Do It," and "First Come First Serve," are first-class movers and shakers. A carnival barker on the intro mars the opening cut "Get Up Off Your Fat."



Rose Royce - Strikes Again (flac 323mb)

01 Get Up Off Your Fat 4:35
02 Do It, Do It 4:09
03 I'm In Love (And I Love The Feeling) 3:41
04 First Come, First Serve 3:19
05 Love Don't Live Here Anymore 3:55
06 Angel In The Sky 4:56
07 Help 3:53
08 Let Me Be The First To Know 3:52
09 That's What's Wrong With Me 6:37
Bonus
10 First Come, First Serve (Single Version) 3:27
11 Love Don't Live Here Anymore (Single Version) 3:51
12 That's What's Wrong With Me (Single Version) 5:33

Rose Royce - Strikes Again (ogg   122mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Rose Royce continued releasing quality music into the early eighties. This included 1982 Stronger Than Ever, which was remastered and rereleased by BBR Records on 20 February 2012. Stronger Than Ever was Rose Royce’s first and only album for Epic Records, after leaving Whitfield Records, owned by their producer Norman Whitfield. However, although they’d left Whitfield Records, Norman Whitfield was still producing their albums, helping Rose Royce to produce their own brand of soulful, funky music, music that lit up dance-floors since their debut single Car Wash in 1976.

Stronger Than Ever was Rose Royce’s seventh album in seven years, and final album for a major label. It was recorded at the Fort Knox Recording Studio in Los Angeles. As usual, Norman Whitfield was producing the album, hoping to turn round the group’s fortunes. Ever since their fourth album, Rose Royce IV: Rainbow Connection, Rose Royce’s popularity had declined. Both Rose Royce and Norman Whitfield were keen to see an upturn in the group’s fortunes. Stronger Than Ever was an album that deserved to do much better, given the standard of music on the album. There isn’t a poor track on the album, with two beautiful ballads in Sometimesy Lady and Somehow We Made It Through the Rain, sitting comfortably next to the uplifting, emotive sound of the singles Best Love and Still In Love. To me, they’re two of the highlights of Stronger Than Ever. That’s not forgetting the trio of funky tracks Dance With Me, Fire In the Funk and Talk To Me. As if that’s not enough, BBR Records remastered rerelease of Stronger Than Ever features four bonus tracks.



Rose Royce - Stronger Than Ever    (flac 327mb)

01 Dance With Me 3:58
02 Sometimesy Lady 2:24
03 Best Love 3:54
04 Still In Love 5:39
05 You Blew It 4:14
06 Somehow We Made It Through The Rain 4:39
07 Fire In The Funk 5:37
08 Talk To Me 4:32
Bonus
09 Best Love (12" Version) 5:02
10 Still In Love (Single Version) 3:57
11 Fire In The Funk (Single Version) 4:11
12 Dance With Me (12" Version) 5:21

Rose Royce - Stronger Than Ever (ogg 120mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,


Today's artist is an English composer and musician whose work exists in the unknown territories between delay-heavy, tape saturated, dub influenced studio sessions, and excursions into modern classical music and more traditional composition. On his first albums he delved into long-form, slowly unravelling crescendos for strings, piano and other orchestral instrumentation, all accentuated with subtle electronics and processing to form a wall of sound where each element became indistinguishable.......N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Greg Haines is an English musician and composer who has been living in Berlin since 2008. He was born in a small town in the south of England in the 1980s, where he began from a young age to develop an interest in sound and the devices used to create it. Around this time, an enthusiastic music teacher began to introduce Haines to the works of 'Minimalist' composers such as Steve Reich, Gavin Bryars and Philip Glass, who had a profound influence over his musical trajectory. At this point, Greg began to develop his piano (and eventually cello) playing, feeling the desire to pursue his interest in textural, subtle music. Shortly after, Haines discovered the work of Arvo Pärt, and in it found his biggest inspiration to date. Pärt's intricate use of both space and density informed Gregs first solo release, 'Slumber Tides', released on the Norwegian Miasmah label in 2006. The album was critically acclaimed worldwide, leading Musique Machine to state:

“This is music to fall into and let it embrace your heart and soul. Be warmed and sadden by its slow unfolding beauty and grace. Clearly one of the most luxurious and emotional rich debut albums you are likely to come across this year, or any other year for that matter.”

Later, the opening track from the album, 'Snow Airport', would be used on the Universal/Point Music compilation 'Reflections on Classical Music', alongside compositions from some of the very composers who inspired it, such as Gavin Bryars and Philip Glass.

In the wake of his debut, Greg toured extensively and began to develop as a live performer, and in particular as an improviser with a wide range of various musicians. To date, Greg has toured throughout Europe, Japan, Australia and the USA.

In March 2010, Berlin's Sonic Pieces label released 'Until the Point of Hushed Support', a forty- eight minute composition written for string quintet, church organ, piano, percussion, electronics and a whole array of other sounds and textures that were carefully constructed over the past two years. Later, in March 2012, "Digressions" was released on Australia's Preservation label. The album includes performances by Peter Broderick and violinist Iden Reinhart, as well as an 18 piece ensemble. The album was largely seen as a great success, with one reviewer for Fluid Radio writing:

“What drives a connection? It’s usually only dimly understood by the people experiencing it, and so it is with Greg Haines’ third album ‘Digressions’ and me. Well over a month I’ve been listening to it, and I still cannot for the life of me work out why I think it is one of the best records I have ever heard, one that has clicked with me like few else recently. Music is subjective, and what is a masterpiece to me may sound like nothing of the sort to you; an assessment based solely on my opinion and little else. Still, if I was to put money on it, I’d say that ‘Digressions’ is going to be talked about for some years, and will in hindsight be the point where the Haines’ trajectory will be seen to trend sharply upwards.”

Since 2008, he has also been working regularly as a composer for dance, creating music for choreographers such as Meg Stuart (Berlin), Ina Christel Johannessen (Oslo), and the MD Collective (Cologne). In 2009 and 2010, Greg was invited to be composer in residence at the Theale School of Performing Arts for two years running, creating pieces and working with students from all kinds of musical backgrounds.

In February 2012, Greg premiered day4 with contemporary ballet choreographer David Dawson, the Holland Symfonia and the Dutch National Ballet as part of their 50th anniversary celebrations. The collaboration with David Dawson continued in the following year and resulted in two world premieres, Opus.11 and The Human Seasons for Royal Ballet, aqs well as “Empire Noir” (2015, Dutch National Ballet, Amsterdam).

Haines has toured extensively around Europe, as well as in the USA, Japan and Australia. His brand of live improvisation on his constantly evolving set-up of synthesizers, signal processors and piano led to his involvement in two live ensembles for pure improvisation: the languid, micro-seismic “Alvaret Ensemble” and the adventurous upbeat endeavors of “The Group”. The Group does not record, only playing live, and usually consists of permanent members Casper Clausen (Efterklang) and the producer/musician Francesco Donadello, as well as a constantly mutating cast of other musicians from around the world.
 
