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 21 re-ups, requests fullfilled up to January 25th. 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


2x World NOW in Flac (Omnia - Pagan Folk, VA - Cryptichon I)

2x Aetix NOW in Flac (VA - New Wave Club Class-X X-1, VA - New Wave Club Class-X X-2)

2x Aetix NOW in Flac (VA - New Wave Club Class-X Y-1, VA - New Wave Club Class-X Y-2)


4x Aetix NOW In Flac (Cocteau Twins - Garlands, Cocteau Twins - Head Over Heels, Cocteau Twins - BBC Sessions 1,2 )


4x Aetix Back in Flac (Cocteau Twins - Lullabies to Violaine I, II, III, IV)


3x Sundaze Back in Flac (Tarwater – 11|6 12|10, Tarwater – Silur, Tarwater - Rabbit Moon Revisited)


4x Roots Back in Flac (Various -  Nigeria 70 Vol.1-1, Various -  Nigeria 70 Vol.1-2, Various -  Nigeria 70 Vol.2-1, Various -  Nigeria 70 Vol.2-2)


xxxxx xxxxx xxxxx xxxxx xxxxx

Hello, it's the Chinese New Year, the year of the rooster and i for one wish them all the best, however there's this very cocky atomic rooster in the White House, hmm meanwhile Silicon Valley is sitting pretty as a prime retalliatory target on the Westcoast...That is if the aliens let us throw nukes at all...



Today's artist is an American soul and jazz poet, musician, and author, known primarily for his work as a spoken-word performer in the 1970s and 1980s. His collaborative efforts with musician Brian Jackson featured a musical fusion of jazz, blues, and soul, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles. He received post mortem a Grammy Lifetime Achievement Award in 2012.  ..... N'joy

xxxxx xxxxx xxxxx xxxxx xxxxx

One of the most important progenitors of rap music, Gil Scott-Heron's aggressive, no-nonsense street poetry inspired a legion of intelligent rappers while his engaging songwriting skills placed him square in the R&B charts later in his career, backed by increasingly contemporary production courtesy of Malcolm Cecil and Nile Rodgers (of Chic). Born in Chicago but transplanted to Tennessee for his early years, Scott-Heron spent most of his high-school years in the Bronx, where he learned firsthand many of the experiences that later made up his songwriting material. He had begun writing before reaching his teenage years, however, and completed his first volume of poetry at the age of 13. Though he attended college in Pennsylvania, he dropped out after one year to concentrate on his writing career and earned plaudits for his novel, The Vulture.

Encouraged at the end of the '60s to begin recording by legendary jazz producer Bob Thiele -- who had worked with every major jazz great from Louis Armstrong to John Coltrane -- Scott-Heron released his 1970 debut, Small Talk at 125th and Lenox, inspired by a volume of poetry of the same name. With Thiele's Flying Dutchman Records until the mid-'70s, he signed to Arista soon after and found success on the R&B charts. Though his jazz-based work of the early '70s was tempered by a slicker disco-inspired production, Scott-Heron's message was as clear as ever on the Top 30 single "Johannesburg" and the number 15 hit "Angel Dust." Silent for almost a decade, after the release of his 1984 single "Re-Ron," the proto-rapper returned to recording in the mid-'90s with a message for the gangsta rappers who had come in his wake; Scott-Heron's 1994 album Spirits began with "Message to the Messengers," pointed squarely at the rappers whose influence -- positive or negative -- meant much to the children of the 1990s.

In a touching bit of irony that he himself was quick to joke about, Gil Scott-Heron was born on April Fool's Day 1949 in Chicago, the son of a Jamaican professional soccer player (who spent time playing for Glasgow Celtic) and a college-graduate mother who worked as a librarian. His parents divorced early in his life, and Scott-Heron was sent to live with his grandmother in Lincoln, TN. Learning musical and literary instruction from her, Scott-Heron also learned about prejudice firsthand, as he was one of three children picked to integrate an elementary school in nearby Jackson. The abuse proved too much to bear, however, and the eighth-grader was sent to New York to live with his mother, first in the Bronx and later in the Hispanic neighborhood of Chelsea.

Though Scott-Heron's experiences in Tennessee must have been difficult, they proved to be the seed of his writing career, as his first volume of poetry was written around that time. His education in the New York City school system also proved beneficial, introducing the youth to the work of Harlem Renaissance poet Langston Hughes as well as LeRoi Jones. After publishing a novel called The Vulture in 1968, Scott-Heron applied to Pennsylvania's Lincoln University. Though he spent less than one year there, it was enough time to meet Brian Jackson, a similarly minded musician who would later become a crucial collaborator and integral part of Scott-Heron's band.

Given a bit of exposure -- mostly in magazines like Essence, which called The Vulture "a strong start for a writer with important things to say" -- Scott-Heron met up with Bob Thiele and was encouraged to begin a music career, reading selections from his book of poetry Small Talk at 125th & Lennox while Thiele recorded a collective of jazz and funk musicians, including bassist Ron Carter, drummer Bernard "Pretty" Purdie, Hubert Laws on flute and alto saxophone, and percussionists Eddie Knowles and Charlie Saunders; Scott-Heron also recruited Jackson to play on the record as pianist. Most important on the album was "The Revolution Will Not Be Televised," an aggressive polemic against the major media and white America's ignorance of increasingly deteriorating conditions in the inner cities. Scott-Heron's second LP, 1971's Pieces of a Man, expanded his range, featuring songs such as the title track and "Lady Day and John Coltrane," which offered a more straight-ahead approach to song structure (if not content).

The following year's Free Will was his last for Flying Dutchman, however; after a dispute with the label, Scott-Heron recorded Winter in America for Strata East, then moved to Arista Records in 1975. As the first artist signed to Clive Davis' new label, much was riding on Scott-Heron to deliver first-rate material with a chance at the charts. Thanks to Arista's more focused push on the charts, Scott-Heron's "Johannesburg" reached number 29 on the R&B charts in 1975. Important to Scott-Heron's success on his first two albums for Arista (First Minute of a New Day and From South Africa to South Carolina) was the influence of keyboardist and collaborator Jackson, co-billed on both LPs and the de facto leader of Scott-Heron's Midnight Band.

Jackson left by 1978, though, leaving the musical direction of Scott-Heron's career in the capable hands of producer Malcolm Cecil, a veteran producer who had midwifed the funkier direction of the Isley Brothers and Stevie Wonder earlier in the decade. The first single recorded with Cecil, "The Bottle," became Scott-Heron's biggest hit yet, peaking at number 15 on the R&B charts, though he still made no waves on the pop charts. Producer Nile Rodgers of Chic also helped on production during the 1980s, when Scott-Heron's political attack grew even more fervent with a new target, President Ronald Reagan. (Several singles, including the R&B hits "B Movie" and "Re-Ron," were specifically directed at the President's conservative policies.) By 1985, however, Scott-Heron was dropped by Arista, just after the release of The Best of Gil Scott-Heron. Though he continued to tour around the world, Scott-Heron chose to discontinue recording. He did return, however, in 1993 with a contract for TVT Records and the album Spirits.

For well over a decade, Scott-Heron was mostly inactive, held back by a series of drug possession charges. He began performing semi-regularly in 2007, and one year later, announced that he was HIV-positive. He recorded an album, I'm New Here, released on XL in 2010. In February of 2011, Scott-Heron and Jamie xx (Jamie Smith of xx) issued a remixed version of the album, entitled We're New Here, also issued on XL. Scott-Heron died on the afternoon of May 27, 2011, at St. Luke's Hospital, New York City, after becoming ill upon returning from a European trip, an airline cabin is always a cocktail of virusses and bacteria which proved to be too much for the weakened by HIV elderly man.

xxxxx xxxxx xxxxx xxxxx xxxxx

Gil Scott-Heron's 1971 album Pieces of a Man set a standard for vocal artistry and political awareness that few musicians will ever match. His unique proto-rap vocal style influenced a generation of hip-hop artists, and nowhere is his style more powerful than on the classic "The Revolution Will Not Be Televised." Even though the media -- the very entity attacked in this song -- has used, reused, and recontextualized the song and its title so many times, the message is so strong that it has become almost impossible to co-opt. Musically, the track created a formula that modern hip-hop would follow for years to come: bare-bones arrangements featuring pounding basslines and stripped-down drumbeats. Although the song features plenty of outdated references to everything from Spiro Agnew and Jim Webb to The Beverly Hillbillies, the force of Scott-Heron's well-directed anger makes the song timeless. More than just a spoken word poet, Scott-Heron was also a uniquely gifted vocalist. On tracks like the reflective "I Think I'll Call It Morning" and the title track, Scott-Heron's voice is complemented perfectly by the soulful keyboards of Brian Jackson. On "Lady Day and John Coltrane," he not only celebrates jazz legends of the past in his words but in his vocal performance, one that is filled with enough soul and innovation to make Coltrane and Billie Holiday nod their heads in approval. More than three decades after its release, Pieces of a Man is just as -- if not more -- powerful and influential today as it was the day it was released.



Gil Scott-Heron - Pieces Of A Man    (flac  257mb)

01 The Revolution Will Not Be Televised 3:06
02 Save The Children 4:26
03 Lady Day And John Coltrane 3:35
04 Home Is Where The Hatred Is 3:20
05 When You Are Who You Are 3:21
06 I Think I'll Call It Morning 3:30
07 Pieces Of A Man 4:52
08 A Sign Of The Ages 4:01
09 Or Down You Fall 3:12
10 The Needle's Eye 4:49
11 The Prisoner 9:25

Gil Scott-Heron - Pieces Of A Man  (ogg    115mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Gil Scott-Heron's third album is split down the middle, the first side being a purely musical experience with a full band (including flutist Hubert Laws and drummer Pretty Purdie), the second functioning more as a live rap session with collaborator Brian Jackson on flute and a few friends on percussion. For side one, although he's overly tentative on the ballad "The Middle of Your Day," Scott-Heron excels on the title track and the third song, "The Get Out of the Ghetto Blues," one of his best, best-known performances. The second side is more of an impromptu performance, with Scott-Heron often explaining his tracks by way of introduction ("No Knock" referred to a new police policy whereby knocking was no longer required before entering a house, "And Then He Wrote Meditations" being Scott-Heron's tribute to John Coltrane). His first exploration of pure music-making, Free Will functions as one of Scott-Heron's most visceral performance, displaying a maturing artist who still draws on the raw feeling of his youth.



Gil Scott-Heron - Free Will   (flac  193mb)

01 Free Will 3:40
02 The Middle Of Your Day 4:28
03 The Get Out Of The Ghetto Blues 5:08
04 Speed Kills 3:15
05 Did You Hear What They Said ? 3:28
06 The King Alfred Plan 2:54
07 No Knock 2:11
08 Wiggy 1:36
09 Ain't No New Thing 4:32
10 Billy Green Is Dead 1:31
11 Sex Education: Ghetto Style 0:54
12 ... And Then He Wrote Meditations 3:16

  (ogg   mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Gil Scott-Heron was at his most righteous and provocative on this album. The title cut was a moving, angry summation of the social injustices Scott-Heron felt had led the nation to a particularly dangerous period, while "The Bottle" was a great treatise on the dangers of alcohol abuse. He also offered his thoughts on Nixon's legacy with "The H2O Gate Blues," a classic oral narrative. Brian Jackson's capable keyboard, acoustic piano and arranging talents helped make this a first-rate release, one of several the duo issued during the 1970s.



Gil Scott-Heron & Brian Jackson - Winter in America  (flac 235mb)

01 Peace Go With You, My Brother (As-Salaam-Alaikum) 5:30
02 Rivers Of My Fathers 8:29
03 A Very Precious Time 5:13
04 Back Home 2:50
05 The Bottle 5:14
06 Song For Bobby Smith 4:42
07 Your Daddy Loves You 2:57
08 H2O Gate Blues 8:23
09 Peace Go With You Brother (Wa-Alaikum-Salaam) 1:11

Gil Scott-Heron & Brian Jackson - Winter in America (ogg   111mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

The collaboration between Gil Scott-Heron and Brian Jackson was now a formal one, as they were issuing albums as a team. This was their second duo project to make the pop charts, and it included anti-nuclear and anti-apartheid themes, plus less political, more autobiographical/reflective material like "Summer of '42,""Beginnings (The First Minute of a New Day)," and "Fell Together." Scott-Heron was now a campus and movement hero, and Jackson's production and arranging savvy helped make his albums as arresting musically as they were lyrically.



Gil Scott-Heron & Brian Jackson - From South Africa To South Carolina  (flac 449mb)

01 Johannesburg 4:52
02 A Toast To The People 5:47
03 The Summer Of '42 4:41
04 Beginnings (The First Minute Of A New Day) 6:23
05 South Carolina (Barnwell) 3:46
06 Essex 9:17
07 Fell Together 4:30
08 A Lovely Day 3:29
Bonus
09 South Carolina (Barnwell) (Live) 6:29
10 Save The Children (Live) 4:23
11 Johannesburg (Live) 11:14
12 Let Me See Your I.D. 7:30

Gil Scott-Heron & Brian Jackson - From South Africa To South Carolina (ogg 175mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,

Today's artist is a British electronic music artist, from Walsall, who currently operates out of Malden, Massachusetts. When he is not busy running the Type record label, and writing for Boomkat, he produces electronic music encompassing a variety of styles and moods. His earlier music combines constructed beats, smart melodies and brittle electronica, which is supplemented by guitar and other instrumentation in later recordings. An obsession with horror soundtracks, has influenced him to produce more atmospheric soundscapes encompassing folk, drone, and psychedelia........N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Xela is the brainchild of Manchester, England-based multi-instrumentalist/producer John Twells, the moniker under which he records atmospheric, eclectic, and often dark electronic music. Twells' father was a guitarist and he developed a love of music early on, playing flute and saxophone as a child and moving on to guitar in his teens. After playing in various bands, Twells began making music on his own, finding more inspiration in electronic music than the metal, punk, and indie influences of his previous work. Twells sent out demos of his work, which caught the ear of Metamatics' Lee Norris, who asked him to contribute a track to a compilation and released Xela's 2003 debut mini-album, For Frosty Mornings and Summer Nights, on the Neo Ouija label. Around that time, Twells began collaborating with Gabriel Morley, aka Logreybeam, as the duo Yasume. Tangled Wool, a collection of love songs that also reintroduced guitars into Twells' music, was released on City Centre Offices in 2004.

Two years later, The Dead Sea, a concept album about a ship attacked by zombies, arrived on Twells' own Type label (which also issued releases by Logreybeam and Khonnor). Influenced by prog, sea shanties, Italian horror soundtracks, and noise, the album also featured beautifully grim visuals by artist Matthew Woodson. That year, Yasume's homage to David Lynch and Angelo Badalamenti's influence on Twells and Morley, Where We're from the Birds Sing a Pretty Song, was also released. For Frosty Mornings and Summer Nights was reissued by Type in 2007, and In Bocca al Lupo, which was originally composed for a gallery installation revolving around the concept of fear, arrived in 2008. During that time, Twells also released many limited-edition projects on imprints including Digitalis, SMTG, and Static Caravan.


xxxxx xxxxx xxxxx xxxxx xxxxx

John Twells' first album as Xela, 2003's he wrote the album in-between working at a car-parts shop selling car audio and busying himself with an art degree at University, which of course gave him the time to rush home whenever he could and work on music, and had the added bonus of providing him with large speaker systems to test out prospective tracks. The record was created in response to a two key things – a sense of alienation in the small ex-industrial town of Walsall, and most importantly to the electronic music he had just begun to hear. John had been brought up on a steady diet of indie, punk and metal and was exposed to electronic music fairly late, but as soon as he heard his first washes of analogue synthesizer he knew his life would change. It quickly led him to put down the guitars and save his pennies for cheap electronic equipment – synths, drum machines and tape recorders, and before long he was crafting home-made electronic symphonies. These early demos caught the attention of Lee Norris (Metamatics) who ran the Neo Ouija label, Lee used one of the tracks on a compilation he was compiling at the time, and encouraged John to put together a full length record. The result of this would become ‘For Frosty Mornings and Summer Nights’ which harnessed

Johns love for glacial electronics, the ultra-minimal sound of Mille Plateaux and 12k, hip hop and of course indie rock, melting them all down into a vague narrative across the course of the record.However, the flair for intricately detailed tracks that somehow never feel overwrought is all Twells, and that, along with his ways with mood and melody (particularly on "Afraid of Monsters,""Bobble Hats in Summer," and "Last Breath"), is what makes For Frosty Mornings and Summer Nights unique. "Japanese Whispers" is a standout example of his layered, intertwining approach, while "Inbetween Two Rooms" and "Impulsive Behaviour" have the shimmering, slightly tense feeling that he developed in his later music. Interestingly, tracks like "An Abandoned Robot" and "The Long Walk Home at Midnight" come closer to the dark atmosphere of later works such as The Dead Sea than the bittersweet folktronica of Xela's second album, Tangled Wool. Even though Xela's music became more strikingly original once he reincorporated his love of rock and heavy sounds -- alternative rock and heavy metal were Twells' favorite styles until he discovered and then immersed himself in electronic music -- the loveliness of, and skill behind, For Frosty Mornings and Summer Nights is undeniable. Twells' own label, Type, reissued the album in 2007 with two bonus tracks, "A Glance" and "Danse Macabre."



Xela - For Frosty Mornings and Summer Nights (flac  326mb)

01 Afraid Of Monsters 5:03
02 Under The Glow Of Streetlights 4:24
03 Japanese Whispers 6:10
04 Inbetween Two Rooms 4:47
05 Impulsive Behaviour 4:25
06 An Abandoned Robot 5:52
07 The Long Walk Home At Midnight 5:21
08 Bobble Hats In Summer 6:26
09 Digital Winter 2:16
10 Last Breath 6:13
Bonus
11 A Glance 4:56
12 Danse Macabre 4:52

Xela - For Frosty Mornings and Summer Nights    (ogg  145mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Minus the baggage of realizing that nothing's incredibly distinct about it, John Twells' second Xela album is nonetheless a cuddly, sunlit listen. Filled with nostalgic/half-remembered tints that have nearly become as much of a cottage industry as retro garage rock bands; its autumnal glow comes across as homespun, less reliant on trickery than other releases that fill this niche. The folksiness of Twells' tremulous acoustic guitar, in fact, should please those who much prefer melodies to processing. This should appeal to followers of the Temporary Residence label as much as those who are now having trouble staying on top of City Centre Offices' suddenly rapid release schedule.