After many years living in Berlin, Greg now lives in the italian countryside. He continues to travel, record and perform around the world. Recent experiments in the studio led to the “Greg Gives Peter Space” EP with Peter Broderick, released on Erased Tapes in 2014. Further releases are expected in the near future.

xxxxx xxxxx xxxxx xxxxx xxxxx

Slumber Tides is Greg's debut album recorded and released when he was merely a teenager seemingly tapping into a timeless wisdom where age makes no difference. It might have made more sense if Slumber Tides was the work of a composer at the end of his life creating that final display of all the things he wanted to say but for some reason never did . . . but since we love things that don't make sense many music lovers around the world embraced the reserved yet bold music of this fresh young talent. The five sprawling tracks here introduce not only Greg's knack for experimentation with different instruments and atmospheric textures but also his gift for heartbreaking compositions perhaps only comparable to the groundshaking works of Arvo Part.



Greg Haines - Slumber Tides  (flac  198mb)

01 Snow Airport 4:59
02 Submergence 9:51
03 Tired Diary (Revised) 12:59
04 Arups Gate 10:41
05 Caesura 7:39

    (ogg  mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Though it has been over three years since the release of his debut, Slumber Tides, these years have seen Haines traveling around the world and refining his craft, performing as a solo artist, improvising with other musicians, creating music for contemporary dance, and finally arriving at this new album, a beautifully contemplative forty-eight minute piece for string quintet, church organ, piano, percussion, and electronics.

For the most part, this album was recorded in the Grunewald Church in Berlin with the assistance of friend and fellow musician, Nils Frahm. Together, Haines and Frahm assembled a team of musicians to bring the score alive. More processed sounds (mostly assembled at Haines’ Berlin studio, The Electricity Works) were even played back into the church and re-recorded, to truly add to the acoustic nature of the album.

Whereas Slumber Tides played out as a gorgeous exploration of sound and composition by a curious musician with fresh ears, Until the Point of Hushed Support comes across as a bold statement from a unique modern composer. Throughout the four sections of the piece, we are taken seamlessly through an incredibly powerful dynamic range. With an assortment of sounds collected and processed over the last two years combined with the live instrumentation, Haines creates his own orchestra; a unique sonic world where the sound of a dying radio is just as important as a mournful violin. Whereas the first album comes across as a curious exploration of sound Until The Point Of Hushed Support is a bold statement from a music lover who spent four years refining his craft. The beauty in this music is an ancient one one which is only reached with dedication and patience.



Greg Haines - Until The Point Of Hushed Support + Moments Eluding (flac  315mb)

01 Industry Vs. Inferiority 4:13
02 Marc's Descent 10:45
03 In The Event Of A Sudden Loss 14:06
04 Until The Point Of Least Resistance 18:53
Moments Eluding (107mb) recorded Dec 15th 2010 at Tabalet Estudis, whereas greg's albums are often centered around a densely layered sonic atmosphere, his live shows can be stripped to the bone with greg losing himself at the piano, almost punk rock in execution. Moments Eluding is an attempt to capture that raw and curious action at the keys.
01 Snow Airport (For Piano) 3:26
02 Peter's Advice 3:02
03 Sehnsucht 2:55
04 The Highest Point In Elbert County 3:38
05 With Everything That Breathes 5:22
06 The Spin 6:59
07 Last Time I Tried 3:57
08 Better 2:23

Greg Haines - Until The Point Of Hushed Support + Moments Eluding    (ogg 162mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Greg Haines' 2012 album for Preservation grows out of a collaboration, in this case with a school orchestra. That may sound a bit counterintuitive, but the result makes you wonder if he would ever need a top-flight one given the enjoyable, tactile results. The understated combination of ambience and orchestration calls to mind an expected range of performers but also perhaps a wild card or two -- "Caden Cotard," with its slow electronic/string wash and rise, could almost be something from a late-'90s Black Tape for a Blue Girl album as much as it could be Harold Budd when it comes to the piano that follows it. Beginning with "Emetti"'s soft tones, feeling like a new age church organ warmup increasingly mixed with slow string resonance and beauty, Digressions partially lives up to its name thematically in that nearly everything feels like distinct but still clearly related parts of a whole. The emphasis on piano as a key element throughout, whether as an increasingly core rhythmic element on "Azure" or setting a stage of thorough calmness on "Nuestro Pueblo," adds a gentle calm to everything. In turn, notable violin parts, especially the lead on "183 Times," add a slightly unearthly feeling, caught between stateliness and a suffused swirl of sound. The sense of steady progression upward that recurs throughout Digressions -- particularly but not exclusively as in the swelling rise to the beyond at the end of "Caden Cotard" -- adds to the album's compelling feeling.



Greg Haines - Digressions  (flac  239mb)

01 Ernetti 3:47
02 Caden Cotard 12:56
03 183 Times 9:08
04 Azure 14:14
05 Nuestro Pueblo 15:25

Greg Haines - Digressions   (ogg  108mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

With Where We Where Haines made a step ahead. This album is a modern classical and ambient composition with dub beat elements as the previous albums but the combinations of these elements with acoustic instruments such as percussion and vibraphone makes it something new, a step forward in his music path. Approximately 45 minutes spread over 8 tracks is the journey that the British artist is offering to us.

‘The Intruder’ opens this album as only Greg Haines can do: the music come up and the melodies slowly rise in the air and become classic. It’s an intimate, welcoming and cozy track. Something happens in the following track where the minimal piano that characterize the intro to the album is now substituted by beat-driven dub-techno joined by electro-acoustic instruments. The sound changes completely towards the half of the tune where a mix of jungle, house and dub brings us in the new incredible Greg Haines music style. This is ‘Something Happened’ and no other title could fit better to this song. ‘So It Goes’ and ‘Trasimeno’ are aligned with ‘The Intruder’. Greg Haines put apart the beats of the second track and come back to his classical composition. Characteristics of these two tracks are the delicate strings and the soft piano that rise in a flourish of astral ambient waves and ethereal loveliness. With its 7:17 minutes, ‘So It Goes’ is the longest track of the album. ‘Trasimeno’, instead, is the shortest and seems to be the continuous of the previous song. Together they result in a meditative and cinematic, numinous atmosphere.

Let’s go back to the new dub-techno we discovered in ‘Something Happened’ with ‘The Whole’. The rhythm is sustained and pursuing: you cannot avoid to follow it! After so many beats and ethereal sounds, ‘Wake Mania Without End II’ leave us speechless in a suspended atmosphere for almost 6 minutes. The notes themselves are suspended in the space till when they achieve a peak of energy that slowly and gently decline just after it. I recommend to listen to this track again and again. Where We Were ends with ‘Habenero’ and ‘Habenero (Version)’ confirming the step ahead of Greg Haines music world. The high velocity of the rhythm of the these two tracks is opposite to the notes that characterize his previous works. ‘Habenero’ and its ‘Version’ will blow your mind and will drag you in their phenomenal rhythm. The percussion in ‘Habenero’ is brilliant and make it a rhythmically propulsive tracks. The counterpart ‘Habenero (Version)’ is the continuous of ‘Habenero’ without the percussion but with the same dense atmosphere and tense energy. The last minute of the album is engulfing. A meditative ending and a meditative starting for an album that has a lot in it.



Greg Haines - Where We Were  (flac  233mb)

01 The Intruder 6:27
02 Something Happened 5:40
03 So It Goes 7:17
04 Trasimeno 2:33
05 The Whole 4:04
06 Wake Mania Without End II 5:37
07 Habenero 6:30
08 Habenero (Version) 7:13

Greg Haines - Where We Were    (ogg  098mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,

Brainwave Mind Voyages arose from a thirst for experiential wisdom and a hunger for sharing mind-expanding tools with other like-minded people such as yourself. Shower the seeds of self-empowerment with some modern audio technology, and voila! ....N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Your brain operates much like a resonance chamber or a tuning fork. When you hold two similarly tuned tuning forks together and strike one of the them, the other will also vibrate at the same frequency. The vibrational rate or vibratory frequency determines the tone. Our brain produces waves of currents that flow throughout its neural pathways. The type of brainwave is defined by the frequency at which it is pulsing, and this particular rate of pulsation determines our respective state of mind at any given moment in time.

There are four common types of brainwave patterns, but due to the complexity of our brains there are often several patterns interacting at one time. It is the predominance of one particular brainwave frequency that determines our state of mind. For example, if you are in a beta state, there may be trace levels of alpha and theta but they would minimal compared to the dominating amount of beta present. All of these brainwave states have been scientifically studied and categorized by the subjective states that each range will produce. Below is a simple chart containing the four common types of brainwave frequencies along with their characteristic features and associated mental states. The frequencies are measures in hertz (Hz) which is roughly translated as beats per second or cycles per second.

BETA waves 13 to 30 Hz the fastest waves, most commonly found during our waking state, associated with outward awareness, engaged mind, arousal, actively perceiving and evaluating forms of data through the senses; also present with fear, anger, worry, hunger, and surprise.

ALPHA waves 7 to 13 Hz associated with non-drowsy but relaxed, tranquil state of consciousness, less engagement and arousal, pleasant inward awareness, body/mind integration, present during meditation and states of relaxation

THETA waves 3 to 7 Hz associated with increased recall, creativity, imagery and visualization , free-flowing thought, future planning, inspiration, drowsiness, present during dreaming and REM states

DELTA waves .1 to 3 Hz associated with deep dreamless sleep, deep trance state pituitary release of growth hormone, self-healing, present during deep levels of non-REM sleep.

Your brain is always producing electromagnetic brainwaves that have a measurable frequency and magnitude. The characteristics of your brainwaves at any given moment determines your mood and state of mind. The frequency range and magnitude identify whether you are aroused, alert, asleep or anywhere in between these states.

We are always expanding our knowledge of how our brainwaves can be harnessed to create peak states of consciousness. For example, the best moments of creativity, those Eureka! flashes, occur mostly when theta waves are predominant. The hypnogogic state verging between waking and sleeping is characterized by theta brainwave activity. This explains why we have such great ideas before falling asleep. It is noted in history books that this "border-zone" time period has been utilized by many scientists and other great thinkers who have had flashes of insight while experiencing this holistic state of mind.

Einstein came up with the theory of relativity in this state, and likewise, one of the Watson and Crick pair conceptualized the double helix of DNA in this highly visualistic mind state successfully cracking the illusive architecture of DNA. Time spent in this "border-zone" can be time very well spent. All this information about brainwaves is a preamble to the matter of entraining your brainwaves to specific frequencies.

You can now use the process of brainwave entrainment to tune your brainwaves to any brainwave range. You can experience theta, alpha, delta or even combinations of ranges using multi-layered frequencies that blend several brainwave ranges into one synergistic brainwave pattern like the Awakened Mind Brainwave Pattern. The breakthrough occurs when we use this principle of entrainment to synchronize our brainwaves to specific chosen frequencies. We can do this easily by using binaural beat audio technology and monophonic entrainment tones, as you will soon learn, but first some more background information.

THE TWO HEMISPHERES OF THE BRAIN

Our brains have a left and a right hemisphere. The left hemisphere is linear, logical, practical, and time orientated. The right hemisphere seems to be much more non-linear, abstract, creative, holistic, and non-logical. We tend to use one hemisphere at a time, or better said, we will favor particular hemispheres depending on what we are doing. An accountant probably uses less of his right hemisphere than an artist would during the course of his workday. If you are doing math you would be using more of your left side. If you are painting a picture, you would have more right hemispheric activity.

Obviously, it is not that simplistic because both hemispheres are constantly interacting and both can be in use at the same time. These hemispheres are connected by the corpus callosum. It serves as a conduit or a bridge between both sides. This bridge can literally be exercised and strengthened until it is physically larger and more capable of transmitting data, thoughts and feedback between hemispheres. The famous clairvoyant healer Edgar Cayce was found to have an unusually large corpus callosum, but could it be that everyone else simply has not developed this hemispheric bridge?

By merging both hemispheres and allowing them to work together we can increase our mental fitness and enhance our cognitive functioning in general. It is basically like having a faster computer processor capable of working at faster speeds. Increased integration creates better performance. By using brainwave entrainment technologies, you can increase your hemispheric synchronization. By simply listening to any BMV CD, your brain naturally synchronizes to balance hemispheric activity and adjusts brainwave activity to match the embedded brainwave carrier frequencies. This audio-induced hemispheric coherence produces an optimal state of holistic whole-brain synergy.

For a more in-depth explanation of the powerful audio neuro-technologies, you can click HERE to read the BMV Technology Page.

xxxxx xxxxx xxxxx xxxxx xxxxx

If you have insomnia or have trouble getting deep restful sleep, these flacs will have you fast asleep in no time! If you have an insomniac friend who needs some deep sleep, this is the answer to their prayers ! I have been using to put my new infant to sleep when she is fussy and it works like magic, literally!

Becoming entrained to Delta brainwaves can be one of the easiest ways to fall asleep, so if you or anyone you know has trouble getting deep restful sleep then this Series is a must have. Almost everyone knows of someone who is an insomniac or someone who has trouble sleeping, and this will put you to sleep whether you have insomnia or not!

Delta brainwaves have also been linked with an increase in the body's production of growth hormones which plays a vital part in the body's natural ability to heal and rejuvenate. The whole program progressively slows your waking Beta brainwaves into a soothingly relaxed Delta brainwave state. There are 13 tracks on this Series (61:45 minutes total playing time) including the Bonus Delta Holovibe Track.

The tracks vary from simple Delta level entrainment to more complex tracks with multi-layered embedded brainwave frequencies. Each track is designed to be played in loop/repeat mode so in effect you have 4 different programs or 4 different settings to test, evaluate and determine which works best specifically for you.


When you experience the BMV Series 5: The Delta Brainwaves CD, your mind will naturally float inwards and your consciousness will expand as you listen to the mesmerizing sounds of the ocean shoreline. Your awareness will become free to explore new states of clarity and new modes of perception as you experience the effects of the embedded brainwave entrainment technology. Your conscious awareness will become free to take flight into your mind's eye.