Xela - Tangled Wool  (flac  246mb)

01 Softness Of Senses 4:40
02 Smiles And Bridges 4:41
03 You Are In The Stars 5:04
04 Drawing Pictures Of Girls 4:49
05 Through Crimson Clouds 5:26
06 Quiet Night 5:14
07 So No Goodbyes 5:03
08 Her Eyes Sparkled And She Walked Away 5:55

Xela - Tangled Wool    (ogg 93mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Inspired by sources as varied as Goblin's scores for Dario Argento's gory classics to Wolf Eyes' unearthly electronic noise, Xela's The Dead Sea is a concept album about a sea voyage overtaken by zombies. Stories like this don't usually end well, and neither does this one; doom is telegraphed with every track, from "The Gate" -- which begins the album with droning strings that give off vibrations of dread like heat shimmer -- to the chilling finale, "Briefly Seen." Often, the album feels like a field recording of rusty chains, ill winds, and lost souls. Though The Dead Sea is far darker than Tangled Wool or For Frosty Mornings and Summer Nights, it shares Xela's attention to mood and sonic detail, teeming with writhing textures and percussion and haunting melodies that occasionally bob to the surface. Decaying sea shanties like "Creeping Flesh" and "A Floating Procession" would almost be jaunty, were it not for the unsettlingly deep basslines that shadow them. Even the prettiest tracks, such as the acoustic guitar-based "Linseed" and "Drunk on Salt Water," boast enough creepy, half-heard moments that they don't offer respite from the itchy, insectoid noise of "Wet Bones" and "Sinking Cadavers"' icy electronics, both of which evoke the zombies' slow but inevitable approach. It all culminates on the outstanding "Humid at Dusk," an eerie folk-noise battle between maritime acoustics and undead electronics. Ultimately, The Dead Sea is more spooky than terrifying; after all the buildup, some more intense scares would've been satisfying. Still, the album does a remarkably good job of conjuring up extremely vivid, ghastly images (like the one on its brilliant album artwork) and making you look around every once in a while to make sure everything is all right. Bleak, beautiful, and fascinating, this is Xela's most ambitious and accomplished work yet.



Xela - The Dead Sea  (flac  342mb)

01 The Gate 4:52
02 Linseed 4:25
03 Drunk On Salt Water 4:22
04 Wet Bones 4:44
05 Creeping Flesh 2:33
06 Savage Ritual  4:14
07 A Floating Procession 4:45
08 Sinking Cadavers 1:02
09 Humid At Dusk 5:00
10 Watching A Light In The Distance 2:08
11 Briefly Seen 5:16
12 Never Going Home 2:22
bonus
13 Halloween 7:44
14 Suspiria 5:36

Xela - The Dead Sea   (ogg  108mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

"In bocca al lupo" ("in the wolf's mouth") is a traditional Italian phrase wishing someone luck in attempting a difficult undertaking or in the face of dire circumstances. It's also a fitting title for this album, which is among Xela's (aka John Twells) most ambitious, abstract, and yes, difficult music. In Bocca al Lupo is even darker and more conceptual than 2006's magnificent zombies-at-sea epic The Dead Sea: where that album was inspired by Italian horror movie soundtracks, In Bocca al Lupo began as part of an art installation about fear, and its four lengthy pieces aren't so much scary music as expressions of creeping dread and outbursts of terror. The melodies of his earlier Type albums have bled away, leaving the harsh yet strangely lulling electronic noise that gnawed away at the edges of The Dead Sea as the heart of the music. Heavy drones and tolling church bells add chilly depth and a feeling somewhere between eerie and sacred, while the writhing layers of noise have more in common with Xela's limited-release works like Heirs of the Fire than For Frosty Mornings and Summer Nights or even The Dead Sea (both of which could practically be pop albums in comparison). Like The Dead Sea, however In Bocca al Lupo is structured masterfully, drawing listeners in with the relatively gentle "Ut Nos Vivicaret," which rolls in and out as imperceptibly as fog. Each subsequent track gets deeper and denser, shifting from cavernous to suffocating: "In Deo Salutari"'s pretty bells and chimes are gradually overtaken and rotted by distortion, which leads into "In Misericordia"'s deep, uneasy drones. It culminates with "Beatae Immortalitatis," the album's 20-minute finale and its only truly loud track. Heavy Winged drummer Jed Bindeman brings In Bocca al Lupo to a pounding, howling peak that closes with a woman screaming in the distance. While it's not as immediate as Twells' previous Type output, the album's enveloping dread is more than just an exercise: it's an impressive demonstration of just how committed Twells is to pushing the boundaries of Xela's music.



Xela - In Bocca Al Lupo, Never Better  (flac  494mb)

01 Ut Nos Vivicaret 12:45
02 In Deo Salutari Meo 13:52
03 In Misericordia 14:34
04 Beatae Immortalitatis 20:37
Never Better
05 Lost And Loved 20:41
06 Loved And Lost 21:16

Xela - In Bocca Al Lupo, Never Better    (ogg  186mb)

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

This is the ultimate Extra-Strength awareness aid for people who want brainwave stimulation effects without the background sounds of oceans or someone speaking. All that is present on these audio tracks are the soothing vibrations of the brainwave entrainment tones themselves. This is a perceptual tool that needs to be Experienced to be Believed.

This series is best used as a springboard for deep meditation, trancework, reverie, problem solving, brainstorming, creative visualization and a host of other benefits including heightened awareness and expanded states of consciousness. The more you use the brainwave sessions on this CD, the easier it becomes to consciously enter these brainwave states at will.

This journey can take you deep into your own viable, nonphysical or non-ordinary reality. With time and practice, you can effortlessly induce these mindstates. In the meanwhile, you can be assured that your brainwaves will be tuned to the correct frequency ranges to maximize your results. 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 conducive for all forms of meditation and trance work.

This series has five brainwave sessions that are designed to looped on repeat mode to experience an extended brainwave entrainment session, TONES only, for that specific brainwave range. Obviously you can also can loop/repeat the entire series for a progressive brainwave relaxation session.



Brainwave Mind Voyages (Series VI) - The Tones (flac  383mb)

01 The ALPHA Tones
02 The THETA Tones
03 The HYPNO Tones
04 The DELTA Tones
05 The AWAKENED MIND

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)
Brainwave Mind Voyages (Series V) (flac  265mb)

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

The Odeon crew wer really getting into the swing of things by the time Soares laid this one down... The downbeat is getting a bit funkier and jazzier, and the horn arrangements have loosened up a bit. Seems she finally hit a groove with Nelsinho and his crew... Some tracks, like "Quizumba" and "Deixa A Nega Gingar" are a real blast, while others are a bit more by-the-numbers. Overall, though, this is a strong album, fun from start to finish. O Maximo Em Samba is quite a bit brassier and more shrill-sounding...  A little aggressive, although Soares does deliver some powerful vocals.



Elza Soares - Com A Bola Branca, O Máximo Em Samba (flac  511mb)

01 Quizumba
02 Estatuto Da Gafieira
03 Nem Vem, Nem Vai
04 No Carnaval
05 Jogado Fora
06 A Vida Como Ela E
07 A Infelicidade
08 Deixa A Nega Gingar
09 Brincadeira Tem Hora
10 Volta Pro Morro
11 Meu Tudo E Por Que
12 Tudo E Balanco
O Máximo Em Samba
13 O Mundo Encantado De Monteiro Lobato
14 Conversa De Botequim
15 Tristeza
16 Agora É Cinza
17 Louco (Ela É O Seu Mundo)
18 O Orvalho Vem Caindo
19 Atira A Primeira Pedra
20 Devagar Com A Louça
21 Vem Morar Comigo
22 Você Não Tem Palavra
23 Leva Meu Samba
24 P'ra Machucar Meu Coração
bonus
25 Palmas no portão
26 Me deixa em paz
27 Nostalgia
28 Vou deixar cair

Elza Soares - Com A Bola Branca, O Máximo Em Samba (ogg  182mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

This was Elza's first duet pairing with samba-cancao elder Miltinho, a veteran performer with Anjos do Inferno and other classic vocal groups... It's a solid effort, though a bit stagey and reserved, especially in comparison to her solo work. But it also demonstrates her range, and her connection to samba's historical past, with songs from Haroldo Barbosa, Herivelto Martins, Noel Rosa, Ismael Silva and several less well-know composers of the pre-bossa era... A nice window onto an antiquated style, and an intriguing snapshot of Miltinho midway through his latter-years solo career. (After recording three albums with Soares, he went on to do a series of duet records with Doris Monteiro...) I wasn't blown away by this one, but it's certainly worth checking out if you're into the whole "radio singers" thing...
Baterista-Wilson Das Neves is one of Soares' strongest, most groove-laden albums, made with the assist of drummer Wilson Das Neves. This album was sampled from liberally for the Meus Momentos collection below, notably songs such as "Palhacada,""Se Acaso Voce Chegasse," and "Edmundo," (a Brazilianified version of "In The Mood," with a chaotic, swinging beat). Soares was making a strong bid to be a Brazilian sambadelic version of Ella Fitzgerald, and actually she did a pretty good job of it



Elza Soares - Elza Miltinho E Samba, Baterista-Wilson Das Neves  (flac  478mb)

01 Com Que Roupa-Si Você Jurar
02 Beijo Na Bôca-Moreninha Do Pom Pom Grená-Tem Que Ter
03 Boogie-Woogie Na Favela-Bonitâo-Eu Quero Um Samba-Pourquoi (Essa Nêga Sem Sandália)
04 Se Você Visse
05 Todo Dia É Dia
06 Enlouqueci-Fica Doido Varrido-Obsessão-Só Eu Sei-E Bom Parar-Calado Venci-Vai Que Depois Eu Vou-Já Vai?
07 Mal De Amor
08 Antonico
09 Louco De Saudade

Baterista: Wilson Das Neves
10 Balanço Zona Sul
11 Deixa Isso Prá La
12 Garôta De Ipanema
13 Edmundo (In The Mood)
14 O Pato
15 Copacabana
16 Teleco Teco Nº 2
17 Saudade Da Bahia
18 Samba De Verão
19 Se Acaso Você Chegasse
20 Mulata Assanhada
21 Palhaçada

Bonus
22 Sofri
23 Bonde se São Januário-Zé marmita-O trem atrasou-Sapato de pobre
24 Pam-pam-pam
25 Pode o mundo se acabar

Elza Soares - Elza Miltinho E Samba, Baterista: Wilson Das Neves   (ogg   178mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Elza Soares's superb samba accompaniment, melded to a slightly frantic brass band (with a too-prominent trombone and bass saxophone combo...) Her voice is, frankly, a bit grating on most of this album, but the cuica-and-pandeiro rhythmic percussion is awesome. Unfortunately, the liner notes don't say who the musicians were -- Nelsinho is listed as the arranger, but which samba crew they got to join his band is anyone's guess. At any rate, this is a pretty interesting record... The closing number, "Se E Pecado Sambar," is perhaps the single best song on here, where all the elements -- including her voice -- work perfectly together.



Elza Soares - Elza, Miltinho e Samba, vol. 2, Elza, Carnaval & Samba (flac 465mb)

01 Dialogo De Criolos
02 Alô Alô / Pelo Telefone
03 Semana Inteira / O Pau Comeu Na Casa De Noca
04 Vaidosa / Me Deixa Em Paz / Para Me Livrar Do Mal
05 Tem Pena De Mim
06 Você Jà Foi À Bahia / Vestido De Bolero
07 Mancada / Vai Haver Barulho No Château
08 Promessa / Confessou / Quem Chorou Fui Eu
09 Pot Pourri De Imitação

Elza, Carnaval & Samba
10 Bahia de todos os deuses
11 Quero marrer no carnaval
12 Não me diaga adues
13 Eu chorarei amanhã
14 De lanterna na mão
15 Fechei a porta
16 Heróis da liberdade
17 Rosa Maria
18 Eu agora sou feliz
19 Que samba bom
20 Falam de mim
21 Se é pecado sambar
Bonus
22 Lapinha
23 Onde De Esta Meu Samba ?
24 Chove Chuva Va

Elza Soares - Elza, Miltinho e Samba, vol. 2, Elza, Carnaval & Samba (ogg  162mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,


Today's artists, out of all the late-'70s punk and post-punk bands, none were longer lived or more prolific than the Fall. Throughout their career, the band underwent a myriad lineup changes, but at the center of it all was vocalist Mark E. Smith. With his snarling, nearly incomprehensible vocals and consuming bitter cynicism, Smith became a cult legend in indie and alternative rock. The group's output is prolific—as of November 2011 they have released 29 studio albums, and more than triple that counting live albums and other releases. They have never achieved widespread public success beyond a handful of minor hit singles in the late 1980s, but have maintained a strong cult following. Over the course of their career, the band went through a number of shifts in musical style, yet the foundation of their sound was a near-cacophonous, amelodic jagged jumble of guitars, sing-speak vocals, and keyboards........N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Prior to forming the Fall in 1977, Smith worked on the docks in Manchester, where he had auditioned and failed with a number of local heavy metal groups. Smith wasn't inspired by metal in the first place; his tastes ran more toward the experimental rock & roll of the Velvet Underground, as well as the avant-garde art rock of Can. Eventually, he found several similarly inclined musicians -- guitarist Martin Bramah, bassist Tony Friel, keyboardist Una Baines, and drummer Karl Burns -- and formed the Fall, taking the group's name from the Albert Camus novel. The band cut an EP, Bingo-Master's Break-Out!, which was funded by the Buzzcocks' label, New Hormones, but it sat unreleased for nearly a year, simply because the band couldn't find anyone who wanted to sign them. The Fall were outsiders, not fitting in with either the slick new wave and the amateurish, simple chord-bashing of punk rock. Consequently, they had a difficult time landing a record contract . After a while, the group had gained some fans, including Danny Baker, the head of the Adrenaline fanzine, who persuaded Miles Copeland to release the EP on his Step Forward independent label.

During 1978, Smith replaced bassist Friel with Marc Riley (bass, guitar, keyboards) and keyboardist Baines with Yvonne Pawlett because they wanted to make the Fall more accessible. The new lineup recorded the band's first full-length album, Live at the Witch Trials, which was released in 1979. The Fall continued to tour, playing bars and cabaret clubs, and, in the process, began to slowly build a fan base. Radio 1 DJ John Peel had become a fervent fan of the band, letting them record a number of sessions for his show, which provided the group with a great deal of exposure.

Before recording the Fall's second album, Smith changed the band's lineup, firing Pawlett, Bramah, and Burns, while hiring guitarist Craig Scanlon, bassist Steve Hanley, and drummer Mike Leigh; Riley moved to lead guitar from bass during this lineup shift. Scanlon and Hanley would become integral members of the Fall, staying with the band for great part of their career. The new lineup recorded and released Dragnet late in 1979. The following year, the Fall parted with Step Forward and signed with Rough Trade, where they released the live album Totale's Turns (It's Now or Never), the studio Grotesque (After the Gramme), and several acclaimed singles, including "Totally Wired" and "How I Wrote Elastic Man," in the course of 1980. Paul Hanley joined the group as a second drummer before the Grotesque album. Though several Fall recordings appeared in 1981, they were all archival releases with the exception of the Slates EP. After the release of Slates, drummer Karl Burns rejoined the group. In early 1982, the band released the full-length Hex Enduction Hour, which received some of the group's strongest reviews to date. Since the group was having trouble with Rough Trade, the album was released on Kamera Records, as was its follow-up, Room to Live, which also appeared in 1982. Following its release, Riley left the band.

The major turning point in the Fall's career arrived in 1983, when Smith met Brix Smith (born Laura Elise Salinger) in Chicago while the Fall were on tour. The pair married within a few months and Brix, who originally played bass, joined the group as their second guitarist, replacing Riley; her first record with the group was 1983's Perverted by Language. Brix brought a more melodic pop sense to the band, as demonstrated by 1984's The Wonderful and Frightening World of the Fall, their first album for Beggars Banquet. By 1985, the Smiths were collaborating with each other, resulting in more structured, melodic songs like the singles "No Bulbs" and "Cruiser's Creek." Midway through 1985, Steve Hanley had to take a leave of absence and classically trained Simon Rogers joined as the temporary bassist. Once Hanley returned, Rogers moved over to keyboards. The new lineup with Rogers recorded This Nation's Saving Grace, which was released in the fall of 1985 to terrific reviews. Rogers stayed for one more album, 1986's Bend Sinister, yet he remained involved with the Fall for several years.

In 1986, the Fall unexpectedly began to have charting singles, as their cover of the Other Half's "Mr. Pharmacist" became a minor hit in the fall. Over the next few years, the group appeared in the lower reaches of the charts consistently, breaking into the Top 40 with 1987's "Hit the North" and 1988's cover of the Kinks'"Victoria," which signaled how much more accessible the band had become with the addition of Brix's arrangements. After the 1988 release of the Simon Rogers-produced The Frenz Experiment, Brix divorced Smith and she left the Fall in 1989; original guitarist Martin Bramah replaced her. The musical result of the separation was a shift back to the darker, more chaotic sound of their early albums, as shown on the first post-Brix album, 1990's Extricate. Though Extricate was well received, Smith decided to alter the lineup that recorded the album. He fired both Schofield and Bramah while the Fall was touring Australia. Featuring new keyboardist Dave Bush, Shift-Work was released in 1991, followed by Code: Selfish the next year.

In 1993, the Fall signed with Matador Records, which provided them with their first American record label in several years. Their first release for the label, The Infotainment Scam, was recorded with the returning Karl Burns, who provided drums. Neither The Infotainment Scam nor its 1994 follow-up, Middle Class Revolt, sold many records in the U.S., despite good reviews, and the Fall was again left without an American label as of 1995. Not that it mattered; they retained their devoted following in Britain, where both albums performed respectively. Brix rejoined the Fall during the supporting tour for Middle Class Revolt and appeared on 1995's Cerebral Caustic. At the beginning of 1996 keyboardist Julia Nagle had joined the band for the recording of The Light User Syndrome, an album that featured liner notes from longtime supporter and BBC DJ John Peel. The band recorded their 20th BBC session for the DJ in June, followed by the departure of Brix in October and Karl Burns in December.

By this time a steady stream of compilations and live recordings started appearing, the majority of them on the Receiver label, mostly without the band's involvement.  During an April gig in New York City at Brownie's, Smith was in rare form. The band played large parts of the set with Smith off-stage, at one point Smith said something to Karl Burns that made him jump over his drum kit and attack the singer, and Crooks and Smith were at odds the whole show, with Crooks kicking Smith and Smith flicking lit cigarettes at Crooks. Burns, Crooks, and Steve Hanley were out of the band and Smith spent a night in jail on assault charges. A new single, "Touch Sensitive," appeared in February 1999. It ended up as the soundtrack to car commercial, giving it extra exposure in the U.K., setting the stage for the April release of the new album, The Marshall Suite. Nagle was now more involved with songwriting while guitarist Neville Wilding, bassist Adam Halal, and drummer Tom Head rounded out the new Fall.