You will explore new depths as the embedded brainwave entrainment ensures that you will enter the ideal brainwave range for maximizing your inner explorations. This BMV flac is an excellent audio tool for biofeedback training and consciousness development.

There are no guided vocals (*no spoken words) so it can be used for any meditational purposes or simply as a tool for experiencing profound states of relaxation. You can repeat your favorite track or loop the entire psychoacoustic playlist for amazing results!

Every time you use these flacs, you will become more and more relaxed. With time and practice, you can learn to access these profound states of awareness at will. In the meanwhile, you can be assured that your brainwaves will be tuned to the correct frequency ranges to maximize your results.

By simply listening to this CD for 10 minutes or less, your physical body will be so relaxed that you will ready for any type of inner work: meditation, creativity, reverie, problem solving, brainstorming, trancework and more. Over time, you can learn to achieve this state of ultra-deep physical relaxation, naturally and instantaneously. Like the magical beat of a shaman's drum, the embedded brainwave entrainment frequencies slow down your brainwaves to induce deeply expanded states of consciousness.

The brainwave stimulation techniques are based upon EEG readings of brainwave activity experienced by experienced meditators, Buddhist monks, healers and other adepts. You now have the physical relaxation and the required brainwave activity to complete the process. Now, you can experience these powerful brainwave patterns, simply by listening to this BMV flac!



Brainwave Mind Voyages (Series V) - The Delta Brainwaves (flac  265mb)

01 Upper Level Deltawaves
02 Upper Delta with Mid-Level Mix
03 Upper Delta with Low-Level Mix
04 UpperMiddle Level Deltawaves
05 UpperMid Delta with Upper Mix
06 UpperMid Delta with Lower Mix
07 LowetMiddle Level Deltawaves
08 LowerMid Delta with Upper Mix
09 LowerMid Delta with Lower Mix
10 Lower Level Deltawaves
11 Lower Delta with Upper Mix
12 Lower Delta with upper Delta Mix
13 The Holovibe The Schumann Resonance (7.8 Hz)

xxxxx xxxxx xxxxx xxxxx xxxxx

Previously

Brainwave Mind Voyages (Series I) (flac  248mb)
Brainwave Mind Voyages (Series II) (flac  342mb)
Brainwave Mind Voyages (Series III) (flac  258mb)
Brainwave Mind Voyages (Series IV) (flac  263mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,

The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.


Today's artist became popular with the songs Se Acaso Você Chegasse, her first single, Mas Que Nada, A Carne, and other well-known samba songs. She was nominated to the Grammy Awards and was elected by the BBC London as "the singer of the millennium." In 2007, Soares was invited to sing a cappella the Brazilian National Anthem at the opening ceremony of the 2007 Panamerican Games. In 2016, she performed at the opening ceremony of the Olympic Games in Rio de Janeiro, where she sang O Canto de Ossanha, a classic by Baden Powell and Vinícius de Moraes......N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Owner of a distinctive, harsh voice (even if considering the conspicuous Armstrong mannerisms), Elza Soares is one of the most swinging samba singers. Having appeared in 1959 with the samba "Se Acaso Você Chegasse," Soares always had her artistic career complicated by her personal life, which certainly impeded her enjoyment of a more widespread popularity. Having gotten married at 12 and lost three children who died of hunger, she later became the wife of Garrincha, one of the most genial soccer players ever, and also a chronic alcoholic. The peak of her career was in the '60s, with albums like O Máximo em Samba (1967), Elza Soares & Wilson das Neves (1968), and Elza, Miltinho e Samba (a three-album series shared with Miltinho). In that decade she had several hits, among them "Boato,""Edmundo" (a version of "In the Mood"), "Beija-me,""Devagar Com a Louça,""Mulata Assanhada,""O Mundo Encantado de Monteiro Lobato,""Bahia de Todos os Deuses,""Palmas no Portão," and "Palhaçada." In the '70s, she had further success with "Salve a Mocidade" (1974) and "Malandro" (1977; this song launched Jorge Aragão as a composer). But it wasn't enough to prevent her from facing huge economical adversity, and at the same time she was being systematically turned away by recording companies. With Garrincha, Soares had a very troubled marriage and the untimely demise of their son Garrinchinha in 1986 in a car accident didn't help.

Living in extreme poverty throughout her childhood and teens, Soares had her first audition in radio at Ary Barroso's novice show when she was 16, winning first place. She was then hired as a crooner by the Orquestra Garam de Bailes (led by conductor Joaquim Naegli). She worked in the orchestra until 1954, when she became pregnant. In 1955, she was invited to star with Grande Otelo in the play Jour-Jou-Fru-Fru, which was a smash. Three years later, she toured Argentina, returning in the next year when she was hired by Rádio Vera Cruz. Also in 1959, she recorded a 78 rpm with "Se Acaso Você Chegasse" (Lupício Rodrigues/Felisberto Martins), one of her biggest hits. In 1960, she went to São Paulo where she performed regularly in the show I Festival Nacional de Bossa Nova and recorded her first LP, Se Acaso Você Chegasse. In 1962, she represented Brazil in Chile during the World Soccer Cup, where she met Garrincha.

Having recorded several albums with the hits "Só Danço Samba" (Tom Jobim/Vinícius de Moraes), "A Banca do Distinto" (Billy Blanco), "Pressentimento" (Elton Medeiros/Hermínio Bello de Carvalho), and "Princesa Isabel" (Sérgio Ricardo), she moved to Italy in 1969, where she performed at the Sistina Theater (Rome), returning to Brazil in 1972. In the same year, she opened the show Elza em Dia de Graça at the Opinião Theater (Rio) and participated in the Brasil Export Show (Canecão). Rediscovered in the '80s as a cult heroine by Os Titãs, she performed with the band in a regular show at the Madame Satã nightclub.

Trying unsuccessfully to develop a career abroad, she returned to Brazil in 1994, poor and depressed. Finally, she was rediscovered in the '80s by the younger generations of Brazilian rockers (Os Titãs, Lobão) and MPB artists like Caetano Veloso, having been awarded with a Sharp Prize award as the Best Samba Singer of 1997. Soares also recorded in duet with Caetano Veloso on his album, Velô, and with Lobão on Casa de Samba. With her Trajetória (1997), in which she was paid tribute by Zeca Pagodinho, she won the Prêmio Sharp Award as Best Samba Singer.Her life was depicted in the musical Crioula, which had several songs written specially for her by Chico Buarque, Chico César, Nei Lopes, and others.  In November 1999, Soares participated in the show Desde Que o Samba é Samba (at Royal Albert Hall, London, England), together with Chico Buarque, Caetano Veloso, Gilberto Gil, Gal Costa, and Virginia Rodrigues. In 2000, her life was depicted in the musical Crioula (by Stella Miranda). In 2000, she was appointed Singer of the Millennium by London's BBC. Soares continues to challenge her destiny, performing shows in every venue available.

Do Cóccix Até O Pescoço In 2002, she released the acclaimed Do Cóccix Até O Pescoço on Maianga Discos, which successfully wedded samba, bossa, and MPB with electronic sounds. Produced and recorded by Alê Siqueira, it featured an enormous cast of guest musicians under the direction of pianist Jose Miguel Wisnik, including Caetano Veloso, Chico Buarque, and Carlinhos Brown. It sold well internationally and received a Grammy nomination. Vivo Feliz followed on Tratore in 2004 and contained the singles "Rio de Janiero" and a reading of "Concordia" by Nando Reis, featuring the songwriter in a duet. Working again with Wisnik, she released the live Beba-Me Ao Vivo and a concert DVD with the same title in 2007.

Though Soares continued to perform, she took an extended break from recording. A year later she was the featured vocalist on the soundtrack of the film Chega de Saudade. She fell from the stage during a performance and required numerous spinal column surgeries. It slowed her down and forced her to perform in a chair, but she never stopped. In 2015, she re-entered the studio with with producer Guilherme Kastrup of São Paulo’s groundbreaking samba sujo scene. She didn't like his idea of recording a set of classic sambas in modern settings and instead insisted on creating entirely original new material -- a first in her long career. He hired the city's vanguard post-punk band Passo Torto (with Metá Metá's Kiko Dinucci) and several players from Bixiga 70. A Mulher Do Fim Do Mundo, a collection of 11 songs (culled from over 50), focuses on the achievement of justice for women, people of color, and members of the LGBT community -- causes she had celebrated throughout her life. Issued in Brazil in October by Circus Produções Culturais, it was celebrated in the national press as the year's best album by a national artist, regardless of genre. Due to global acclaim, it was re-released internationally by Mais Um Discos in June of 2016.


xxxxx xxxxx xxxxx xxxxx xxxxx

Great stuff! A big band-and-salsa-tinged take on the Brazilian samba cancao sound, music that had definitely grown stale by the time this disc came out. Working once again with bandleader Astor Silva, Soares re-works oldies from the 1930s, '40s and '50s, giving them a rhythmic punch that lands it all somewhere between Lucio Alves and Ella Fitzgerald, with a strong hint of Carmen Miranda thrown in as well. I'm not sure how "bossa" one could actually consider this disc -- Soares was pals with the key members of the early bossa nova scene, but this disc is very much rooted in the pre-Jobim era, and the rowdy, jazz-tinged gafieira style. Anyway, it's a very good record.  Highly recommended.



Elza Soares - Se Acaso Você Chegasse, A Bossa Negra (flac  480mb)

01 Se Acaso Você Chegasse
02 Casa De Turfista...
03 Mulata Assanhada
04 Era Bom
05 Samba Em Copa
06 Dedo Duro
07 Teleco-Teco Nº 2
08 Contas
09 Sal E Pimenta
10 Cartão De Visita
11 Nêgo Tu...Nêgo Vós...Nêgo Você...
12 Não Quero Mais
A Bossa Negra
13 Tenha Pena De Mim (Ai, Ai, Meu Deus) 2:45
14 Boato 3:22
15 Fala Baixinho 2:17
16 Marambaia 2:05
17 O Samba Está Com Tudo 2:31
18 Cadeira Vazia 3:22
19 Perdão 2:18
20 Beija-me 2:24
21 O Bilhete 2:13
22 O Samba Brasileiro 2:26
23 As Polegadas Da Mulata 2:06
24 Eu Quero É Sorongar 2:51
bonus
25 Mack the knife
26 Edmundo
27 Avec no leblon
28 Aconteceu no leblon
29 A barata Serafina

Elza Soares - Se Acaso Você Chegasse, A Bossa Negra (ogg  170mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

A fun, lively album, with perky pop-samba tunes arranged by bandleader Astor Silva, who's kind of old-school, but still a little hip. Many of the songs were samba-cancao golden oldies, but there's a also a whiff of newer material, such as Tom Jobim and Blilly Blanco's "Acho Que Sim." Monsueto Menezes duets on a couple of tracks, including his novelty scat, "Ziriguidum," which sufferes here under the weight of Astor's blatting brass arrangements, but is still a groovy little tune. All in all, this is a fun album, although it's a bit staid and static. Elza's such a cheerful presence, though -- hard not to love her!

Sambossa (1963), without surprise, is a continuation of the previous albums made for Odéon by Elza Soares: Se Acaso Voce Chegasse (1960), O Samba and Elza Soares (1961) and A Bossa Negra (1961). The interest of this type of album lies mainly in the vocal qualities of Elza Soares and its ability to generate an enthusiasm and a good mood thanks to its radiance. The compositions are not exceptional, but they are fairly well presented by the singing and pretty arrangements of Milton Miranda. In addition, the album is extremely rhythmic, only one song, "Maria, Mária, Mariá" (Billy Blanco) exceeds three minutes. This song is proposed twice, the second, which dates from 1962, being superior to the first. But the very good surprise of Sambossa, which is worth listening to, is the totally successful and sublimated version of the very good title of Tom Jobim and Vinicius de Moraes, "Só Danço Samba" (in link). A very good record without pretension to immerse yourself in the futile universe of the Samba-Cançao Pop version Elsa Soares.



Elza Soares - O Samba É Elza Soares, Sambossa  (flac  522mb)

01 Eu E O Rio
02 Vedete Certinha
03 Teleco-Teco
04 Bom Mesmo E' Estar De Bem
05 Fez Bobagem
06 Amor De Mentira
07 Na Base Do Bilhetinho
08 Cantiga Do Morro
09 Acho Que Sim
10 Ziriguidum
11 Vou Sonhar Prá Você Ver
12 Reconciliação
Sambossa
13 Rosa Morena
14 Gamação
15 A Banca Do Distinto
16 Primeira Comunhão
17 Sim E Não
18 Leilão
19 Só Danço Samba
20 A Corda E A Caçamba
21 Vaca De Presépio
22 Maria, Mária, Mariá
23 Quando O Amor Não É Mais Amor
24 Mulata De Verdade
Bonus
25 Maria, Maria, Maria
26 Praga
27 Galã enganadora
28 Escurinho

Elza Soares - O Samba É Elza Soares , Sambossa     (ogg   173mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

A lively, high-powered album matching Soares's irrepressible vocals with groovy, jazzy gafieria backing from Severino Araujo and his band... The whole album features A-list studio talent: producer Milton Miranda is joined by Lyrio Panicalli and the Odeon studio crew... The results are first-rate: Elza's in fine form, and the music matches her mood, and her talent. Most of the songs are by (now) obscure composers -- of note are contributions from Orlandivo (the title track, "Na Roda De Samba") and Rildo Hora... Some inventive arrangements amid the standard-issue, big band-y samba-pop, but mostly it's about the feeling of the music: Elza's caught fire, and the guys at EMI are zeroing in on her wavelength.

In Brazilian music, the term "show" usually means a live performance, so you'd imagine that this would be a live album... Strangely, it isn't, although with the high proportion of material from classic, canonical composers -- including Atualfo Alves, Ary Barroso, Dorival Caymmi, Lupicino Rodrigues and Tom Jobim -- I think this was meant to be representative of what her live shows were like. Unfortunately, although the repertoire is all first-class, the backing by Maestro Nelsinho is a drab, at least in comparison to her earlier albums. Okay, but not great.