Released in December 2002, "The Fall vs. 2003" single ushered in the next great era of the band, with Poulou offering a melodic base for Smith's abrasiveness the same way Nagle and Brix had before. Jim Watts discovered he was fired when Smith held a band meeting in a bar in March 2003 and bought everyone a drink but Watts. Bassist Simon "Ding" Archer would take his place for a June-July American tour. An early version of the band's next album was leaked to the Internet, influencing Smith to re-record and add/drop some tracks. The leak was referenced in the album's new title, The Real New Fall LP (Formerly Country on the Click), released in October. A Christmas single, "(We Wish You) A Protein Christmas," appeared in December.

The Sanctuary label reissued two classic albums -- Live at the Witch Trials and Dragnet -- in January of 2004 with much better sound than ever before, and some bonus tracks were added to Dragnet. A tour of America was planned, but on a visit to Newcastle, Smith slipped on some ice, breaking his leg. A bystander came to help him up, but Smith fell again, this time cracking his hip. Despite a metal rod running from his knee to hip, the Fall went ahead with the American tour, with Smith delivering his vocals while seated at a table.  2005 also saw the departure of guitarist Jim Watts, a fantastic box set that collected all the band's sessions for John Peel, and the new album Fall Heads Roll. In the summer the band toured America in support of the new album, but after a few dates, Smith fired all of the members of the band save his wife and keyboardist, Eleni Poulou. The 2007 album Reformation Post T.L.C. featured a hybrid group of U.S. and U.K. members. That same year Smith collaborated with Andi Toma and Jan St. Werner of electronica duo Mouse on Mars on the Von Südenfed project. He published his typically challenging and entertaining autobiography in 2008. In 2010 they signed with the Domino label for the album Your Future Our Clutter released on 26 April 2010. This was followed in November 2011 by the album Ersatz GB. In March 2012, the band were chosen by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival he curated in Minehead, England. The Fall performing at Bloomberg Space in London in 2008. On 11 October 2012, The Fall played with The Undertones at EPIC-TV in Norwich (Magdalen Street), launching the John Peel Festival of New Music as part of the Norwich Sound and Vision Festival 2012, a fundraiser for the John Peel Centre of Creative Arts in Stowmarket.

The Fall, now their longest-serving line-up in the group's history, released their twenty-ninth studio album, Re-Mit, on 13 May 2013. This was followed later in the year by a six-track EP of new material, The Remainderer. 2014 saw the release of a live album Live: Uurop VIII-XII Places in Sun & Winter, Son. The group's thirtieth studio album Sub-Lingual Tablet was released on 25 May 2015 by Cherry Red. In a 2016 interview with Mojo Magazine, Mark E Smith announced that Elena had resigned from the group.

xxxxx xxxxx xxxxx xxxxx xxxxx

The Fall already had a slew of brilliant records under their belt by the time Hex Enduction Hour emerged, but when it did, the result was a bona fide classic on all fronts. Honing the vicious edge of his lyrics to a new level of ability, Smith led his by-now seasoned band -- at this time sporting the double-drumming lineup of Paul Hanley and Karl Burns -- to create a literal hour's worth of entertaining bile. The Marc Riley/Craig Scanlon team had even more of a clattering, industrial edge than before, now inventing its own style of riff and melody that any number of later groups would borrow, with varying degrees of success. "Iceland" itself tips its hat toward where part of the album was recorded, and it's little surprise that the Sugarcubes and any number of contemporaneous bands from that country ended up with a deep Fall fetish. Of the many song highlights, perhaps the most notorious was the opening "The Classical," an art rock groove like no other, racketing around with heavy-duty beats and stabbing bass from Steve Hanley. Apparently, the band was on the verge of signing with Motown, at least until they heard Smith delivering the poisonous line, "Where are the obligatory niggers?/Hey there, f*ckface!" Politically correct or not, it set the tone for the misanthropic assault of the entire album, including the hilarious dressing down of "misunderstood" rock critics, "Hip Priest" ("He...is...not...ap-PRE-ciated!") and the targeting-everyone attack "Who Makes the Nazis?" Musically, all kinds of approaches are assayed and the results are a triumph throughout, from "Hip Priest" and its tense exchange between slow, dark mood and sudden guitar bursts to the motorik drone touch of "Fortress/Deer Park." As a concluding anti-anthem, "And This Day" ranks up with "The N.W.R.A.," ten minutes of ramalama genius.



The Fall - Hex Enduction Hour (flac  663mb)

01 The Classical 5:16
02 Jawbone And The Air-RIfle 3:42
03 Hip Priest 7:47
04 Fortress/Deer Park 6:40
05 Mere Pseud Mag. Ed. 2:49
06 Winter (Hostel-Maxi) 4:31
07 Winter 2 4:33
08 Just Stop S'ways 3:24
09 Who Makes The Nazis ? 4:30
10 Iceland 6:42
11 And This Day 10:19
12 I'm Into C.B. 6:34
13 Session Musician 9:17
14 Jazzed Up Punk Shit4:13
15 I'm Into C.B. (Stars On 45 Version) 3:15
16 And This Day (live) 6:17
17 Deer Park (live) 9:38
18 And This Day (Soundcheck) 5:24

The Fall - Hex Enduction Hour  (ogg  250mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Again working with John Leckie on production, the Fall's third Beggars album, Bend Sinister, was a distinctly down affair -- not that the Fall were ever a shiny happy band, of course, but both music and lyrics seemed like a darker corner to dwell in. Happily there was no worry that the Fall would ever go goth; one suspects Mark E. Smith would rather have his tongue removed. Still, opening track "R.O.D." makes for a distinctly lower-key start in comparison to recent leadoffs like "Lay of the Land" and "Bombast," almost sounding a bit like fellow Mancunian legends Joy Division, Smith's lyric his own depressing vision of a beast slouching toward Bethlehem. Leckie's production emphasizes space in the recording, while the band as a whole sounds generally more deliberate and understated, even Craig Scanlon's guitar not leaping quite as much to trebly life as is normally the case. Songs like "Gross Chapel - British Grenadiers" favor Steve Hanley's bass work as much as anything, while the almost industrial/hip-hop beat of "US 80's-90's" sets the tone for a glowering vision of the States from, as Smith puts it, "the big-shot original rapper." Elsewhere, there's Smith's vision of the eternal outsider comes to life once again -- "Shoulder Pads 1," a hardly disguised sneer against being surrounded by people who "can't tell Lou Reed from Doug Yule," for all that there's a slightly quirky arrangement thanks to Simon Rogers' keyboards. Still, there are certainly moments of sheer fun -- in keeping with the band's regular ear for good cover versions, this time around psych-era obscurities the Other Half get the nod with a brisk rip through the obvious drug references of "Mr. Pharmacist." Brix again shares vocal leads with Smith at various points, notably "Dktr. Faustus," a distinctly reworked version of that particular legend that turns into a frantic, audibly unhappy dance groove.



The Fall - Bend Sinister (flac 310mb)

01 R.O.D. 4:31
02 Dktr. Faustus 5:32
03 Shoulder Pads 1 2:54
04 Mr Pharmacist 2:17
05 Gross Chapel - British Grenadiers 7:20
06 Living Too Late 4:35
07 U.S. 80's-90's 4:34
08 Terry Waite Sez 1:37
09 Bournemouth Runner 6:05
10 Riddler ! 6:19
11 Shoulder Pads 2 1:56
12 Auto-Tech Pilot 4:51

The Fall - Bend Sinister   (ogg  120mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

After the dark morass of Bend Sinister, the sound of 1988's Frenz Experiment comes as a bit of a shock. The arrangements are spare and broken down to the essentials, with the distorted guitars brought down low and Wolstencroft's drums high in the mix. Marcia Schofield had also joined the band to add keyboards. With most of the songs credited only to Smith himself, this could be seen as a solo album of sorts, or an indication of some rift within the group -- it certainly doesn't translate into the music. For the first time too, his vocals are loud and clear, though certainly not comprehensible; "Bremen Nacht" hints at some sort of run in with a ghost in Germany, "Athlete Cured," with its Spinal Tap-borrowed riff, tells of a "German athletic star" made ill from unusual circumstances -- the narrative turns strange, then funny until wandering off, a classic Smith tactic. Their cover of the Kinks'"Victoria" marked the Fall's first entry into the British charts, but also fit in with Smith's continuing explorations of Britain's history and how it translates into issues of class identity. The album contains their other two singles from this time -- "Hit the North" and a cover of R. Dean Taylor's "There's a Ghost in My House," which the group makes their own -- plus several B-sides.



The Fall - The Frenz Experiment (flac 324mb)

Crime Gene
01 Frenz 3:29
02 Carry Bag Man 4:26
03 Get A Hotel 4:38
04 Victoria 2:46
05 Athlete Cured 5:52
Experience
06 In These Times 3:26
07 The Steak Place 3:57
08 Bremen Nacht Alternative 9:19
09 Guest Informant Excerpt 0:40
10 Oswald Defence Lawyer 6:00
Bonus
11 Bremen Nacht Run Out 4:44
12 Mark'll Sink Us 4:22

The Fall - The Frenz Experiment  (ogg  124mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

The last thing most Fall fans expected the group to do in 1988 was provide music for a ballet, but in fact this is what they did. Of course, it helped that the Michael Clark company of dancers were some of the most avant-garde at the time in Britain and were inspired originally by the Fall's "Hey! Luciani" single. The concept, very loosely, centers around William and Mary of Orange, and finds Smith arranging William Blake's "Jerusalem" for the band, adding his own lyrics ("It was the fault of the government," providing ironic contrast to the self-sufficiency espoused in Blake). As a cohesive Fall album it fails: The strongest tracks are those that have little to do with the ballet (and are available elsewhere). "New Big Prinz" updates their own "Hip Priest" into one of their heaviest tracks, full of threat and wonder. "Cab It Up!" features all forward momentum and jingling keyboards. For the first time tracks felt like filler, and indeed they were. The booklet contains photographs from the performance full of giant pop-art hamburgers and cans of baked beans, suggesting I Am Kurios Oranj would have been more interesting to see than hear.



The Fall - I Am Kurious Oranj (flac  488mb)

01 New Big Prinz 3:26
02 Overture from 'I Am Curious, Orange 2:48
03 Dog Is Life/Jerusalem 8:54
04 Kurious Oranj 6:19
05 Wrong Place, Right Time 2:52
06 C.D. Win Fall 2088 AD 4:43
07 Yes, Oh Yes 3:24
08 Van Plague ? 4:54
09 Bad News Girl 5:20
10 Cab It Up 4:55
11 Last Nacht" (excerpt) 1:05
Bonus
12 Dog Is Life / Jerusalem (vinyl mix) 7:24
13 Wrong Place, Right Time (vinyl mix) 2:45
14 Guide Me Soft 2:17
15 Win Fall C.D. 2080 (vinyl mix) 2:44
16 Yes, O Yes (vinyl mix) 3:23
17 Last Nacht 3:56
18 Big New Priest 3:08

The Fall - I Am Kurious Oranj  (ogg  171mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello, plenty of requests for re-ups this week even with discounting the 'demands' of Gianni Zhivago who seems to think that asking for a re-up of 8 posts will have me jump to provide you with filler for your hard-disks, nice try but no cigar Gianni. The thing is this blog doesn't get thousands of visitors every day, in fact i estimate there's about 5,000 regular (monthly) visitors. Considering that the whole download mania of the previous decade has subsided as people have been more and more immersed into what the internet has to offer, and with connectivity speeds much higher these days, people's patience has diminished as the pace of life has increased, it follows that going through the motions of downloading something has become less appealing, as instant gratification becomes the norm. Then there is the fear of big brother who seems to register everything (and knows nothing ) and meanwhile You Tube and Facebook assimilate most free time people spend on the web. Let's face it we music lovers are a dying breed.

Usually i upload about 10 gig every week, today i post as much at re-up 85, plenty to scour then as no less then 6 posts are in flac for the first time...N joy




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 38 ! re-ups, requests fullfilled up to January 31th.

xxxxx xxxxx xxxxx xxxxx xxxxx


4x Beats Back in Flac (VA - Macro Dub Infection vol 1-1, VA - Macro Dub Infection vol 1-2, VA - Macro Dub Infection vol 2-1, VA - Macro Dub Infection vol 2-2)

3x Roots Back in Flac (Iration Steppas - Original Dub D.A.T., Kitachi - Stay of Execution, Iration Steppas - Dubz From The Higher Regions)


3x Sundaze NOW in Flac (Massive Attack - Collected B Greats, 06 Massive Attack - Protection EP, 10 Massive Attack - Angel EP)


5x Beats NOW In Flac (02 Massive Attack - Unfinished Sympathy EP, 03 Massive Attack - Safe From Harm EP, 07 Massive Attack - Karmacoma EP, 08 Massive Attack - Rising Son EP,  11 Massive Attack - Inertia Creeps EP)


4x Sundaze NOW in Flac (01 Massive Attack - Daydreaming EP, 04 Massive Attack - Hymn Of Big Wheel, 05 Massive Attack - Sly EP, 09 Massive Attack - Teardrop EP)


9x Aetix NOW in Flac (The Associates - The Affectionate Punch, The Associates - Perhaps, Boards of Canada - Geogaddi, Mogwai - Happy Songs, The Blue Nile - A Walk Across The Rooftops, Scars - Author ! Author !, still in ogg The Fire Engines - Lubricate your living room, Skids - Best of, Skids - Joy)


3x Beats Back in Flac (VA - DJ Kicks Nicolette 1, VA - DJ Kicks Nicolette 2, VA - It's All Becoming)


2x World   NOW in Flac ( Hugh De Courson - Lux Obscura, VA - Cryptichon II )


2x Sundaze NOW in Flac (O Yuki Conjugate - Peyote,  Tenhi - Airut-Aamujen)


3x Aetix   Back in Flac (The Associates - Affectionate Punch, The Associates - Fourth Drawer Down, The Associates - Sulk )

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,

Today's artist is an American soul and jazz poet, musician, and author, known primarily for his work as a spoken-word performer in the 1970s and 1980s. His collaborative efforts with musician Brian Jackson featured a musical fusion of jazz, blues, and soul, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles. He received post mortem a Grammy Lifetime Achievement Award in 2012.  ..... N'joy

xxxxx xxxxx xxxxx xxxxx xxxxx

One of the most important progenitors of rap music, Gil Scott-Heron's aggressive, no-nonsense street poetry inspired a legion of intelligent rappers while his engaging songwriting skills placed him square in the R&B charts later in his career, backed by increasingly contemporary production courtesy of Malcolm Cecil and Nile Rodgers (of Chic). Born in Chicago but transplanted to Tennessee for his early years, Scott-Heron spent most of his high-school years in the Bronx, where he learned firsthand many of the experiences that later made up his songwriting material. He had begun writing before reaching his teenage years, however, and completed his first volume of poetry at the age of 13. Though he attended college in Pennsylvania, he dropped out after one year to concentrate on his writing career and earned plaudits for his novel, The Vulture.

Encouraged at the end of the '60s to begin recording by legendary jazz producer Bob Thiele -- who had worked with every major jazz great from Louis Armstrong to John Coltrane -- Scott-Heron released his 1970 debut, Small Talk at 125th and Lenox, inspired by a volume of poetry of the same name. With Thiele's Flying Dutchman Records until the mid-'70s, he signed to Arista soon after and found success on the R&B charts. Though his jazz-based work of the early '70s was tempered by a slicker disco-inspired production, Scott-Heron's message was as clear as ever on the Top 30 single "Johannesburg" and the number 15 hit "Angel Dust." Silent for almost a decade, after the release of his 1984 single "Re-Ron," the proto-rapper returned to recording in the mid-'90s with a message for the gangsta rappers who had come in his wake; Scott-Heron's 1994 album Spirits began with "Message to the Messengers," pointed squarely at the rappers whose influence -- positive or negative -- meant much to the children of the 1990s.

In a touching bit of irony that he himself was quick to joke about, Gil Scott-Heron was born on April Fool's Day 1949 in Chicago, the son of a Jamaican professional soccer player (who spent time playing for Glasgow Celtic) and a college-graduate mother who worked as a librarian. His parents divorced early in his life, and Scott-Heron was sent to live with his grandmother in Lincoln, TN. Learning musical and literary instruction from her, Scott-Heron also learned about prejudice firsthand, as he was one of three children picked to integrate an elementary school in nearby Jackson. The abuse proved too much to bear, however, and the eighth-grader was sent to New York to live with his mother, first in the Bronx and later in the Hispanic neighborhood of Chelsea.

Though Scott-Heron's experiences in Tennessee must have been difficult, they proved to be the seed of his writing career, as his first volume of poetry was written around that time. His education in the New York City school system also proved beneficial, introducing the youth to the work of Harlem Renaissance poet Langston Hughes as well as LeRoi Jones. After publishing a novel called The Vulture in 1968, Scott-Heron applied to Pennsylvania's Lincoln University. Though he spent less than one year there, it was enough time to meet Brian Jackson, a similarly minded musician who would later become a crucial collaborator and integral part of Scott-Heron's band.

Given a bit of exposure -- mostly in magazines like Essence, which called The Vulture "a strong start for a writer with important things to say" -- Scott-Heron met up with Bob Thiele and was encouraged to begin a music career, reading selections from his book of poetry Small Talk at 125th & Lennox while Thiele recorded a collective of jazz and funk musicians, including bassist Ron Carter, drummer Bernard "Pretty" Purdie, Hubert Laws on flute and alto saxophone, and percussionists Eddie Knowles and Charlie Saunders; Scott-Heron also recruited Jackson to play on the record as pianist. Most important on the album was "The Revolution Will Not Be Televised," an aggressive polemic against the major media and white America's ignorance of increasingly deteriorating conditions in the inner cities. Scott-Heron's second LP, 1971's Pieces of a Man, expanded his range, featuring songs such as the title track and "Lady Day and John Coltrane," which offered a more straight-ahead approach to song structure (if not content).

The following year's Free Will was his last for Flying Dutchman, however; after a dispute with the label, Scott-Heron recorded Winter in America for Strata East, then moved to Arista Records in 1975. As the first artist signed to Clive Davis' new label, much was riding on Scott-Heron to deliver first-rate material with a chance at the charts. Thanks to Arista's more focused push on the charts, Scott-Heron's "Johannesburg" reached number 29 on the R&B charts in 1975. Important to Scott-Heron's success on his first two albums for Arista (First Minute of a New Day and From South Africa to South Carolina) was the influence of keyboardist and collaborator Jackson, co-billed on both LPs and the de facto leader of Scott-Heron's Midnight Band.