Elza Soares - Na Roda do Samba , Um Show de Elza (flac 470mb)

01 Na Roda Do Samba
02 Dja Ba Dja
03 Convite Ao Samba
04 Na Base Do Pingüim
05 Pressentimento
06 Samba Primeiro
07 Nêga
08 Gostoso É Sambar
09 Vou Rir De Você
10 Princesa Izabel
11 Domingo Em Copacabana
12 Banca De Pobre
Um Show de Elza
13 Ocultei
14 Verão No Meu Rio
15 Dindi
16 Samba Da Minha Terra
17 Ombro A Ombro
18 Pé Redondo
19 Vingança
20 Sambou Sambou
21 Porque E Para Que
22 Neném
23 Cais Do Porto
24 Se Acaso Você Chegasse
Bonus
25 Eu sou a outra
26 Amor impossível
27 De amor ou paz
28 Toque balanço, moço!

Elza Soares - Na Roda do Samba , Um Show de Elza    (ogg  165mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello, so after delivering the pacific countries into the hands of China by scrapping a treaty, Trump declared war on the Sioux indians (worthy of the vain coward he is) but hey they can have the spilled oil, what is truly worrisome is he sees millions of supporters that aren't there and expects everyone to agree, reminds me of a fairytale about the wonderful new clothes of the king.....


Today's artists influenced future hardcore punk bands with their fast-paced, energetic playing style and attitude. Along with the Sex Pistols and the Clash, they helped to spearhead the punk movement in the United Kingdom. They are sometimes referred to as British punk's "band of firsts," having made accomplishments mentioned previously, as well as other "firsts" like the first punk band to break up and come back........N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

With punk's history having entered a new millennium, the impact of the band initially judged "the least likely to" seems to grow ever more each day. The Ramones hold deserved pride of place for kick-starting the whole thing, while the Sex Pistols -- and to a lesser extent, the Clash -- helped take it to an even more notorious level, serving as role models for many young bands to this day. But arguably just as important and memorable were the Damned, London contemporaries of the Pistols and Clash that made their own mark from the start. Eschewing political posing, ill-fitting outside rhetoric, and simply doing the same thing over and over again, the group -- which lacked anything like a stable lineup -- took punk's simplicity and promise as a starting point and ran with it. The end result, at the group's finest: a series of inspired, ambitious albums and amazing live shows combining full-on rock energy, a stylish sense of performance, and humorous deadpan cool. Not necessarily what anyone would have thought when Ray Burns and Chris Millar met in 1974, when both ended up working backstage at the Croydon Fairfield Hall.

Burns and Millar -- more famously known in later years as guitarist/singer Captain Sensible and manic drummer Rat Scabies -- kept in touch as both struggled in the stultifying mid-'70s London scene. Things picked up when Scabies talked his way into a rehearsal with London S.S., the shifting lineup ground zero of U.K. punk that nearly everybody seemed to belong to at one point or another. There he met guitarist Brian James, while in a separate venture overseen by Malcolm McLaren, casting about for his own particular group to oversee, Scabies first met theatrical singer Dave Vanian, still working through his New York Dolls/Alice Cooper obsession. Vanian's own history allegedly included singing "I Love the Dead" and "Dead Babies" while working as a gravedigger, but whatever the background, he proved to be a perfect frontman. Scabies put Sensible in touch with Vanian and James and the Damned were born, with Sensible switching over to bass while James handled guitar and songwriting.

Though the Sex Pistols became the most publicized of all the original London punk groups, forming and playing before everyone else, the Damned actually ended up scoring most of the firsts on its own, notably the first U.K. punk single -- "New Rose" -- in 1976 and the first album, Damned Damned Damned, the following year. Produced by Nick Lowe, both were clipped, direct explosions of sheer energy, sometimes rude but never less than entertaining. The group ended up sacked from the Pistols' cancellation-plagued full U.K. tour after only one show, but rebounded with a opening slot on the final T. Rex tour, while further tweaking everyone else's noses by being the first U.K. act to take punk back to America via a New York jaunt. Things started to get fairly shaky after that, however, with Lu Edmonds drafted in on second guitar and plans for the group's second album, Music for Pleasure, not succeeding as hoped for. The members wanted legendary rock burnout Syd Barrett to produce, but had to settle for his Pink Floyd bandmate Nick Mason. The indifferent results and other pressures convinced Scabies to call it a day, and while future Culture Club drummer Jon Moss was drafted in to cover, the group wrapped it up in early 1978.

Or so it seemed; after various go-nowhere ventures (Sensible tried the retro-psych King, Vanian temporarily joined glam-too-late oddballs the Doctors of Madness), all the original members save James realized they still enjoyed working together. Settling the legal rights to the name after some shows incognito in late 1978, the group, now with Sensible playing lead guitar (and also the first U.K. punk band to reunite), embarked on its most successful all-around period. With a series of bassists -- first ex-Saints member Algy Ward, then Eddie & the Hot Rods refugee Paul Gray and finally Bryn Merrick -- the Damned proceeded to make a run of stone-cold classic albums and singles. There'd be plenty of low points amidst the highs, to be sure, but it's hard to argue with the results. Vanian's smart crooning and spooky theatricality ended up more or less founding goth rock inadvertently (with nearly all his clones forgetting what he always kept around -- an open sense of humor). Sensible, meanwhile, turned out to be an even better guitarist than James, a master of tight riffs and instantly memorable melodies and, when needed, a darn good keyboardist, while Scabies' ghost-of-Keith Moon drumming was some of the most entertaining yet technically sharp work on that front in years.

Machine Gun Etiquette The one-two punch of Machine Gun Etiquette, the 1979 reunion record, and the following year's The Black Album demonstrated the band's staying power well, packed with such legendary singles as the intentionally ridiculous "Love Song," the anthemic "Smash It Up," and "Wait for the Blackout" and the catchy Satanism (if you will) of "I Just Can't Be Happy Today." On the live front, the Damned were unstoppable, riding out punk's supposed death with a series of fiery performances laden with both great playing and notable antics, from Sensible's penchant for clothes-shedding to Vanian's eye for horror style and performance. Released in 1982, Strawberries found the Damned creating another generally fine release, but to less public acclaim than Sensible's solo work, the guitarist having surprisingly found himself a number one star with a version of "Happy Talk" from South Pacific. While the dual career lasted for a year or two more, the Damned found themselves starting to fracture again with little more than a hardcore fan base supporting the group work -- Sensible finally left in mid-1984 after disputes over band support staff hirings and firings. Second guitarist Roman Jugg, having joined some time previously, stepped to the lead and the band continued on.

Phantasmagoria To everyone's surprise, not only did the Damned bounce back, they did so in a very public way -- first by ending up on a major label, MCA, who issued Phantasmagoria in 1985, then scoring a massive U.K. hit via a cover of "Eloise," a melodramatic '60s smash for Barry Ryan. It was vindication on a commercial level a decade after having first started, but the Anything album in 1986, flashes of inspiration aside, felt far more anonymous in comparison, the band's worst since Music for Pleasure.