Jackson left by 1978, though, leaving the musical direction of Scott-Heron's career in the capable hands of producer Malcolm Cecil, a veteran producer who had midwifed the funkier direction of the Isley Brothers and Stevie Wonder earlier in the decade. The first single recorded with Cecil, "The Bottle," became Scott-Heron's biggest hit yet, peaking at number 15 on the R&B charts, though he still made no waves on the pop charts. Producer Nile Rodgers of Chic also helped on production during the 1980s, when Scott-Heron's political attack grew even more fervent with a new target, President Ronald Reagan. (Several singles, including the R&B hits "B Movie" and "Re-Ron," were specifically directed at the President's conservative policies.) By 1985, however, Scott-Heron was dropped by Arista, just after the release of The Best of Gil Scott-Heron. Though he continued to tour around the world, Scott-Heron chose to discontinue recording. He did return, however, in 1993 with a contract for TVT Records and the album Spirits.

For well over a decade, Scott-Heron was mostly inactive, held back by a series of drug possession charges. He began performing semi-regularly again in 2007, and one year later, announced that he was HIV-positive. He recorded an album, I'm New Here, released on XL in 2010. In February of 2011, Scott-Heron and Jamie xx (Jamie Smith of xx) issued a remixed version of the album, entitled We're New Here, also issued on XL. Scott-Heron died on the afternoon of May 27, 2011, at St. Luke's Hospital, New York City, after becoming ill upon returning from a European trip, consider an airline cabin is always a cocktail of virusses and bacteria which proved to be too much for the weakened by HIV elderly man.

xxxxx xxxxx xxxxx xxxxx xxxxx

This Gil Scott-Heron double album, roughly two thirds of which was recorded live in Boston on July 2-4, 1976, makes the most of its Centennial-centric time frame. Between the American flag striped cover art and Heron's spoken word spiel on an 8-and-a-half minute poem/rant "Bicentennial Blues," the album loses little of its impact, regardless of how the years have mildewed once fresh political topics like Nixon, Agnew, and Watergate. Four of its songs are studio recordings ("It's Your World,""Possum Slim,""New York City," and "Sharing"), and even though they're up to Heron's usual jazz/blues/pop standards, the disc is most effective on the concert tracks. As he explains in the 2000 penned liner notes, The Midnight Band was a compelling live unit and one listen to the brisk, electrifying, 13-minute rendition of "The Bottle," one of Heron's most penetrating tracks, is all you'll need to understand why. More importantly, like the best protest music, these tunes have lost none of their lyrical edge or incisiveness throughout the years. Musically the band is taut and rehearsed down to the finest time change, yet loose enough to open up on the jams. The heavy Latin percussion/flute/piano -- but remarkably guitar-less -- sound is equal parts Santana and Mongo Santamaria with a strong jazz current throughout, especially on the John Coltrane tribute "Trane," featuring tenor hornman Bilal Sunni-Ali's fiery lead. Scott-Heron's deep, mellifluous voice is alternately soothing and cutting, infusing the music with heart and soul, while keeping the sound focused even during the longer improvisations. Only a dated '70s drum solo belies the year this was recorded. Chestnuts like "Home Is Where the Hatred Is" explode in extended live versions that become definitive readings of the tunes. Remastered for its reissue, It's Your World crackles with energy, presenting an accomplished band at their peak and placing the listener practically on stage for the live tracks with acoustics that are full, yet airy and spacious. One of Gil Scott-Heron's best albums as well as a compelling musical time capsule, the disc is proof of the artist's musical and lyrical acuity and is a moving listening experience.



Gil Scott-Heron & Brian Jackson - It's Your World     (flac  453mb)

Just Before Sundown
01 It's Your World 3:52
02 Possum Slim 6:00
03 New York City 4:45
Nightfall
04 17th Street 5:45
05 Trane 7:20
06 Must Be Something 5:20
Late Evening
07 Home Is Where The Hatred Is 12:10
08 Bicentennial Blues 8:40
Midnight And Morning
09 The Bottle 13:30
10 Sharing 5:55

Gil Scott-Heron & Brian Jackson - It's Your World   (ogg    194mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Gil Scott-Heron, Brian Jackson, and the Midnight Band take a slightly different approach with their 1977 effort, Bridges. With less of the gaping and world-infused sound prevalent on previous albums, the songs are more concise and Scott-Heron comes into his own as a singer depending less on his spoken word vocal style. The excellent songwriting exposes Scott-Heron at the height of his powers as a literary artist. The social, political, cultural, and historical themes are presented in a tight funk meets jazz meets blues meets rock sound that is buoyed by Jackson's characteristic keyboard playing and the Midnight Band's colorful arrangements. Scott-Heron's ability to make the personal universal is evident from the opening track, "Hello Sunday! Hello Road!," all the way through to the gorgeous "95 South (All of the Places We've Been)." The most popular cut on the album, "We Almost Lost Detroit," which shares its title with the John G. Fuller book published in 1975, recounts the story of the nuclear meltdown at the Fermi Atomic Power Plant near Monroe, MI, in 1966. This song was also contributed to the No Nukes concert and album in 1980. Along with the two records that would follow in the late 70s, Bridges stands as one of Scott-Heron's most enjoyable and durable albums.



Gil Scott-Heron & B.Jackson - Bridges   (flac  208mb)

01 Hello Sunday! Hello Road! 3:37
02 Song Of The Wind 3:53
03 Racetrack In France 4:15
04 Vidgolia (Deaf, Dumb & Blind) 7:41
05 Under The Hammer 3:59
06 We Almost Lost Detroit 5:19
07 Tuskeegee #626 0:33
08 Delta Man (Where I'm Comin' From) 5:45
09 95 South (All Of The Places We've Been) 4:15

Gil Scott-Heron & B.Jackson - Bridges  (ogg   89mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Music sometimes serves the purpose of not just entertaining but also telling the marginal history of the times. The untold stories and feelings of the ignored and uncelebrated. And this is one of the many recordings where Gil Scott-Heron did just that. Angel Dust, the lead song, is one of those timeless grooves with a deep message. The passion and hurt is something you can't help but feel. It gives voice to the victims of the streets and the ones that they left behind. Other solid efforts as well, especially the sarcastic Madison Avenue. A must have for those that can feel the music moreso than listen to it



Gil Scott-Heron & Brian Jackson - Secrets   (flac 193mb)

01 Angel Dust 4:16
02 Madison Avenue 3:11
03 Cane 3:34
04 Third World Revolution 4:23
05 Better Days Ahead 3:30
06 Three Miles Down 4:19
07 Angola, Louisiana 5:34
08 Show Bizness 2:52
09 A Prayer For Everybody / To Be Free 6:28

  (ogg    mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

1980 can be viewed as a precursor for the venomous rants Gil Scott-Heron would unleash on the eventual Reagan-led White House. Loaded with perceptive and poignant observations on the state of America as it advanced into a new and uncertain decade, 1980 is a powerful final album of '70s for Scott-Heron and his partner Brian Jackson. Amazingly, Scott-Heron's focus at the close of the decade is strikingly similar to his focus on his 1970 debut, Small Talk at 125th and Lennox; namely that social and political change has yet to come to many Americans, despite the advancements in technology and other seemingly less significant realms. The enemies are the same: nuclear power and big business ("Shut Um Down"), oppressive governments ("Shah Mot"), and racism ("Willing"). On the title track, Scott-Heron's gaze is set on the future with an eye on the past as well. When he sings, "Boogie-Woogie's somewhere in the lost and found," he's not only speaking of the changes in music, but also in popular culture. There is a hint of resentment on his part that this musical style, like other revolutionary African-American innovations, has been progressively stolen, mined, sterilized, and eventually discarded. This is not to say that the music throughout the album is marked by regret or sorrow. The spacy synthesizers, background vocals, and use of horns, along with Jackson's always-extraordinary arrangements, give the album a quality that matches the aura of the period without forgetting past musical styles. The descriptive "Alien (Hold on to Your Dreams)" is the album's most enduring song, vividly portraying the plight of Mexican illegal aliens living in Los Angeles and offering an uplifting refrain.



Gil Scott-Heron & Brian Jackson - 1980  (flac 185mb)

01 Shut 'um Down 5:13
02 Alien (Hold On To Your Dreams) 3:25
03 Willing 4:00
04 Corners 4:50
05 1980 6:00
06 Push Comes To Shove 3:34
07 Shah Mot (The Shah Is Dead / Checkmate) 4:04
08 Late Last Night 4:25

  (ogg  mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello, drummer Jaki Liebezeit, who has died aged 78, Januari 22nd is the trigger for this Sundaze. The so-called “motorik” beat, a minimalist, relentless form of rhythm practised by groups including Neu! and Kraftwerk, became one of the most distinctive trademarks of Germany’s postwar rock groups. Liebezeit, a founding member of the Cologne-based quintet Can, was also a skilled practitioner of the motorik approach, but he was much more besides. He was able to incorporate a range of moods and styles into his playing, from African and funk rhythms to violent thrashing grooves, while always maintaining meticulous rhythmic control. His playing could veer from the heavy, pulverising beat he created on You Doo Right, from Can’s debut album Monster Movie (1969), to the lithe, off-kilter feel he brought to One More Night, from Ege Bamyasi (1972). On the title track of Flow Motion (1976), Liebezeit delivered a lesson in lean, bare-bones funkiness.
So precise and unswerving was Liebezeit’s playing, which included an ability to repeat drum patterns with uncanny precision, that he was likened to a human drum machine. To this he retorted that “the difference between a machine and me is that I can listen, I can hear and I can react to the other musicians, which a machine cannot do”. His particular gift was the ability to refine his drumming down to a compact, streamlined essence, so that when he did eventually add a fresh accent or extra beat it became a musical event of startling significance.



Today's artists are a German experimental rock band formed in Cologne, West Germany in 1968. The group cycled through several lineups in subsequent years, including vocalists Malcolm Mooney and Damo Suzuki. Drawing from backgrounds in avant-garde and jazz music, Can incorporated rock, minimalist, electronic, and world music elements into their often psychedelic and funk-inflected music.They have been widely hailed as pioneers of the German krautrock scene, exerted a considerable influence on avant-garde, experimental, underground, ambient, new wave and electronic music. ......N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

 Always at least three steps ahead of contemporary popular music, Can were the leading avant-garde rock group of the '70s. From their very beginning, their music didn't conform to any commonly held notions about rock & roll -- not even those of the countercultures. Inspired more by 20th century classical music than Chuck Berry, their closest contemporaries were Frank Zappa or possibly the Velvet Underground. Yet their music was more serious and inaccessible than either of those artists. Instead of recording tight pop songs or satire, Can experimented with noise, synthesizers, nontraditional music, cut-and-paste techniques, and, most importantly, electronic music; each album marked a significant step forward from the previous album, investigating new territories that other rock bands weren't interested in exploring.

Throughout their career, Can's lineup was fluid, featuring several different vocalists over the years; the core bandmembers remained keyboardist Irmin Schmidt, drummer Jaki Leibezeit, guitarist Michael Karoli, and bassist Holger Czukay. During the '70s, they were extremely prolific, recording as many as three albums a year at the height of their career. Apart from a surprise U.K. Top 30 hit in 1978 -- "I Want More" -- they were never much more than a cult band; even critics had a hard time appreciating their music.

Can debuted in 1969 with the primitive, bracing Monster Movie, the only full-length effort to feature American-born vocalist Malcolm Mooney. 1970's Soundtracks, a collection of film music, introduced Japanese singer Kenji "Damo" Suzuki, and featured "Mother Sky," one of the group's best-known compositions. With 1971's two-record set Tago Mago, Can hit their visionary stride, shedding the constraints of pop forms and structures to explore long improvisations, angular rhythms, and experimental textures.

1972's Ege Bamayasi refined the approach, and incorporated an increasingly jazz-like sensibility into the mix; Future Days, recorded the following year as Suzuki's swan song, traveled even further afield into minimalist, almost ambient territory. With 1974's Soon Over Babaluma, Can returned to more complicated and abrasive ground, introducing dub rhythms as well as Karoli's shrieking violin. 1976's Unlimited Edition and 1977's Saw Delight proved equally restless, and drew on a wide range of ethnic musics.

When the band split in 1978 following the success of the album Flow Motion and the hit "I Want More," they left behind a body of work that has proven surprisingly groundbreaking; echoes of Can's music can be heard in Public Image Limited, the Fall, and Einstürzende Neubauten, among others. As with much aggressive and challenging experimental music, Can's music can be difficult to appreciate, yet their albums offer some of the best experimental rock ever recorded.

Since the split, all the former members have been involved in musical projects, often as session musicians for other artists. In 1986 they briefly reformed, with original vocalist Mooney, to record Rite Time (released in 1989). There was a further reunion in 1991 by Karoli, Liebezeit, Mooney and Schmidt to record a track for the Wim Wenders film Until the End of the World and in August 1999 by Karoli, Liebezeit and Schmidt with Jono Podmore to record a cover of "The Third Man Theme" for Grönland record's compilation album Pop 2000. In 1999 the four core members of Can, Karoli, Liebezeit, Schmidt and Czukay, performed live at the same show, although playing separately with their current solo projects (Sofortkontakt, Club Off Chaos, Kumo and U-She respectively). Michael Karoli died of cancer on November 17, 2001. Can have since been the subject of numerous compilations, live albums and samples. In 2004, the band began a series of Super Audio CD remasters of its back catalog, which were finished in 2006. Jaki Liebezeit died of pneumonia on January 22, 2017.

xxxxx xxxxx xxxxx xxxxx xxxxx

Though Monster Movie was the first full-length album in what would become a sprawling and often genre-defining discography, Can were on a level well ahead of the curve even in their most formative days. Recorded and released in 1969, Monster Movie bears many of the trademarks that Can would explore as they went on, as well as elements that would set the scene for the burgeoning Krautrock movement. This would be the only album Can's first singer Malcolm Mooney would sing the entirety of, as he was replaced by Damo Suzuki by the time of 1970's Soundtracks, leaving the band after going through a highly unstable time. Mooney was known for his erratic ways, and some of that mania undoubtedly comes through here, with his caterwauling howls on the unexpectedly garage-influenced "Outside My Door" as well as the sung-spoken pseudo-poetry rants of album opener "Father Cannot Yell." Riding a particularly Velvet Underground vibe, "Father Cannot Yell" sounds like post-punk before punk even existed. Irmin Schmidt's brittle keyboard squalls and dissonant rhythms and Mooney's buried recitations predated the Fall, Swell Maps, the noise scene, and generations of difficult sound by years and in some cases decades. Holger Czukay's pensive basslines are also an already distinctive calling card of the band on this debut, providing a steadfast glue for the barrages of noisy tones, edits, and pulses the record offers from all angles. The 20-minute album closer "Yoo Doo Right" is an enormous highlight, cementing the locked-in hypnotic exploration Can would extrapolate on for the rest of their time and come to be known for. Mooney's raspy vocals range from whispery incantations to throaty rock & roll shouts, building with the band into an almost mantra-level meditation as the song repeats its patterns and multi-layered grooves into what feels like infinity. Legend has it that the final side-long version of the song was edited down from a six-hour recording session focusing on that tune alone. Given the level of commitment to experimentation Can would go on to show, it's not hard to believe they'd play one song for six hours to find its core, nor is it unfathomable that Monster Movie was the more accessible album they recorded after their first attempts were deemed too out there to be commercially released. Even in their earliest phases, Can were making their name by blowing away all expectations and notions that rock & roll had limits of any kind.



Can - Monster Movie (flac  234mb)

01 Father Cannot Yell 7:01
02 Mary, Mary So Contrary 6:16
03 Outside My Door 4:06
04 Yoo Doo Right 20:20

Can - Monster Movie    (ogg  95mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Soundtracks is the second album from Can but it is also made up from many movie soundtracks that the band had contributed music to as well. The album has a kind of cut and paste feeling, as many of the songs fade in and out in a rather awkward and hurried manner. However, the big improvement is in the new singer Damo Suzuki, who sings “Tango Whiskeyman” and “Deadlock” in a style that could not be more opposite than Mooney’s: hushed, intricate, solemn, but still dynamic when needing to be. The fact that he sings in a mix of three languages- English, Japanese, and German- is a mere footnote. The lyrics are improvised and SOUND like it, but this only adds to the album’s internal mechanics. Songs such as “Don’t Turn the Light On, Leave Me Alone” have a new sonic clarity to them as the busy toms of Liebezeit merge with the whispering of Suzuki and add a new dimension the band’s moody textures.

“Mother Sky” is the band’s first monumental achievement, a 14 minute work of hypnotic beauty and forward thinking that at first uses elements of drone music (pretty much done solely by Czukay’s bass) and later elements of electric guitar noise and off kilter bass and keyboard playing to form a controlled jam of intensity where it feels like anything can happen. Unfortunately, they let two of Malcom Mooney’s last songs exist on the record as well, and “Soul Desert” and “She Brings the Rain” are truly trying experiences that recall the problems of the debut. The former song is completely unnecessary to the tone and flow of the record, bringing a kind of ragged, garage album feel to an album that is completely nuanced and flavored differently, while the latter song is simply bad beatnik poetry that any Lou Reed / Bob Dylan wanna be of the era could produce. The reprise of “Deadlock” is also slightly overlong and unwelcome so early in the record. Still, most of the record succeeds and points toward a bright future for the band with Suzuki as lead vocalist. The band sounds renewed and alive on Soundtracks, as scattershot and as inconsistent as it is.



Can - Soundtracks  (flac  213mb)

01 Deadlock 3:25
02 Tango Whiskyman 4:02
03 Deadlock 1:40
04 Don't Turn The Light On, Leave Me Alone 3:42
05 Soul Desert 3:46
06 Mother Sky 14:30
07 She Brings The Rain 4:04

Can - Soundtracks    (ogg 80mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

With the band in full artistic flower and Damo Suzuki's sometimes moody, sometimes frenetic speak/sing/shrieking in full effect, Can released not merely one of the best Krautrock albums of all time, but one of the best albums ever, period. Tago Mago is that rarity of the early '70s, a double album without a wasted note, ranging from sweetly gentle float to full-on monster grooves. "Paperhouse" starts things brilliantly, beginning with a low-key chime and beat, before amping up into a rumbling roll in the midsection, then calming down again before one last blast. Both "Mushroom" and "Oh Yeah," the latter with Schmidt filling out the quicker pace with nicely spooky keyboards, continue the fine vibe. After that, though, come the huge highlights -- three long examples of Can at its absolute best. "Halleluwah" -- featuring the Liebezeit/Czukay rhythm section pounding out a monster trance/funk beat; Karoli's and Schmidt's always impressive fills and leads; and Suzuki's slow-building ranting above everything -- is 19 minutes of pure genius. The near-rhythmless flow of "Aumgn" is equally mind-blowing, with swaths of sound from all the members floating from speaker to speaker in an ever-evolving wash, leading up to a final jam. "Peking O" continues that same sort of feeling, but with a touch more focus, throwing in everything from Chinese-inspired melodies and jazzy piano breaks to cheap organ rhythm boxes and near babbling from Suzuki along the way. "Bring Me Coffee or Tea" wraps things up as a fine, fun little coda to a landmark record.



Can - Tago Mago  (flac  464mb)

01 Paperhouse 7:29
02 Mushroom 4:08
03 Oh Yeah 7:22
04 Halleluwah 18:32
05 Aumgn 17:22
06 Peking O 11:35
07 Bring Me Coffee Or Tea 6:47

Can - Tago Mago   (ogg  184mb)

xxxxx

Can - Tago Mago Live 72 Bonus   (flac  251mb)

08 Mushroom (Live) 8:42
09 Spoon (Live) 29:55
10 Halleluwah (Live) 9:12

Can - Tago Mago Live 72 Bonus  (ogg  82mb)

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

SERIES 7 Astral Vibrations CD Entering The Vibrational State- This Brainwave Mind Voyage CD uses brainwave entrainment technology to tune or synchronize your brainwaves to specific frequencies so you can have an out of body experience (OBE)! You can use this CD to maximize your odds of traveling out of your body like having a set of psychic training wheels! Simply listen to the CD, relax and experience non-ordinary reality. It is designed to tune your brain waves to the Body Asleep / Mind Awake brain wave state to summon the Vibrational State from which you can easily project your awareness into the non-physical realm. Boost your odds of successful out of body travel and master the art of astral projection. The trance induction relaxes you into a highly visual Theta brainwave state and includes maximum strength Beta spikes to heighten your awareness and maintain full consciousness while your physical body falls asleep. It creates the ideal environment for out of body experiences and many other forms of inner work: lucid dreaming, remote viewing, channeling, meditation, ESP psychic development or any pursuit requiring detached but alert awareness. Using a powerful induction process, you can easily slip out of your body and have fun traveling the astral world. The entire process takes 70 minutes, but if you successfully transfer your awareness you can explore the astral plane for as long as you desire. The program contains some guided vocals using professional hypnosis, but it also contains tracks with no vocals so you can explore without any verbal interruption. You can use this psychoacoustic tool as one progressive induction, or play any track in Repeat mode to see which works best for you. Several tracks are designed to trigger out of body experiences while you are sleeping. It is far easier to induce OBEs while in a dream state. Countless people have had documented out of body experiences with this CD and you can too!



Brainwave Mind Voyages (Series VII) - Astral Vibrations (flac  343mb)

01 Guided Intro
02 Relax, Release, Reengage
03 The 3 R's Revisited

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)
Brainwave Mind Voyages (Series V) (flac  265mb)
Brainwave Mind Voyages (Series VI) (flac  383mb)


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

Superb samba accompaniment, melded to a slightly frantic brass band (with a too-prominent trombone and bass saxophone combo...) Her voice is, frankly, a bit grating on most of this album, but the cuica-and-pandeiro rhythmic percussion is awesome. Unfortunately, the liner notes don't say who the musicians were -- Nelsinho is listed as the arranger, but which samba crew they got to join his band is anyone's guess. At any rate, this is a pretty interesting record... The closing number, "Um samba pra ela," is perhaps the single best song on here, where all the elements -- including her voice -- work perfectly together.



Elza Soares - Elza, Miltinho e Samba, vol.3, Sambas e Mais Sambas (flac  520mb)

01 Juntinhos de novo-Não manche o meu panamá-O sorriso do Paulinho-Oito mulheres-Embrulho que eu carrego-Despacho
02 Saia do meu caminho-Nervos de aço-Por causa de você
03 Só com você
04 Julgar é missão divina
05 Vai na paz de Deus-Conceição-Aos pés da cruz-Se a saudade me apertar-Você não quer, nem eu
06 Com olhos de gata-Fita amarela-Madeira de lei
07 Samba da cor
08 Madrugada vai chegar
09 Um samba pra ela
Sambas e Mais Sambas
10 Mas, que nada
11 Recado
12 Dá-me tuas mãos
13 Vejam só
14 Pressentimento
15 Máscara da face
16 Tributo a Martin Luther King
17 Comunicação
18 Maior é Deus
19 Tributo a Dom Fuas
20 Seu José
21 Meu consolo é você
Bonus
22 Capoeira
23 Mestre-sala
24 Sei lá Mangueira
25 Folhas no ar

Elza Soares - Elza, Miltinho e Samba, vol.3 , Sambas e Mais Sambas  (ogg  209mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Her bell-bottomed portrait on the album's cover heralds, to a limited degree, Soares's delving into the hippie-delic tropicalia fad. Turns out it's mostly cosmetic; she croons like Maria Bethania on a few tunes, but at heart this is an upbeat samba album, of the sort Soares excelled at. Most of the arrangements on this album are somewhat kitschy, but they also reflect an undercurrent of the bubbling-up of the Brazilian soul scene: jazz-soul pianist Dom Salvador was a pioneer of the Brazilian funk scene, and towards the album's end, he gets a good groove or two going, notably on "Amor Perfeito," which has one of the coolest bass lines early '70s MPB had to offer. Many of the composers were relatively off the beaten track, folks such as Tuze de Abreu, Joao So, Jocafi and prog-rocker Ze Rodrix (along with some of the usual suspects: Vinicius, Jorge Ben, Gonzaguinha...) I like how peppy Soares sounded, although I have to admit this disc had more than its fair share of awkward passages. Still, I'd recommend it... Lots of folks (particularly in Europe) consider it a stone-cold classic.

Sangue, Suor e Raça is a fine, funky samba album, with Elza continuing to explore new textures and modern rhythms. Singer Roberto Ribeiro, from the Imperio Serrano samba school, makes his recording debut as an able duet partner, helping ground Elza's normally dramatic vocals in a calmer, cooler, sexier mode. There are several longer "potpourri" medleys on here, a format I generally dislike, although here the melodies are all given a full, lush reading, and the musical end is quite lovely. All in all, a warm, inviting album, with pianist Dom Salvador back on board as arranger and bandleader. Lovely stuff... a few songs a bit on the staid side, but for the most part, a career highlight... Worth checking out!



Elza Soares - Elza Pede Passagem , Sangue, Suor e Raça  (flac  477mb)

01 Cheguendengo
02 Saltei de banda
03 Maria vai com as outras
04 Samba da pá
05 A-B-C da vida
06 Barão beleza
07 Rio carnaval dos carnavais
08 O gato
09 Pulo, pulo
10 Amore perfeito
11 Mais do que eu
Sangue, Suor e Raça
12 Swing negrão-Brasil pandeiro-O samba agora vai-É com esse que eu vou
13 Aurora de um sambista
14 Domingos, domingueira
15 Cicatrizes
16 Isto é papel, João-Cocórocó-Decadência
17 Recordações de um batuqueiro
18 O que vem de baixo não me atinge
19 Lenço cor-de-rosa
20 Sacrifício
21 Coisa louca-A razão dá-se a quem tem-O que se leva desta vida
Bonus
22 Bis
23 Sorris de mim
24 Água e fogo
25 Irmã da tristeza

Elza Soares - Elza Pede Passagem , Sangue, Suor e Raça   (ogg   192mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Elza's last album with Odeon found her teamed up with much of the same studio talent as before -- Milton Miranda, Lyrio Panicalli, sound engineer Z. J. Merky -- and a lively, aggressive take on the new "pagode" samba style being pioneered by Clara Nunes and Beth Carvalho. Elza's approach includes nods towards her jazzy background, with Satchmo-esque snarls that anticipate the cuddly-but-tough sound of Alcione. It's a good, solid album, but like many in the genre, it starts to sound a bit monochromatic, and the hard-driving rhythm gets tiring after a while. Not a bad swan song, though, for her long run with Odeon... and a nice hint of things to come.

Her first album over at Tapecar paired Elza with pianist Ed Lincoln, who had kind of a rockin', soul-swinging past. That side of Lincoln's career isn't so much in evidence here -- Elza keeps on the path she'd started out, shifting away from gafieria and jazz-tinged sambas towards a rootsier sound -- they've even got her seated in a wicker chair and wearing one of the same sort of Afro-Bahian frocks that Clara Nunes favored at the time. The arrangements are still a bit on the overly-perky side, but she was clearly intent on giving Nunes a run for her money, and does an admirable job. Some of the slower songs are clunky -- she has a pretty hefty voice that works better when wrapped around a rhythm than trying to phrase a hushed melody, though on the other hand, she's not getting all slushy and popped-out the way Clara did when she slowed down the pace, so in some ways this sounds better. Anyway, this is really nice stuff... Worth checking out!



Elza Soares - Aquarela Brasileira, Elza Soares (flac 454mb)

01 Eu não toco berimbau
02 Busto calado
03 Pranto de poeta
04 Dia de graça
05 Maria José
06 Zelão
07 Canoa furada
08 Solidão
09 Sete linhas
10 Festa da vinda
11 Lá vou eu
12 Aquarela brasileira
Elza Soares
13 Bom-dia Portela
14 Pranto livre
15 Não é hora de tristeza
16 Meia noite já é dia
17 Desabafo
18 Partido lê-lê-lê
19 Deusa do rio Niger
20 Quem há de dizer
21 Louvei Maria
22 Xamego de crioula
23 Falso papel
24 Giringonça
Bonus
25 Salve a Mocidade

Elza Soares - Aquarela Brasileira, Elza Soares (ogg  178mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,


Today's artists, are discordant, elusive, and utterly hypnotic, they conjured a dark, trance-like spell that contrasted sharply with the prevailing British pop music trends of their time. Equal parts the Stooges, Can, and Hawkwind, they resurrected the concept of space rock for a new era, creating droning soundscapes of bleak beauty and harsh dissonance.........N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Loop were formed in 1986 by Robert Hampson (vocals, guitar), with his then-girlfriend Becky Stewart on drums. Bex was later replaced by John Wills (The Servants) and Glen Ray, with James Endeacott on guitar. Initially releasing records on Jeff Barrett's Head label, their first release was 1987's '16 Dreams', with debut album Heaven's End following later that year. The band was then signed up by Chapter 22 Records.

The World in Your Eyes, a collection of singles and B-sides, appeared in 1987. After signing to the Chapter 22 label, Loop resurfaced in 1988 with the 12" Collision. In November of that same year, Loop also released their second full-length, the excellent Fade Out. Over a year passed before the band returned to action with the Arc-Lite single, now sporting not only another new label, Situation 2, but also a second guitarist, Scott Dawson. After issuing their third and finest studio LP, 1990's A Gilded Eternity, Loop disbanded. A series of posthumous releases, among them the live Dual and the BBC sessions collection Wolf Flow, soon followed. In the wake of the band's demise, its four members split into two camps -- while MacKay and Wills reunited in the Hair & Skin Trading Company, Hampson and Dawson went on to form the highly experimental Main.

The band split in 1991, with Hampson briefly joining Godflesh before forming Main with Dowson. Hampson's Main project was discontinued in 2006 and while he now releases under his own name in 2010 he announced the return of Main, albeit as a collaborative project with other sound artists. Wills and Mackay went on to form The Hair and Skin Trading Company, which last released in 1995. Wills now performs and records as Pumajaw.

Loop recorded three Peel sessions for John Peel (11 August 1987, 14 June 1988 and 21 January 1990). A collection of these sessions entitled Wolf Flow was released in 1992. Following the split Loop's official studio albums were re-released on their Reactor label. Their sound was influenced by Krautrock and No Wave influences and relied heavily on three chord riffs. Some of the records featured cover versions of Suicide, The Pop Group and Can tracks. The band played at the Reading Festival in 1989.

Loop reformed for 2013 and 2014 activities, as presented by a statement from Robert Hampson. The line-up included the original Gilded Eternity era members Robert Hampson, John Wills, Neil Mackay and Scott Dowson. In November 2013, the band played their first comeback show and also co-curated the final holiday camp edition of the All Tomorrow's Parties festival in Camber Sands, England. Wills, wishing to focus on his own musical projects, left the band and was replaced by Wayne Maskell. Loop then played in April 2014 as headliners of the Roadburn Festival, followed by more than 20 dates in the USA, headlining the opening night of Milwaukee Psych Fest 2014 at Cactus Club on 24 April. They concluded this comeback tour with the Primavera Sound festival in Barcelona in May 2014.

A post on the official Loop Facebook page from 10 June 2014, indicated the group was disbanding due to unspecified issues. The following day a new post from Hampson stated two new Loop songs had been written and that instead of disbanding, the group would continue with a new line-up. In November 2014 a new line-up emerged; still led by Hampson (vocal, guitar), the band performed with Hugo Morgan (bass) and Maskell (drums) from The Heads as well as Dan Boyd (guitar). They played at the Garage (London) and in the Netherlands, they also announced they would be playing ATP Iceland 2015

xxxxx xxxxx xxxxx xxxxx xxxxx

Had Loop been present at Woodstock, they probably would have hatched a plan to obtain all the brown acid that Wavy Gravy warned spectators not to take. After hearing his declaration that "The brown acid's a bummer, man!," Robert Hampson and his droogs would have likely gone incognito as security staff, offering to rid the concert goers of the bad trips waiting to be had. They would have procedeed to ingest what they could and record something like Heaven's End, a filler-free release of warped senses and personal demons, inner-space blues, and psychotic dementia. It sounds like a vast toxic wasteland where all negativity is dumped by the soul. Simple, tense riffs repeat until a state of hypnosis and emotional emptiness remain. "Heaven's End" itself sounds like the soundtrack to a missing hallucination scene from Easy Rider; shifting and shuffling percussion and twisted vapor trails of guitar mutate into utter mush. Samples from 2001 pop up throughout the record, if the music itself wasn't enough to carry a prevailing sense of paranoia and claustrophobia. But all the late-'60s references become stifling in conveying what Loop did. Along the way, Loop gutted all the spiritual mysticism from Can, taking their repetition. They also borrow Suicide's minimal charge and early PiL's wretched anguish, making something rather unique from their influences. Though Heaven's End demonstrates a crystal clear indebtedness to Detroit's high-energy mayhem of the late ‘60s, it's actually the gunmetal gray sound of the Stooges and MC5 filtered through decades of urban decay.



Loop - Heaven's End (flac  295mb)

01 Soundhead 4:57
02 Straight To Your Heart 6:16
03 Forever 4:48
04 Heaven's End 4:06
05 Too Real To Feel 5:13
06 Fix To Fall 4:32
07 Head On 2:43
08 Carry Me 4:57
bonus
09 Rocket USA (Mix 3) 5:18

Loop - Heaven's End  (ogg  94mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Distinguishing one Loop album from another is nearly as tricky as doing the same for Ramones or AC/DC. Since Loop more or less stuck to one thing, remaining consistently great and gradually developing an experimentalist streak throughout their brief lifespan, the actual sound of each release is what separates one from the next. Aside from increasing control over their instruments, there isn't a great deal of actual progress made, but this is no fault. Wrecking ball riffs that remain firmly balanced between lunkheaded and complex always play a major role; simple but effective rhythms propel; Robert Hampson's vocals generally play the role of additional instrument, doing little more than expressing the subject given in the titles. Like the remainder of their discography, the song titles themselves are ideally descriptive. "This Is Where You End" and "Torched" have some of Hampson's meanest vocals, contrasting with the wasted (or, well, faded) effect provided on "Fade Out." Repetitive stutter shuffles play throughout "Vision Stain.""Pulse" and "Black Sun" offer massive howling. The guitar leads sound ear-piercingly tinny and high in the mix on occasion, perhaps to distinguish further from the droning riffs. The Rough Trade CD adds five bonuses, including covers of the Pop Group and Can. Their version of the Pop Group's "Thief of Fire" slows the mania of the original down to a near-lumpen pace, still expressing all of Mark Stewart's exasperated vocals. Can's "Mother Sky" is more true to the original, clocking in at 11 minutes and containing the same trebly guitar buzz and tumble drums that the original thrives on.



Loop - Fade Out (flac 425mb)

01 Black Sun 5:09
02 This Is Where You End 4:42
03 Fever Knife 5:09
04 Torched 4:37
05 Fade Out 6:46
06 Pulse 4:44
07 Vision Stain 4:26
08 Got To Get It Over 5:23
Bonus
09 Collision 4:59
10 Crawling Heart 4:06
11 Thief Of Fire / Thief (Motherfucker) 9:14
12 Mother Sky 10:45

Loop - Fade Out   (ogg  151mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

There's a pervading din throughout Loop's last record, an unsettling feeling created by their guitars that slightly disturbs the senses in the way that Sonic Youth's guitars endlessly stir on EVOL and Sister. One hates to trot out the post-apocalyptic adjective, but if there are any ten songs that deserve that label, it's the batch strung together here. Deadened toms rattle throughout "Afterglow," while densely lurching guitars prod and peel back alternately between the left and right channels. "The Nail Will Burn" features yet another punishing Loop riff, giving the image of the heads of three longhairs bobbing up and down in unison on-stage. "Breathe into Me" and a remix of "Arc-Lite" also offer caveman subtlety and deeply penetrating repetition. But rather than simply drive a point home again and again hypnotically, there's a little more imagination running through the arrangements, making the record a little less direct than the ones predating it. Also, there's some great experimentation at hand, providing a taster for what Robert Hampson would soon be doing with Main. "Shot with a Diamond" (taking its name from a line in Apocalypse Now) sounds like a pendulum counting down to death. "Blood" features unidentified noises that cycle throughout, offering none of the riffs that typify the bulk of the band's material. Taken as a whole, it's Hawkwind minus the goofiness and Spacemen 3 minus the unnecessary tangents. Hampson broke the band up after this one, and it's easy to see why. He'd taken loud guitars as far as he could, and that experimentalist streak inside of him was obviously dying to be purged. Psychotic hypnotists they were.