After a full career retrospective release, The Light at the End of the Tunnel, the band undertook a variety of farewell tours, including dates with both Sensible and James joining the then-current quartet. The end of 1989 brought a final We Really Must Be Going tour in the U.K., featuring the original quartet in one last bow, which would seem to have been the end to things. Anything but. The I Didn't Say It tour arrived in 1991, with Paul Gray rejoining the band to play along with the quartet. It was the first in a series of dates and shows throughout the '90s which essentially confirmed the group as a nostalgia act, concentrating on the early part of its career for audiences often too young to have even heard about them the first time around. It was a good nostalgia act, though, with performances regularly showing the old fire (and Sensible his legendary stage presence, often finishing shows nude). After some 1992 shows, the Damned disappeared again for a while -- but when December 1993 brought some more dates, an almost all-new band was the result. Only Scabies and Vanian remained, much like the late '80s lineup; their cohorts were guitarists Kris Dollimore and Alan Lee Shaw and bassist Moose.

This quintet toured and performed in Japan and Europe for about two years, also recording demos here and there that Vanian claimed he believed were for a projected future album with both Sensible and James contributing. Whatever the story, nothing more might have happened if Scabies hadn't decided to work out a formal release of those demos as Not of This Earth, first appearing in Japan in late November 1995. Vanian, having reestablished contact with Sensible during the former's touring work with his Phantom Chords band, responded by breaking with Scabies, reuniting fully with Sensible and recruiting a new group to take over the identity of the Damned. Initially this consisted of Gray once again, plus drummer Garrie Dreadful and keyboardist Monty. However, Gray was replaced later in 1996 following an on-stage tantrum by, in a totally new twist, punk veteran Patricia Morrison, known for her work in the Gun Club and the Sisters of Mercy among many other bands. Scabies reacted to all this with threats of lawsuits and vituperative public comments, but after all was said and done, Vanian, Sensible, and company maintained the rights to the name, occasional billing as "ex-members of the Damned" aside, done to avoid further trouble.

Since then, this latest version of the Damned has toured on a fairly regular basis, though this time with instability in the drumming department (Dreadful left at the end of 1998, first replaced by Spike, then later in 1999 by Pinch). While Vanian continued to pursue work with the Phantom Chords, for the first time in years, the Damned started to become a true outfit once again, the lineup gelling and holding together enough to warrant further attention. The capper was a record contract in 2000 with Nitro Records, the label founded and run by longtime Damned fanatic Dexter Holland, singer with the Offspring (who covered "Smash It Up" for the Batman Forever soundtrack in the mid-'90s). In a fun personal note, meanwhile, Morrison and Vanian married, perhaps making them the ultimate punk/goth couple of all time. Grave Disorder By 2001, the Vanian/Sensible-led Damned looked to be in fine shape, releasing the album Grave Disorder on Nitro and touring to general acclaim. Knowing the fractured history of the band -- captured in the literally endless series of releases, authorized and otherwise, from all periods of its career, live, studio, compilations, and more -- only a foolish person would claim things would stay on an even keel for the future.

Permanently losing Scabies would seem to have been a killer blow on first blush, but the group has soldiered on regardless, a welcome influence from the past as well as a group of fine entertainers for the present. The year 2005 found both eras of the band being represented. While the new lineup was touring and working on a new album, the original lineup was honored by the three-disc box set Play It at Your Sister, which was released on the Sanctuary label. The limited-edition set covered the years 1976-1977, featuring all the tracks from the first two albums along with John Peel sessions and live material. It soon came time for the new lineup to issue its own album, which arrived in 2008 in the form of a slick, pop-influenced record titled So, Who's Paranoid? Extensive touring ensued, and in early 2015, with Sensible present, a documentary titled The Damned: Don't You Wish That You Were Dead premiered at the SXSW Film Festival. Merrick, who had been performing in a Ramones tribute band, died later that year of cancer.

xxxxx xxxxx xxxxx xxxxx xxxxx

Recuperating a bit from The Black Album's uneven impact while still aiming to try whatever they want in studio, here the same four members, along with soon-to-be regular Roman Jugg on various keyboard parts, come up with their strongest album since Machine Gun Etiquette. By turns sprightly and cheerful, dark and dramatic, energetic and snarling, or all that and more at once, Strawberries defies usual expectations to be yet another good rock album from the band, resisting easy attempts to categorize it. Older punk fans would likely appreciate the album's initial blast of "Ignite," a driving thrasher with a fine chorus and some hilarious vamping in the end from Vanian. Immediately following is the superior "Generals," which beautifully combines piano and a crisp arrangement with Vanian's powerfully smooth mode. From there, it's almost a case of strength-to-strength as the album continues: the brass-driven "Stranger on the Town," sassy and sharp; the giddy keyboards and crunch of "Dozen Girls"; the gentler psych-pop experiments of "Gun Fury" and "The Pleasure and the Pain"; the Reagan-baiting "Bad Time for Bonzo"; and the bright beauty of "Under the Floor Again," at once mysterious and gorgeous with a particularly winning instrumental break merging some of Vanian's most positive lyrics. Captain Sensible gets two fun moments for himself in the ruminative "Life Goes On" and the album-closing fun goof, "Don't Bother Me." Meanwhile, at the album's center is the darkest, most haunting thing the band ever recorded, "The Dog." It's an astonishingly effective chiller based on the character of Claudia from Anne Rice's Interview with the Vampire. Cleopatra's welcome 1993 re-release added five bonus tracks, including the Captain's brief piano piece "Torture Me," which tackles the same subject as the Smiths'"Meat Is Murder" but with arguably less hectoring and more affecting results. The 2005 Deluxe Edition includes three more extra cuts, including "Mine's a Large One Landlord,""Rat vs the Omni" and "I Think I'm Wonderful."]



The Damned - Strawberries (flac  467mb)

01 Ignite 4:52
02 Generals 3:23
03 Stranger On The Town 5:14
04 Dozen Girls 4:33
05The Dog 7:20
06 Gun Fury (Of Riot Forces) 2:56
07 Pleasure And The Pain 3:52
08 The Missing Link 0:30
09 Life Goes On 4:03
10 Bad Time For Bonzo 3:47
11 Under The Floor Again 5:03
12 Don't Bother Me 2:11
Bonus
13 Lovely Money (Extended) 6:56
14 I Think I'm Wonderful 2:55
15 Take That 2:47
16 Mine's A Large One Landlord 1:15
17 Torture Me 1:24
18 Disguise 3:28
19 Rat Vs The Omni 0:45
20 Citadel Zombies 1:57
21 Bimbo Jingle 0:08

The Damned - Strawberries   (ogg  164mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

By the time the Damned found themselves on a major label after nine years of ups, downs, and all-arounds, a big change had taken place: Captain Sensible, with both his own solo successes and other pressures coming to bear, decided to depart. Keyboardist Roman Jugg took over the guitar, while Bryn Merrick remained on bass and Vanian and Scabies continued doing their thing. The first fruit of this new Damned, Phantasmagoria, doesn't match up to the excellent variety and performance level on Strawberries, but still has a lot to show while at the same time exploring new territory for the group. The cover and artwork seem to ally the Damned even more closely with goth rock than before, but Vanian thankfully has never seen fit to simply ape those clichés, steering his own powerful path. Similarly, the music can be moody but never without its own distinct energy and fire -- more a Cramps sense (if not sound) of loving the dark than anything, but with a clean, modern sheen and just enough Hammer horror. "Street of Dreams" makes for a powerful, anthemic opener, with some fine Scabies drumming. "Is It a Dream," the one song with a Sensible co-writing credit, is yet another fantastic Vanian vocal showcase in a career of many. The really killer tracks include "Shadow of Love," a semi-Morricone-style mood-out quick shuffle with haunting guitar from Jugg, and "Grimly Fiendish," a funny bit of spooky psychedelia not all that far off from where the Dukes of Stratosphear would end up a couple of years later. Phantasmagoria concludes with the surging instrumental "Trojans," a strong number that showed the Damned had lots of life in them yet.