Loop - A Gilded Eternity (flac 366mb)

01 Vapour 6:08
02 Afterglow 5:13
03 The Nail Will Burn 4:52
04 Blood 5:35
05 Breathe Into Me 4:37
06 From Centre To Wave 6:04
07 Be Here Now 9:30
A Gilded Eternity Session
08 Shot With A Diamond 5:19
09 The Nail Will Burn (Burn Out) 4:51
10 Arc-Lite 4:08

Loop - A Gilded Eternity  (ogg  124mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

A compilation of the three Peel Sessions Loop recorded between 1987 and 1990, Wolf Flow presents a fine documentation or de facto "best of" for the Croydon band. As with most BBC recordings, the results are premium grade. Some might actually favor these versions over their originals, given that Robert Hampson's vocals are less mired in production techniques. From the first session, "Soundhead" and a ten-minute "Straight to Your Heart" offer a little more clarity than their Heaven's End counterparts. Drums are given further presence, especially on the former. A seering version of "Rocket USA" (which also appears on The World in Your Eyes) could possibly be the definitive Suicide cover. The second session, predating the Fade Out sessions, features previews of "Pulse" and "This Is Where You End" that were changed little before entering the recording studio. The third session features a couple selections from the band's third and final record, A Gilded Eternity, as well as a B-side from the Arc-Lite single. The disorienting throb on "From Centre to Wave" is slightly sped up, adding further doom to the already creepy atmosphere. "Afterglow" kicks the distortion up a notch over the original and adds further force to the drums. "Sunburst," which probably holds the only non-indicative song title of Loop's career, drags slightly at nine minutes. Since Loop's three proper records and singles compilations vary little in quality, it's hard to recommend a starting point. But Wolf Flow shouldn't be turned down if given the chance to purchase.



Loop - Wolf Flow (flac  342mb)

01 Soundhead 3:39
02 Straight To Your Heart 9:59
03 Rocket USA 5:06
04 Pulse 4:35
05 This Is Where You End 4:00
06 Collision 5:27
07 From Centre To Wave 7:48
08 Afterglow 5:28
09 Sunburst 9:19

Loop - Wolf Flow  (ogg  122mb)

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 34 ! re-ups, requests fullfilled up to Februari 7th.

xxxxx xxxxx xxxxx xxxxx xxxxx


3x Sundaze Back in Flac (Robin Guthrie - Imperial, Robin Guthrie - Continental + Everlasting EP, Robin Guthrie - Carousel + 2 EP's)


4x Beats NOW in Flac (The KLF - (12"singles) 1-2-3, 4-5-6, 7-8-9, The KLF - Ultra Rare Trax)


3x Aetix Back in Flac (The Comsat Angels - Waiting For A Miracle, The Comsat Angels - Sleep No More, The Comsat Angels - Unravelled)


3x Aetix Back In Flac (Cocteau Twins - Treasure, Cocteau Twins - Blue Bell Knoll,  Cocteau Twins - Heaven Or Las Vegas)


4x Aetix Back in Flac (Xymox - Subsequent Pleasures, Clan Of Xymox - The Peel Sessions, Clan Of Xymox - Medusa, Xymox - Twist Of Shadows)


3x Aetix Back in Flac (Poison Girls - Songs of Praise + Later Recordings, Au Pairs - Playing With A Different Sex, Au Pairs - Sense And Sensuality)


5x Aetix NOW in Flac (YMO – Faker Holic ( London-Paris), YMO – Faker Holic  (New York ), Ryuichi Sakamoto - B-2 Unit , Yellow Magic Orch - Naughty Boys, Yellow Magic Orchestra - BGM)


9x Roots   NOW in Flac ( Franco et Pepe - Anjela, Dark City Sisters, Flyin' Jazz Queens, VA - Under African Skies I, VA - Out Of Africa, Konono no1 - Congotronics, Kanda Bongo Man - Kwassa, still in ogg Bibi Den's Tshibayi  - Sensible, VA - Witchcraft and Ritual, VA - New Africa )


xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,

Today's artist is an American soul and jazz poet, musician, and author, known primarily for his work as a spoken-word performer in the 1970s and 1980s. His collaborative efforts with musician Brian Jackson featured a musical fusion of jazz, blues, and soul, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles. He received post mortem a Grammy Lifetime Achievement Award in 2012.  ..... N'joy

xxxxx xxxxx xxxxx xxxxx xxxxx

One of the most important progenitors of rap music, Gil Scott-Heron's aggressive, no-nonsense street poetry inspired a legion of intelligent rappers while his engaging songwriting skills placed him square in the R&B charts later in his career, backed by increasingly contemporary production courtesy of Malcolm Cecil and Nile Rodgers (of Chic). Born in Chicago but transplanted to Tennessee for his early years, Scott-Heron spent most of his high-school years in the Bronx, where he learned firsthand many of the experiences that later made up his songwriting material. He had begun writing before reaching his teenage years, however, and completed his first volume of poetry at the age of 13. Though he attended college in Pennsylvania, he dropped out after one year to concentrate on his writing career and earned plaudits for his novel, The Vulture.

Encouraged at the end of the '60s to begin recording by legendary jazz producer Bob Thiele -- who had worked with every major jazz great from Louis Armstrong to John Coltrane -- Scott-Heron released his 1970 debut, Small Talk at 125th and Lenox, inspired by a volume of poetry of the same name. With Thiele's Flying Dutchman Records until the mid-'70s, he signed to Arista soon after and found success on the R&B charts. Though his jazz-based work of the early '70s was tempered by a slicker disco-inspired production, Scott-Heron's message was as clear as ever on the Top 30 single "Johannesburg" and the number 15 hit "Angel Dust." Silent for almost a decade, after the release of his 1984 single "Re-Ron," the proto-rapper returned to recording in the mid-'90s with a message for the gangsta rappers who had come in his wake; Scott-Heron's 1994 album Spirits began with "Message to the Messengers," pointed squarely at the rappers whose influence -- positive or negative -- meant much to the children of the 1990s.

In a touching bit of irony that he himself was quick to joke about, Gil Scott-Heron was born on April Fool's Day 1949 in Chicago, the son of a Jamaican professional soccer player (who spent time playing for Glasgow Celtic) and a college-graduate mother who worked as a librarian. His parents divorced early in his life, and Scott-Heron was sent to live with his grandmother in Lincoln, TN. Learning musical and literary instruction from her, Scott-Heron also learned about prejudice firsthand, as he was one of three children picked to integrate an elementary school in nearby Jackson. The abuse proved too much to bear, however, and the eighth-grader was sent to New York to live with his mother, first in the Bronx and later in the Hispanic neighborhood of Chelsea.

Though Scott-Heron's experiences in Tennessee must have been difficult, they proved to be the seed of his writing career, as his first volume of poetry was written around that time. His education in the New York City school system also proved beneficial, introducing the youth to the work of Harlem Renaissance poet Langston Hughes as well as LeRoi Jones. After publishing a novel called The Vulture in 1968, Scott-Heron applied to Pennsylvania's Lincoln University. Though he spent less than one year there, it was enough time to meet Brian Jackson, a similarly minded musician who would later become a crucial collaborator and integral part of Scott-Heron's band.

Given a bit of exposure -- mostly in magazines like Essence, which called The Vulture "a strong start for a writer with important things to say" -- Scott-Heron met up with Bob Thiele and was encouraged to begin a music career, reading selections from his book of poetry Small Talk at 125th & Lennox while Thiele recorded a collective of jazz and funk musicians, including bassist Ron Carter, drummer Bernard "Pretty" Purdie, Hubert Laws on flute and alto saxophone, and percussionists Eddie Knowles and Charlie Saunders; Scott-Heron also recruited Jackson to play on the record as pianist. Most important on the album was "The Revolution Will Not Be Televised," an aggressive polemic against the major media and white America's ignorance of increasingly deteriorating conditions in the inner cities. Scott-Heron's second LP, 1971's Pieces of a Man, expanded his range, featuring songs such as the title track and "Lady Day and John Coltrane," which offered a more straight-ahead approach to song structure (if not content).

The following year's Free Will was his last for Flying Dutchman, however; after a dispute with the label, Scott-Heron recorded Winter in America for Strata East, then moved to Arista Records in 1975. As the first artist signed to Clive Davis' new label, much was riding on Scott-Heron to deliver first-rate material with a chance at the charts. Thanks to Arista's more focused push on the charts, Scott-Heron's "Johannesburg" reached number 29 on the R&B charts in 1975. Important to Scott-Heron's success on his first two albums for Arista (First Minute of a New Day and From South Africa to South Carolina) was the influence of keyboardist and collaborator Jackson, co-billed on both LPs and the de facto leader of Scott-Heron's Midnight Band.

Jackson left by 1978, though, leaving the musical direction of Scott-Heron's career in the capable hands of producer Malcolm Cecil, a veteran producer who had midwifed the funkier direction of the Isley Brothers and Stevie Wonder earlier in the decade. The first single recorded with Cecil, "The Bottle," became Scott-Heron's biggest hit yet, peaking at number 15 on the R&B charts, though he still made no waves on the pop charts. Producer Nile Rodgers of Chic also helped on production during the 1980s, when Scott-Heron's political attack grew even more fervent with a new target, President Ronald Reagan. (Several singles, including the R&B hits "B Movie" and "Re-Ron," were specifically directed at the President's conservative policies.) By 1985, however, Scott-Heron was dropped by Arista, just after the release of The Best of Gil Scott-Heron. Though he continued to tour around the world, Scott-Heron chose to discontinue recording. He did return, however, in 1993 with a contract for TVT Records and the album Spirits.

For well over a decade, Scott-Heron was mostly inactive, held back by a series of drug possession charges. He began performing semi-regularly again in 2007, and one year later, announced that he was HIV-positive. He recorded an album, I'm New Here, released on XL in 2010. In February of 2011, Scott-Heron and Jamie xx (Jamie Smith of xx) issued a remixed version of the album, entitled We're New Here, also issued on XL. Scott-Heron died on the afternoon of May 27, 2011, at St. Luke's Hospital, New York City, after becoming ill upon returning from a European trip, consider an airline cabin is always a cocktail of virusses and bacteria which proved to be too much for the weakened by HIV elderly man.

xxxxx xxxxx xxxxx xxxxx xxxxx

In 1980, Gil Scott-Heron had a nice opportunity to promote his Real Eyes album when he became the opening act on Stevie Wonder's Hotter Than July tour. On his own, Scott-Heron usually played small clubs, but opening for Wonder gave him the chance to perform in front of thousands of Wonder fans in major stadiums and sports arenas. Many of Wonder's white fans seemed to be unfamiliar with Scott-Heron (who had never had a major pop hit), while a lot of Wonder's black fans at least knew him for "The Bottle" and "Angel Dust" even if they hadn't bought a lot of his albums. Opening for all those Wonder fans certainly didn't hurt Scott-Heron's career, but it didn't make him a superstar either. While it's possible that some Wonder fans enjoyed Scott-Heron's opening sets enough to go out and purchase Real Eyes, most of the people who acquired this LP were already confirmed Scott-Heron fans. Unfortunately, Real Eyes lacked a hit single, although the material is excellent nonetheless. As usual, Scott-Heron has a lot of sociopolitical things on his mind -- "The Train From Washington" concludes that the working class can't depend on the U.S. government for anything, while "Not Needed" angrily points the finger at companies who consider longtime employees expendable. And the album's less sociopolitical songs are equally memorable. "Your Daddy Loves You" is a touching ode to Scott-Heron's daughter Gia Louise (who was only a child in 1980), and the jazz-oriented "A Legend in His Own Mind" is a humorous, clever put-down of a wannabe "Casanova" who isn't nearly the ladies' man he brags about being. Scott-Heron's love of jazz serves him well on "A Legend in His Own Mind" and the smoky "Combinations," but make no mistake: Real Eyes is an R&B album more than anything.



Gil Scott-Heron - Real Eyes   (flac  190mb)

01 (You Can't Depend On) The Train From Washington 4:49
02 Not Needed 3:57
03 Waiting For The Axe To Fall 4:49
04 Combinations 3:42
05 Legend In His Own Mind 3:42
06 You Could Be My Brother 6:23
07 The Klan 4:51
08 Your Daddy Loves You (For Gia Louise) 3:20

 (ogg     mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Although a major across-the-board hit always eluded the poet, singer, and activist Gil Scott-Heron, this album does contain one of his best-known songs. "B-Movie," an extended attack on Ronald "Ray-gun," unleashes 12 minutes of vitriol about the then recently elected president. Beginning with the declaration "Mandate, my ass," it's a laundry list of fears about Reagan, fantasizing that his election meant "we're all actors" in some surreal film. Delivered over a taut funk groove, parts of it are still funny. Elsewhere, Scott-Heron takes an early stab at endorsing firearm control on "Gun"; slows things down for "Morning Thoughts"; and explores reggae's rhythms and revolutionary power on "Storm Music," a direction he'd pursue more fully on his next album, Moving Target. The disc also includes a pair of covers that offer varying degrees of success: Bill Withers'"Grandma's Hands" is a natural for Scott-Heron's warm baritone and a bright soul-jazz arrangement from the Midnight Band, but the version of Marvin Gaye's "Inner City Blues," while it swings convincingly, has a lengthy spoken-word riff that fails to embellish on the pain implicit in the original. Overall, Reflections doesn't capture Scott-Heron at the peak of his game, though anyone who enjoyed the other works from his Arista period certainly won't be disappointed.



Gil Scott-Heron - Reflections   (flac  281mb)

01 Storm Music 4:51
02 Grandma's Hands 5:24
03 Is That Jazz? 3:43
04 Morning Thoughts 4:37
05 Inner City Blues (Poem: "The Siege Of New Orleans) 5:46
06 Gun 4:00
07 "B" Movie 12:10
Bonus
08 Re-Ron 6:47

Gil Scott-Heron - Reflections  (ogg   114mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

With Spirits, Gil Scott-Heron made a triumphant return to the studio after a 12-year absence. Though the politically charged R&B singer's voice had deteriorated, much of his soulfulness comes through. His songwriting is consistently excellent, and songs ranging from "Message to the Messengers" (which advises young rap artists to use their power wisely) to "Work for Peace" leave no doubt that his sociopolitical observations are as sharp as ever. One of the most riveting cuts is "The Other Side," an extended remake of his early-'70s classic "Home Is Where the Hatred Is" (which describes a drug addict's struggle). The East Coaster had been battling addiction himself during his absence from recording, and this heartfelt song isn't for the squeamish. Scott-Heron had successfully dabbled in jazz over the years, and in fact, among the CD's many strong points are the lyrics he adds to John Coltrane's "Spirits." One cannot help but wish Scott-Heron still had a great voice to go with this material, but even so, Spirits is powerful listening.



Gil Scott-Heron - Spirits  (flac 328mb)

01 Message To The Messengers 4:57
02 Spirits 7:49
03 Give Her A Call 5:44
04 Lady's Song 3:14
05 Spirit's Past 3:00
06 The Other Side, Part I 5:25
07 The Other Side, Part II 6:11
08 The Other Side, Part III 6:40
09 Work For Peace 7:33
10 Don't Give Up 5:58

Gil Scott-Heron - Spirits   (ogg   140 mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

A previously unreleased live set recorded at London’s legendary Town and Country club and available for the first time. By the late 80s years of substance abuse had left Gil Scott-Heron rotten-toothed and out of it a lot of the time. In 1987 he missed a gig at London's Town & Country Club completely, turning up long after the venue had shut. The T&CC stuck with him though, booking him again in 1988 and hoping for the best. By then he'd gained a new manager, Freddie Cousaert, who had been responsible for turning the career of Marvin Gaye round in the early 80s, getting him off cocaine and back into the studio.

Gil might not have stuck to the straight and narrow in the years to come, but he was most in his element at live shows, and for this night he was on top form, running through old favourites like "Home Is Where The Hatred Is", "Save The Children", "Winter In America", "Angel Dust" and "Johannesburg", as well as chatting to the crowd and telling stories between songs. Gil is on fire throughout and obviously having a good night.



Gil Scott-Heron - Live At The Town & Country  (flac 552mb)

01 Black Men And Monster Movies 6:36
02 Space Song 5:57
03 We Almost Lost Detroit 4:17
04 Home Is Where The Hatred Is 11:12
05 Save The Children 9:18
06 The Vibemasphere 12:43
07 Angel Dust 13:22
08 The Blackground 13:48
09 Winter In America 9:06
10 The Spirit 18:51
11 Johannesburg 6:59

Gil Scott-Heron - Live At The Town & Country   (ogg 224mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello, drummer Jaki Liebezeit, who has died Januari 22nd aged 78, is the trigger for these Sundaze. The so-called “motorik” beat, a minimalist, relentless form of rhythm practised by groups including Neu! and Kraftwerk, became one of the most distinctive trademarks of Germany’s postwar rock groups. Liebezeit, a founding member of the Cologne-based quintet Can, was also a skilled practitioner of the motorik approach, but he was much more besides. He was able to incorporate a range of moods and styles into his playing, from African and funk rhythms to violent thrashing grooves, while always maintaining meticulous rhythmic control.
His playing could veer from the heavy, pulverising beat he created on You Doo Right, from Can’s debut album Monster Movie (1969), to the lithe, off-kilter feel he brought to One More Night, from Ege Bamyasi (1972). On the title track of Flow Motion (1976), Liebezeit delivered a lesson in lean, bare-bones funkiness. So precise and unswerving was Liebezeit’s playing, which included an ability to repeat drum patterns with uncanny precision, that he was likened to a human drum machine. To this he retorted that “the difference between a machine and me is that I can listen, I can hear and I can react to the other musicians, which a machine cannot do”. His particular gift was the ability to refine his drumming down to a compact, streamlined essence, so that when he did eventually add a fresh accent or extra beat it became a musical event of startling significance.



Today's artists are a German experimental rock band formed in Cologne, West Germany in 1968. The group cycled through several lineups in subsequent years, including vocalists Malcolm Mooney and Damo Suzuki. Drawing from backgrounds in avant-garde and jazz music, Can incorporated rock, minimalist, electronic, and world music elements into their often psychedelic and funk-inflected music.They have been widely hailed as pioneers of the German krautrock scene, exerted a considerable influence on avant-garde, experimental, underground, ambient, new wave and electronic music. ......N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

 Always at least three steps ahead of contemporary popular music, Can were the leading avant-garde rock group of the '70s. From their very beginning, their music didn't conform to any commonly held notions about rock & roll -- not even those of the countercultures. Inspired more by 20th century classical music than Chuck Berry, their closest contemporaries were Frank Zappa or possibly the Velvet Underground. Yet their music was more serious and inaccessible than either of those artists. Instead of recording tight pop songs or satire, Can experimented with noise, synthesizers, nontraditional music, cut-and-paste techniques, and, most importantly, electronic music; each album marked a significant step forward from the previous album, investigating new territories that other rock bands weren't interested in exploring.

Throughout their career, Can's lineup was fluid, featuring several different vocalists over the years; the core bandmembers remained keyboardist Irmin Schmidt, drummer Jaki Leibezeit, guitarist Michael Karoli, and bassist Holger Czukay. During the '70s, they were extremely prolific, recording as many as three albums a year at the height of their career. Apart from a surprise U.K. Top 30 hit in 1978 -- "I Want More" -- they were never much more than a cult band; even critics had a hard time appreciating their music.

Can debuted in 1969 with the primitive, bracing Monster Movie, the only full-length effort to feature American-born vocalist Malcolm Mooney. 1970's Soundtracks, a collection of film music, introduced Japanese singer Kenji "Damo" Suzuki, and featured "Mother Sky," one of the group's best-known compositions. With 1971's two-record set Tago Mago, Can hit their visionary stride, shedding the constraints of pop forms and structures to explore long improvisations, angular rhythms, and experimental textures.

1972's Ege Bamayasi refined the approach, and incorporated an increasingly jazz-like sensibility into the mix; Future Days, recorded the following year as Suzuki's swan song, traveled even further afield into minimalist, almost ambient territory. With 1974's Soon Over Babaluma, Can returned to more complicated and abrasive ground, introducing dub rhythms as well as Karoli's shrieking violin. 1976's Unlimited Edition and 1977's Saw Delight proved equally restless, and drew on a wide range of ethnic musics.

When the band split in 1978 following the success of the album Flow Motion and the hit "I Want More," they left behind a body of work that has proven surprisingly groundbreaking; echoes of Can's music can be heard in Public Image Limited, the Fall, and Einstürzende Neubauten, among others. As with much aggressive and challenging experimental music, Can's music can be difficult to appreciate, yet their albums offer some of the best experimental rock ever recorded.

Since the split, all the former members have been involved in musical projects, often as session musicians for other artists. In 1986 they briefly reformed, with original vocalist Mooney, to record Rite Time (released in 1989). There was a further reunion in 1991 by Karoli, Liebezeit, Mooney and Schmidt to record a track for the Wim Wenders film Until the End of the World and in August 1999 by Karoli, Liebezeit and Schmidt with Jono Podmore to record a cover of "The Third Man Theme" for Grönland record's compilation album Pop 2000. In 1999 the four core members of Can, Karoli, Liebezeit, Schmidt and Czukay, performed live at the same show, although playing separately with their current solo projects (Sofortkontakt, Club Off Chaos, Kumo and U-She respectively). Michael Karoli died of cancer on November 17, 2001. Can have since been the subject of numerous compilations, live albums and samples. In 2004, the band began a series of Super Audio CD remasters of its back catalog, which were finished in 2006. Jaki Liebezeit died of pneumonia on January 22, 2017.

xxxxx xxxxx xxxxx xxxxx xxxxx

The follow-up to Tago Mago is only lesser in terms of being shorter; otherwise the Can collective delivers its expected musical recombination act with the usual power and ability. Liebezeit, at once minimalist and utterly funky, provides another base of key beat action for everyone to go off on -- from the buried, lengthy solos by Karoli on "Pinch" to the rhythm box/keyboard action on "Spoon." The latter song, which closes the album, is particularly fine, its sound hinting at an influence on everything from early Ultravox songs like "Hiroshima Mon Amour" to the hollower rhythms on many of Gary Numan's first efforts. Liebezeit and Czukay's groove on "One More Night," calling to mind a particularly cool nightclub at the end of the evening, shows that Stereolab didn't just take the brain-melting crunch side of Can as inspiration. The longest track, "Soup," lets the band take off on another one of its trademark lengthy rhythm explorations, though not without some tweaks to the expected sound. About four minutes in, nearly everything drops away, with Schmidt and Liebezeit doing the most prominent work; after that, it shifts into some wonderfully grating and crumbling keyboards combined with Suzuki's strange pronouncements, before ending with a series of random interjections from all the members. Playfulness abounds as much as skill: Slide whistles trade off with Suzuki on "Pinch"; squiggly keyboards end "Vitamin C"; and rollicking guitar highlights "I'm So Green." The underrated and equally intriguing sense of drift that the band brings to its recordings continues as always. "Sing Swan Song" is particularly fine, a gentle float with Schmidt's keyboards and Czukay's bass taking the fore to support Suzuki's sing-song vocal.



Can - Ege Bamyasi  (flac  234mb)

01 Pinch 9:28
02 Sing Swan Song 4:18
03 One More Night 5:35
04 Vitamin C 3:34
05 Soup 10:25
06 I'm So Green 3:03
07 Spoon 3:03

Can - Ege Bamyasi     (ogg  100mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

On Future Days, Can fully explored the ambient direction they had introduced into their sound on the previous year's Ege Bamyasi, and in the process created a landmark in European electronic music. Where Ege Bamyasi had played fast and loose with elements of rock song structure, Future Days dispensed with these elements altogether, creating hazy, expansive soundscapes dominated by percolating rhythms and evocative layers of keys. Vocalist Damo Suzuki turns in his final and most inspired performance with the band. His singing, which takes the form here of a rhythmic, nonsensical murmur, is all minimal texture and shading. Apart from the delightfully concise single "Moonshake," the album is comprised of just three long atmospheric pieces of music. The title track eases us into the sonic wash, while "Spray" is built around Suzuki's eerie vocals, which weave in and out of the shimmering instrumental tracks. The closing "Bel Air" is a gloriously expansive piece of music that progresses almost imperceptibly, ending abruptly after exactly 20 minutes. Aptly titled, Future Days is fiercely progressive, calming, complex, intense, and beautiful all at once. It is one of Can's most fully realized and lasting achievements.



Can - Future Days  (flac  412mb)

01 Future Days 9:34
02 Spray 8:28
03 Moonshake 3:02
04 Bel Air 20:00

Can - Future Days    (ogg 129mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

With Suzuki departed, vocal responsibilities were now split between Karoli and Schmidt. Wisely, neither try to clone Mooney or Suzuki, instead aiming for their own low-key way around things. The guitarist half speaks/half whispers his lines on the opening groover, "Dizzy Dizzy," while on "Come Sta, La Luna" Schmidt uses a higher pitch that is mostly buried in the background. Czukay sounds like he's throwing in some odd movie samples on that particular track, though perhaps it's just heavy flanging on Schmidt's vocals. Karoli's guitar achieves near-flamenco levels on the song, an attractive development that matches up nicely with the slightly lighter and jazzier rhythms the band comes up with on tracks like "Splash." Also, his violin work -- uncredited on earlier releases -- is a bit more prominent here. Musically, if things are a touch less intense on Babaluma, the sense of a band perfectly living in each other's musical pocket and able to react on a dime hasn't changed at all. "Chain Reaction," the longest track on the album, shows that the combination of lengthy jam and slight relaxation actually can go together rather well. After an initial four minutes of quicker pulsing and rhythm (which sounds partly machine provided), things downshift into a slower vocal section before firing up again; Karoli's blistering guitar work at this point is striking to behold. "Chain Reaction" bleeds into Babaluma's final song, "Quantum Physics," a more ominous piece with Czukay's bass closer to the fore, shaded by Schmidt's work and sometimes accompanied by Liebezeit. It makes for a nicely mysterious conclusion to the album.



Can - Soon Over Babaluma  (flac  236mb)

01 Dizzy Dizzy 5:40
02 Come Sta, La Luna 5:44
03 Splash 7:47
04 Chain Reaction 11:12
05 Quantum Physics 8:33

Can - Soon Over Babaluma   (ogg  96mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Expanding the original Limited Edition release to a full double-LP/single-CD set, Unlimited is very much a dog's breakfast -- albeit a highly entertaining one -- of previously unreleased performances. Suzuki and Mooney take the spotlight on some songs, while on others the key foursome go at it in their usual way. A number of songs are mere snippets, like the vaguely tribal-sounding "Blue Bag," while one tune, the 20-minute "Cutaway," from 1969, is a sprawling pastiche of oddities. (Keep an ear out for the very formal request to keep modulations in frequency with other bandmembers!) Five cuts are listed as part of the band's continuing Ethnological Forgery Series, on which they recreate or interpret a variety of world musics through their own vision. The majority of songs come from 1968-1971 -- manna from heaven for those interested in the band's roots. Many cuts show off the varying abilities of the players. Leibezeit plays wind instruments on five separate cuts, while Schmidt is credited with "schizophone" on the Mooney-sung funk-soul of "The Empress and the Ukraine King." Though a few tracks are seemingly here to fill space, a lot of what's present easily stands up on its own, and with the band's legend as well. The opening cut, "Gomorrha," recorded after Suzuki's departure, is quite fine, an understated but still epic piece with lovely keyboards from Schmidt and intoxicating Karoli guitar. On the Suzuki-era cut "I'm Too Leise," Leibezeit's medieval flutes and light percussion add to a half-folk/half-something-else vibe. Mooney gets an interesting moment of glory with "Mother Upduff," a spoken-word tale of tourists in Europe that turns increasingly strange after the encounter with the octopus.



Can - Unlimited Edition   (flac  453mb)

01 Gomorrha 5:47
02 Doko E 2:28
03 LH 702 (Nairobi / München) 2:13
04 I'm Too Leise 5:11
05 Musette 2:14
06 Blue Bag (Inside Paper) 1:18
07 E.F.S. No. 27 1:49
08 TV Spot 3:02
09 E.F.S. No. 7 1:06
10 The Empress And The Ukraine King 4:42
11 E.F.S. No. 10 2:02
12 Mother Upduff 4:29
13 E.F.S. No. 361:58
14 Cutaway 17:11
15 Connection 2:59
16 Fall Of Another Year 3:24
17 E.F.S. No. 8 1:37
18 Transcendental Express 4:40
19 Ibis 9:20

Can - Unlimited Edition  (ogg  180mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,

What is Remote Viewing? Here's a Simple Explanation ...

Remote viewing is a controlled and trainable mental process involving psi (or psychic ability). It is used to transfer perceptual information across time and space. It is clear that remote viewing works in complete violation of the accepted "laws" of quantum and relativistic physics, therefor those "laws" are incomplete. Remote-viewing procedures were originally developed in laboratories funded by the United States military and intelligence services and used for espionage purposes. The scientific understanding of the remote-viewing phenomenon has greatly advanced in recent years, and as a result the process of remote viewing can now be reliably demonstrated in both laboratory and operational settings. There are a number of styles of remote-viewing procedures that are popularly practiced, such as Scientific Remote Viewing (SRV), Controlled Remote Viewing (CRV), as well as a few others. Remote viewers use one or more of these styles to gather descriptive data of a "target," which is usually some place or event at some point in time. Remote viewing is always done under blind conditions, which means that the remote viewer must know nothing about the target when conducting the remote-viewing session. All of the various styles of remote viewing require both training and regular practice in order for a remote viewer to become proficient. Remote viewing is normally considered a controlled shifting of awareness that is performed in the normal waking state of consciousness, and it does not typically involve an out-of-body experience, hypnosis, an altered state of consciousness, or channeling.



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 Remote Viewing Tool contains two tracks. The first track, Cooling Down, contains an entrancing semi-guided relaxation period which leads into the second track, Remote Perception.

This Series uses embedded brainwave entrainment guidance to steer the user into a centered and receptive state of mind.The split-ear scripted subliminal messages selectively target either the right or left hemisphere with messages depending on the message's intent. The subliminal cues are focused on increasing your receptive nature, suspending judgment and imagination, boosting mental speeds for quick processing and collecting of mental imagery and raw perceptions that are commonly experienced during a typical remote viewing session.

Due to the need for mental clarity and a lack of external subjective leading when it comes to remote viewing, only the first track (almost 20 mins.) contains audible guided vocals geared at relaxing, releasing and reengaging your awareness into a state of mind that is conducive to remote awareness. The second, more lengthy track (almost 60 mins.) contains no audible vocals and simply uses the split ear subliminals and the power of the brainwave entrainment to guide the user into a receptive, trance-like altered state of consciousness.




Brainwave Mind Voyages (Series VIII) - Remote Viewing (flac  405mb)

01 Cooling Down 19:44
02 Remonte Perception 58:42

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)
Brainwave Mind Voyages (Series V) (flac  265mb)
Brainwave Mind Voyages (Series VI) (flac  383mb)
Brainwave Mind Voyages (Series VII) (flac  343mb)

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

Here, the makeover into a roots-samba diva is complete and quite convincing... Soares gets slinky and soulful, with some wonderful, utterly authentic batucada percussion woven in throughout the record. This is really fine stuff, right up there with Clara's best work. Elza keeps the pace up, and the band (wish they were credited!) is totally solid. Also, no egregious dips into pop or romantic schmaltz, just solid samba from end to end. Highly recommended!
She still imitating Clara here, and at last the pop side asserts itself, with a more pronounced soul style emerging in the mix... Saxophonist Paulo Moura plays assists with the arrangements, and much of this record feels a bit like Gonzaguinha's samba-MPB work of the time. Some of it's a bit cloying, but for the most part this is another fine album. Also, her vocal phrasing really seems to have stretched out, and her softer passages work much better than before. Worth checking out!




Elza Soares - Nos Braços do Samba , Lição de Vida (flac  458mb)

01 Primeiro Eu
02 Nem Vem
03 Viagem De Jangada
04 Quem É Bom Já Nasce Feito
05 Debruçado Em Meu Olhar
06 Confesso Que Chorei
07 Lendas E Festas Das Yabás
08 Nos Braços Do Samba
09 Auera
10 Saudade Da Minha Inimiga
11 Deixa Pra Deus Resolver
12 Cansada De Esperar
Lição de Vida
13 Malandro
14 Cipriano
15 Lição de vida
16 Pinta e borda
17 Rainha dos sete mares
18 A rosa
19 Curumbandê
20 Nó na tristeza
21 Deus e viola
22 Estou com raiva de você
23 Samba, minha raiz
24 Sal e pimenta - Mulata assanhada - Beija-me

Elza Soares - Nos Braços do Samba , Lição de Vida  (ogg  187mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

With her career getting more and more erratic, Elza Soares moves further away from the sambajazz and embraces the high party in Pilão + Raça = Elza., Disc in which she says goodbye to the Tapecar. Without leaving any success, the album brings three compositions of Elza, two of them in partnership with the producer Gerson Alves, The samba-song Enredo de Pirraça is the highlight.  and another one of Jorge Aragão (Forgiveness love).



Elza Soares - Pilão+Raça=Elza , Voltei  (flac  480mb)

01 Língua de pilão
02 Enredo de pirraça
03 Aldeia de Okarimbé
04 Sombra confidente
05 Perdão Vila Isabel
06 Perdão amor
07 De pandeiro na mão
08 Só tem um jeito agora
09 Amor aventureiro
10 Compositor
11 Prezado amigo
12 Só uma lágrima
Voltei
13 Pot-pourri-Voltei-Bom-dia Portela-Malandro
14 Doce acalanto
15 Amor sublime
16 Plenitude
17 Erê
18 Lá vem você
19 Sem ilusão
20 Ânsia louca
21 Coisa da gente
22 Nesse trem

Elza Soares - Pilão+Raça=Elza , Voltei   (ogg   192mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

These last weeks i've posted Negra the stunning, definitive CD box set that gathers nearly all of Soares' albums from 1961 to 2003, including an added disc of rarities and singles. The albums are combined, two on each disc, including A Bossa Negra (1961), O Samba E Elza Soares (1961), Sambossa (1963), Na Roda De Samba (1964), Um Show De Elza (1965), Com A Bola Branca (1966), O Maximo Em Samba (1967), Elza, Miltinho E Samba (1967), Baterista: Wilson Das Neves (1968), Elza, Miltinho E Samba, v.2 (1968), Elza, Carnaval E Samba (1969), Elza, Miltinho E Samba, v.3 (1969), Sambas E Mais Sambas (1970), Pede Passagem (1972), Sangue, Suor E Raca (1972), Elza Soares (1973), Elza Soares (1974), Nos Brancos Do Samba (1975), Licao De Vida (1976), Pilao + Raca = Elza (1977), Voltei (1988), and the rarities disc Sambas e Mais Sambas Vol. 2.Tracks released only on singles, and on special projects, between 1968-1977. If you really want to check out her ouvre, this is your best shot.



Elza Soares - Sambas e Mais Sambas Vol. 2 (flac 412mb)

01 Bloco de sujo.flac
02 Dá licença.flac
03 A flor e o samba.flac
04 Lendas e mistérios da Amazònia.flac
05 Pro que der e vier.flac
06 Vida.flac
07 Grade do amor.flac
08 Rainha de roda.flac
09 Lendas do Abaeté.flac
10 Já era.flac
11 Rio Zé Pereira.flac
12 Acorda Portela.flac
13 Se eu jurei.flac
14 Mangueira em tempo de folclore.flac
15 Maledicência.flac
16 A festa do divino.flac
17 Do jeito que o rei mandou.flac
18 A grande verdade.flac
19 Capital do tempo.flac
20 Pr´o esporte.flac
21 Mangueira, minha alegria.flac
22 Vale ouro.flac

Elza Soares - Sambas e Mais Sambas Vol. 2 (ogg  161mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Hello, what a Valentines day Paris the city of love trashed Barcelona 4-0 , unheard of but absolutely deserved win, which couldn't be said of Benfica who defended at home and were witnessing Borrusia Dortmund miss chance after chance only to see a rare corner score them a 1-0 victory.


Today's artists issued a blitz of records that were ruthless in both their unrelenting sociopolitical screeds and their amelodic crash of noise. The horrors of war, the arbitrary nature of legal justice, sexism, media imagery, organized religion, the flaws of the punk movement itself -- all were subjected to harsh critique. Like few other rock bands before or since, Crass took rock-as-agent-of-social-and-political-change seriously, and not just in their music. In addition to putting out their own fiercely independent records (though the majors were certainly not knocking at their door), they also formed an anarchist commune that worked with other artists and labels, and on the behalf of various political causes. Here are the brittlest and most hard-line radical of the first wave of British punk bands.........N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Crass were an English art collective and punk rock band formed in 1977 which promoted anarchism as a political ideology, a way of life and a resistance movement. Crass popularised the anarcho-punk movement of the punk subculture, advocating direct action, animal rights, feminism and environmentalism. The band used and advocated a DIY punk ethic approach to its sound collages, leaflets, albums and films. Crass spray-painted stencilled graffiti messages in the London Underground system and on advertising billboards, coordinated squats and organised political action. The band expressed its ideals by dressing in black, military-surplus-style clothing and using a stage backdrop amalgamating icons of perceived authority such as the Christian cross, the swastika, the Union Jack and the ouroboros. The band was critical of punk subculture and youth culture in general. Crass promoted an anarchism which became more common in the punk-music scene. They are considered art punk in their use of tape collages, graphics, spoken word releases, poetry and improvisation.