Phantasmagoria (flac 371mb)

01 Street Of Dreams 5:39
02 Shadow Of Love 3:52
03 There'll Come A Day 4:15
04 Sanctum Sanctorum 6:28
05 Is It A Dream 3:28
06 Grimly Fiendish 3:50
07 Edward The Bear 3:37
08 The Eighth Day 3:47
09 Trojans 4:53
Bonus
10 Grimly Fiendish (Bad Trip) 5:12
11 The Shadow Of Love (Ten Inches Of Hell Mix) 6:46
12 Is It A Dream (Wild West Express Mix Live) 6:45

Phantasmagoria   (ogg  134mb)

xxxxx

The Damned - Phantasmagoria bonus (flac  385mb)

01 Grimly Fiendish (Spic N Span Mix) 5:23
02 Edward The Bear 3:56
03 The Shadow Of Love (Pressure Mix) 5:27
04 Nightshift 2:28
05 Let There Be Rats 2:12
06 Wiped Out 1:38
07 Would You 2:49
08 Is It A Dream (Wild West End Mix) 8:13
09 Street Of Dreams (Live) 5:05
10 Curtain Call (Live) 4:30
11 Pretty Vacant (Live) 2:05
12 Wild Thing (Live) 2:18
13 Shadow Of Love (Radio One Session 20/5/85) 4:09
14 Is It A Dream (Radio One Session 20/5/85) 3:40
15 Street Of Dreams (Radio One Session 20/5/85) 4:43

The Damned - Phantasmagoria bonus  (ogg  136mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

After Captain Sensible left the Damned in 1984 when his solo career took off with the freak success of his single "Happy Talk," Dave Vanian took over the creative reins of the group, and he began nudging their music in a direction that reflected his growing interest in the goth movement. The Damned's flirtation with goth led to them signing a major label deal for the first time and enjoying one of their biggest commercial successes with the 1985 album Phantasmagoria. But if that album found the Damned looking gingerly into a new direction, 1986's Anything was the sound of Vanian and company falling down a well; fans were probably savvy enough not to expect the Damned to sound like a straightforward punk band by this point, but most of Anything barely even qualifies as rock 'n' roll. The solo keyboard piece "The Portrait" bears an unfortunate resemblance to Nigel Tufnel's "Lick My Love Pump,""Restless" and "In Dulce Decorum" meander at length for all their thunder (and John Kelly's echoing production makes everything thunders if it's meant to or not), "Gigolo" suggests a failed merger of pop and prog rock, and "The Girl Goes Down" is a faintly ridiculous song that borrows from a number of vintage pop styles without distinction. Only "Psychomania" and the title cut generate anything approximating the energy of the Damned's best music, and it's telling that easily the best song on the album is a cover, a reasonably faithful rendition of Love's "Alone Again Or." The Damned began to crumble after Anything, and the band broke up for a spell in 1989.



The Damned - Anything (flac 246mb)

01 Anything 4:47
02 Alone Again Or 3:38
03 The Portrait 3:50
04 Restless 4:57
05 In Dulce Decorum 4:47
06 Gigolo 6:02
07 The Girl Goes Down 4:35
08 Tightrope Walk 4:21
09 Psychomania 4:03

The Damned - Anything  (ogg  93mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Sessions of the Damned is another fine stick with which to beat those who inexplicably fail to recognize the utter brilliance of the 1976-1984 Damned. Not only were they one of the funniest, wildest, and most irreverent bands of the punk and post-punk epochs, but as Sessions reminds, they were, just behind the Sex Pistols, Clash, and Buzzcocks, the fourth best and most exciting band of the explosive 1976-1977 liftoff -- only to evolve into one of the most accomplished pop groups. Previously issued on Dutch East India, this major-distributed compilation of BBC radio sessions is as good a place as any to sample the Damned's ample red-hots. It is grossly evident that the "record and mix four songs in one day" dictates of John Peel sessions suited these talented madcaps like the swanky Halston dresses Sensible once donned: live-in-the-studio "smash ups" of punk touchstones like "New Rose,""Neat Neat Neat,""Love Song," and "Smash It Up" compare well to the familiar U.K. hit versions. And while it would be impossible to improve on the speeding-train energy and euphoria of 1979's Machine Gun Etiquette renditions, the formative December 1978 looks at "Melody Lee" and the MC5's sped-up "Looking at You" (the first recordings of the newly reformed group, with Sensible moving from bass to guitar) match them for electricity and magnetism. As well, the Brian James-era lineup's "Sick of Being Sick" and "Stretcher Case Baby" are lesser-known classics of the form, filled with abandon and drummer Rat Scabies' Keith Moon-ish hyper drumming. Zow! Then, to top it off, the final six of the 22 cuts reveal the more mature, measured, yet still punishing melodic guitar pop gems the group favored from 1980-1984, the period of The Black Album and just after the immortal swan song Strawberries. Fine singer Dave Vanian stretches out wonderfully from paranoid punk shouter to moody, disturbed crooner on his "Curtain Call" opus (a funeral parlor eerie epic), while Sensible's parting prize "Thanks for the Night" is hard to keep from singing along with. And, as an added historical bonus, one gets to hear a lovely early version of the beguiling "Is It a Dream" before Sensible bolted (taking the band's creative spark with him), and a sharp cover of the Rolling Stones' psychedelic single "We Love You."



The Damned - Sessions Of The Damned (flac  459mb)

01 Stab Your Back 1:01
02 Neat Neat Neat 2:40
03 New Rose 2:41
04 So Messed Up 2:29
05 I Fall 2:11
06 Sick Of Being Sick 2:30
07 Stretcher Case Baby 1:49
08 Fan Club 3:03
09 Feel The Pain 3:34
10 Melody Lee 2:29
11 I'm A Burglar 3:29
12 Love Song 2:20
13 Looking At You 3:54
14 I Just Can't Be Happy Today 4:41
15 Smash It Up 4:02
16 I'm Bored 2:23
17 Curtain Call (Part 1) 10:26
18 Therapy 5:01
19 Is It A Dream? 3:26
20 Nasty 3:00
21 We Love You 2:34
22 Thanks For The Night 4:04

The Damned - Sessions Of The Damned  (ogg  162mb)

xxxxx xxxxx xxxxx xxxxx xxxxx