The band was based around Dial House, an open-house community near Epping, Essex, and formed when Dial House founder Penny Rimbaud began jamming with Steve Ignorant (who was staying in the house at the time). Ignorant was inspired to form a band after seeing The Clash perform at Colston Hall in Bristol, whilst Rimbaud, a veteran of avant garde performance art groups such as EXIT and Ceres Confusion, was working on his book Reality Asylum. They produced "So What?" and "Do They Owe Us A Living?" as a drum-and-vocal duo. They briefly called themselves Stormtrooper before choosing Crass in reference to a line in the David Bowie song "Ziggy Stardust" ("The kids was just crass").

Other friends and household members joined (including Gee Vaucher, Pete Wright, N. A. Palmer and Steve Herman), and Crass played their first live gig at a squatted street festival in Huntley Street, North London. They planned to play five songs, but a neighbour "pulled the plug" after three. Guitarist Steve Herman left the band soon afterwards, and was replaced by Phil Clancey, aka Phil Free. Joy De Vivre and Eve Libertine also joined around this time. Other early Crass performances included a four-date tour of New York City, a festival gig in Covent Garden and regular appearances with the U.K. Subs at The White Lion, Putney and Action Space in central London. The latter performances were often poorly attended: "The audience consisted mostly of us when the Subs played and the Subs when we played".

Crass played two gigs at the Roxy Club in Covent Garden, London. According to Rimbaud, the band arrived drunk at the second show and were ejected from the stage; this inspired their song, "Banned from the Roxy", and Rimbaud's essay for Crass' self-published magazine International Anthem, "Crass at the Roxy". After the incident the band took themselves more seriously, avoiding alcohol and cannabis before shows and wearing black, military surplus-style clothing on and offstage. They introduced their stage backdrop, a logo designed by Rimbaud's friend Dave King. This gave the band a militaristic image, which led to accusations of fascism. Crass countered that their uniform appearance was intended to be a statement against the "cult of personality", so (in contrast to many rock bands) no member would be identified as the "leader".

Conceived and intended as cover artwork for a self-published pamphlet version of Rimbaud's Christ's Reality Asylum the Crass logo was an amalgam of several "icons of authority" including the Christian cross, the swastika, the Union Jack and a two-headed Ouroboros (symbolising the idea that power will eventually destroy itself). Using such deliberately mixed messages was part of Crass' strategy of presenting themselves as a "barrage of contradictions", challenging audiences to (in Rimbaud's words) "make your own fucking minds up". This included using loud, aggressive music to promote a pacifist message, a reference to their Dadaist, performance-art backgrounds and situationist ideas.

The band eschewed elaborate stage lighting during live sets, preferring to play under 40-watt household light bulbs; the technical difficulties of filming under such lighting conditions partly explains why there is little live footage of Crass. They pioneered multimedia presentation, using video technology (back-projected films and video collages by Mick Duffield and Gee Vaucher) to enhance their performances, and also distributed leaflets and handouts explaining anarchist ideas to their audiences.

Crass' first release was The Feeding of the 5000 (an 18-track, 12" 45 rpm EP on the Small Wonder label) in 1978. Workers at the record-pressing plant refused to handle it due to the allegedly blasphemous content of the song "Asylum", and the record was released without it. In its place were two minutes of silence, entitled "The Sound of Free Speech". This incident prompted Crass to set up their own independent record label, Crass Records, to prevent Small Wonder from being placed in a compromising position and to retain editorial control over their material. A re-recorded, extended version of "Asylum", renamed "Reality Asylum", was shortly afterwards released on Crass Records as a 7" single and Crass were investigated by the police due to the song's lyrics. The band were interviewed at their Dial House home by Scotland Yard's vice squad, and threatened with prosecution; however, the case was dropped. "Reality Asylum" retailed at 45p (when most other singles cost about 90p), and was the first example of Crass'"pay no more than..." policy: issuing records as inexpensively as possible. The band failed to factor value added tax into their expenses, causing them to lose money on every copy sold. A year later Crass Records released new pressings of "The Feeding of the 5000" (subtitled "The Second Sitting"), restoring the original version of "Asylum".

In 1979 the band released their second album (Stations of the Crass), financed with a loan from Poison Girls, a band with whom they regularly appeared. This was a double album, with three sides of new material and a fourth side recorded live at the Pied Bull in Islington. The next Crass single, 1980's "Bloody Revolutions", was a benefit release with Poison Girls which raised £20,000 to fund the Wapping Autonomy Centre. Crass released their third album, Penis Envy, in 1981. This marked a departure from the hardcore-punk image The Feeding of the 5000 and Stations of the Crass had given the group. It featured more-complex musical arrangements and female vocals by Eve Libertine and Joy De Vivre (singer Steve Ignorant was credited as "not on this recording"). The album addressed feminist issues, attacking marriage and sexual repression.

The last track on Penis Envy, a parody of an MOR love song entitled "Our Wedding", was made available as a white flexi disc to readers of Loving, a teenage romance magazine. Crass tricked the magazine into offering the disc, posing as "Creative Recording And Sound Services". Loving accepted the offer, telling their readers that the free Crass flexi would make "your wedding day just that bit extra special". A tabloid controversy resulted when the hoax was exposed, with the News of the World stating that the title of the flexi's originating album was "too obscene to print". Despite Loving's annoyance, Crass had broken no laws. The album was banned by the retailer HMV, and in 1984 copies of the album were seized from the Eastern Bloc record shop by Greater Manchester Police under the direction of Chief Constable James Anderton. The shop owners were charged with displaying "obscene articles for publication for gain". The judge ruled against Crass in the ensuing court case, although the decision was overturned by the Court of Appeal (except the lyrics to one song, "Bata Motel", which were upheld as "sexually provocative and obscene").

more next week...


xxxxx xxxxx xxxxx xxxxx xxxxx

Perhaps the most uncompromising early British punk record, though a long way from the best. This is far more interesting for its form than its content; super-brief, incoherent rants over pummeling drums and incomprehensible vocals were made into a hardcore cliché by the early '80s, but were impossibly radical and noisy in 1978. If you're at all left-of-center, you can find a good deal to sympathize with in the lyrics, addressing class warfare, social hypocrisy, organized religion, and punk rock itself with serious venom. It's not without humor at times, either, as on the famous chorus, "Do they owe us a living? Of course they f*cking do!" (A lyric sheet, always an essential item for Crass releases, is provided.) But the melodic and textural qualities of the record, not to mention the throat-full-of-vomit vocals, are so unrelentingly harsh and monotonous that it's difficult to imagine anybody playing this for pleasure. With a band such as this, that might indeed be the point, but it doesn't make for lasting art. The most enduring piece, actually, had relatively little to do with traditional punk rock: On "Asylum," the spoken female voice delivers a vitriolic attack on Christianity over disquieting guitar feedback



Crass - The Feeding of the 5000   (flac  500mb)

01 Asylum (Voc Eve Libertine) 2:05
02 Do They Owe Us A Living ? 1:24
03 End Result 2:04
04 They've Got A Bomb 3:48
05 Punk Is Dead 1:48
06 Reject Of Society 1:07
07 General Bacardi 1:01
08 Banned From The Roxy 2:14
09 G's Song 0:35
10 Fight War Not Wars 0:34
11 Women (Voc Joy de Vivre) 1:14
12 Securicor 2:25
13 Sucks 1:44
14 You Pay 1:45
15 Angels 2:08
16 What A Shame 1:10
17 So What? 3:04
18 Well, Do They? 1:26
Ignorant & Rimbaud In Duo [Stormpooper]
19 Do They Owe Us A Living? 5:43
20 Blackburn Rovers - Thread Track 0:57
Crass In Soho
21 Heartbeat Of The Mortuary 1:45
22 Do They Owe Us A Living? 2:17
23 Demolition 1:55
24 I Don't Like It 5:03
25 Pissedorf - Thread Track 1:05
Crass In Demo
26 End Result 2:48
27 G's Song 0:42
28 General Bacardi 1:08
29 Securicor 1:55
30 Angela Rippon 1:04
31 Major General Despair 1:20
32 Do They Owe Us A Living? 1:45
33 Punk Is Dead 4:34
34 Come To Southern Studios - Run Out Track 0:20

Crass - The Feeding of the 5000   (ogg  189mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

"They said that we were trash/Well the name is Crass, not Clash." So goes the opening of the coruscating "White Punks on Hope," and with Stations Crass takes things to an even more vicious level than on Feeding. The opening yelps and screams from Ignorant on "Mother Earth" over a slow-building burn show that there was already much more to Crass than simple crash and bash punk, and with the rest of the album the collective moves between full-on assault and an ever increasing agit-snarl experimentation. Originally released as two vinyl discs, the conclusion of the second consists of a live show in Islington the summer of 1979, with the band tearing through new and old cuts with passion, including such fierce anthems as "Do They Owe Us a Living?" and "Shaved Women." The studio tracks, including versions of some cuts from the live show, all come from a one-day session four days after the concert, and while some tracks are almost fragments, surprisingly things aren't as constantly monochrome or as rushed as one might think. Whether stripping things down to dub-tinged bass, drums, and repetitive guitar snarls or blends of staccato rhythms and found-sound noise (or even, on "Walls," trying a bit of disco), Crass creates a unique brand of fierce, inspirational music. Libertine and De Vivre make impressive cameos alongside Ignorant's lead vocals, making the perfect argument through performance that passion trumps technical skill when the chips are down. The sheer amount of issue tackling and blunt speaking throughout ranges from political statements of purpose over every aspect of the status quo to relentless self-examination. One running attack against the band was always that their words were better read than listened to, but hearing the seething hatred projected by Ignorant on "Big Man, Big M.A.N." is enough to convince one otherwise. One of the funniest tracks is the vivisection of music press figure Garry Bushell, "Hurry Up Garry," which uncannily predicts his eventual descent into right-wing tabloid idiocy.



Crass - Stations of the Crass (flac 503mb)

01 Mother Earth 4:11
02 White Punks On Hope 2:22
03 You've Got Big Hands 1:42
04 Darling 1:56
05 System 0:56
06 Big Man, Big M.A.N. 2:46
07 Hurry Up Garry 1:11
08 Fun Going On 2:16
09 Crutch Of Society 1:52
10 Heard Too Much About 1:08
11 Chairman Of The Bored 1:18
12 Tired 3:19
13 Walls 2:59
14 Upright Citizen 3:15
15 The Gasman Cometh 3:17
16 Demoncrats 3:20
17 Contaminational Power 2:01
18 Time Out 2:16
19 I Ain't Thick, It's Just A Trick 4:24
20 Outro Poem 1:20
Live At The Pied Ball. Islington. London. 7th August 1979
21 System / Big Man Big M.A.N / Banned From The Roxy / Hurry Up Garry / Time Out / They've Got A Bomb / Fight War Not Wars 12:51
22 Women / Shaved Women / You Pay / Heard Too Much About 7:10
23 Angels / What A Shame / So What / G's Song 7:19
24 Do They Owe Us A Living? 2:05
25 Punk Is Dead 1:56

Crass - Stations of the Crass   (ogg  197mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Libertine takes the lead vocals throughout Crass' third album (the one exception being de Vivre's turn on the unnerving portrayal of hospitals and waiting for death, "Health Surface"). A powerful and challenging record, Penis Envy uses the brutal, cruel description of sexism and rape on the opening track, "Bata Motel," as a launching point for a comprehensive rip through societal control and repression throughout. Smart enough to target everything from the mechanics and business of selling romance ("Smother Love") to gender stereotyping ("Systematic Death") and back again, lyrically the sharpest cut is toward those who choose to accept such a system rather than reacting back against it. Libertine's delivery places her as one of punk and post-punk's most distinct vocalists; if her atypical approach to singing has parallels to everyone from Poly Styrene to Pauline Murray, she consciously avoids sugaring the pill as the album continues on its way. One of her finest moments comes on "Where Next Columbus," a smart, blackly humorous riff on notions of discovery and control, on every level from economic and political to personal and back again. If immediate musical variety isn't as evident on Penis Envy as on Stations of the Crass' studio cuts, more than a few twists and turns are evident. There's the sudden burst of noise and layered series of voices on the environmental lament "What the Fuck," the nervous crawl into aggro charge on "Poison in a Pretty Pill," even a pretty little guitar figure to start off "Berkertex Bride." Phil Free's lead guitar work is especially effective, often a trebly white sheet of electric aggression, while Penny Rimbaud's drumming gets more varied and interesting as well. Crass' always blunt cover art reaches new but gut-wrenching heights as well, featuring a prepackaged sex doll on the front and gutted pigs on the back. The conceptual effort closes with "Our Wedding," an intentionally sappy romantic number done for a mainstream magazine as a prank.



Crass - Penis Envy (flac 299mb)

01 Bata Motel 3:31
02 Systematic Death 3:57
03 Poison In A Pretty Pill 3:36
04 What The Fuck? 6:45
05 Where Next Columbus? 3:10
06 Berkertex Bribe 3:19
07 Smother Love 1:45
08 Health Surface 3:28
09 Dry Weather 3:04
10 Our Wedding 2:03
Peel Session 7"
11 G's Song
12 Mother Earth
13 Tired
14 Shaved Women
15 Fight War Not Wars
16 Bomb

Crass - Penis Envy  (ogg  86mb)

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 either.

Looka here another batch of 19 ! re-ups, requests fullfilled up to Februari 15th.

xxxxx xxxxx xxxxx xxxxx xxxxx


7x roots Back in Flac (VA - Under African Skies II, Mandingo - Watto Sitta, Zani Diabate and the Super Djata band - I, Khaled - Khaled, Ali Farka Toure ft Ry Cooder - Talking Timbuktu, VA - RAI, VA - Passion Sources)


3x Roots Back in Flac (Zimbabwe - The Soul of Mbira, Thomas Mapfumo - Singles 1977-86, Chiwoniso - Rebel Woman)


3x Beats Back in Flac (DJ Cam - Underground Vibes, DJ Cam - Underground Live Act, Dj Cam - Soulshine)


3x Beats NOW In Flac (System 7 - System Express, Various - I ♥ Serge ( Electronica Gainsbourg),  DJ Cam - Revisited By)


3x Roots Back in Flac (The Disciples - Hail H.I.M. In Dub, The Disciples - Infinite Density Of Dub, Alpha and Omega Meets The Disciples - The Sacred Art Of Dub)


xxxxx xxxxx xxxxx xxxxx xxxxx

Hello,

Today's artists was a pool of more than thirty studio musicians based at Philadelphia’s famed Sigma Sound Studios. They worked closely with the production team of Gamble and Huff and producer/arranger Thom Bell, and backed up such groups as Harold Melvin & the Blue Notes, The O'Jays, The Stylistics, The Spinners, Wilson Pickett, and Billy Paul. In 1972, they began recording as a named act for the Philadelphia International label. "TSOP (The Sound of Philadelphia)" also known as the Soul Train theme was their first and most successful single.   ..... N'joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Best known for recording the hit theme to Soul Train, MFSB were the pre-eminent instrumental outfit of Philadelphia soul, backing numerous Kenny Gamble/Leon Huff productions while recording regularly on their own throughout the '70s. The group's name stood for Mother Father Sister Brother, and prior to their formation in 1971 as the house band at Gamble and Huff's Sigma Sound studios, some of the core personnel had been working together as early as 1968. Guitarists Norman Harris and Bobby Eli, bassist Ronnie Baker, and drummer Earl Young had an uncredited dance hit with "The Horse," the instrumental flip side of singer Cliff Nobles'"Love Is All Right." As the Horse dance craze swept Philadelphia, the group also backed singers the Fantastic Johnny C and (as the James Boys) Jesse James, while also issuing singles as the Music Makers and Family.

With the rise of the lush, orchestrated Philly soul sound at the dawn of the '70s, business was booming at Gamble and Huff's Philadelphia International, and there was plenty of session work to be had. Harris, Eli, Baker, and Young formed an important part of the label's regular studio group; other prominent musicians included guitarists Roland Chambers and James Herb Smith, bassist Larry Moore, drummers/percussionists Karl Chambers, Miguel Fuentes, Quinton Joseph, and Larry Washington, saxophonist Zach Zachary, organist/keyboardist Lenny Pakula, and vibraphonist Vince Montana, plus a rotating cast of strings, horns, and other personnel that depended on availability and were often directed by Don Renaldo. MFSB provided backing on a bevy of Philadelphia International hits, most prominently for the O'Jays and Harold Melvin & the Blue Notes, as well as other Philly soulsters like the Stylistics and the Spinners. They began cutting their own sessions in 1973, releasing a self-titled debut full of extended, sometimes jazzy soul grooves.

Later in 1973, TV host Don Cornelius approached Gamble about writing an original theme for his newly nationally syndicated dance show Soul Train. Gamble convened MFSB in the studio with arranger Bobby Martin and supporting vocal group the Three Degrees, and the theme song that grew out of the session proved hugely popular when it debuted on the show. Gamble pushed Cornelius to release it as a single, and when it finally appeared in early 1974 under the title "T.S.O.P." ("The Sound of Philadelphia"), it rocketed to the top of both the pop and R&B charts; it also won a Grammy for Best R&B Instrumental. The accompanying MFSB album, Love Is the Message, was a gold-selling Top Ten hit (and a number one R&B album); moreover, the title track became an underground hit on the New York disco scene several years later. The group's next album, 1975's Universal Love, produced another R&B hit in "T.L.C. (Tender Lovin' Care)," and moved MFSB further into the emerging disco movement with tracks like "Sexy" and "Let's Go Disco."

MFSB recorded five more albums for Philadelphia International over the remainder of the '70s, becoming a full-fledged disco group when they began working heavily with arranger/producer Dexter Wansel in 1978. The previous year, they contributed a cover of the Nite-Liters'"K-Jee" to the mammoth-selling Saturday Night Fever soundtrack, but the late '70s brought mostly diminished commercial returns. The title track of MFSB's final album, 1980's Mysteries of the World, was a hit in the U.K., but with the heyday of both Philly soul and disco slipping away, the group disbanded in 1981.

xxxxx xxxxx xxxxx xxxxx xxxxx

MFSB's debut album was more of a soul-funk mix than the kind of disco for which the band would become known with their "T.S.O.P." hit. There's less of a thumping rhythm and a greater inclination to lengthy, occasionally jazzy instrumental grooves, as on the seven-minute cover of "Freddie's Dead" that opens the set. The group also made a fair instrumental workout of Sly Stone's "Family Affair," and put the flute in the lead for much of the arrangement of "Back Stabbers." It's pretty well-crafted instrumental soul that's not quite super-slick, though your attention might eventually wander if you're not using it as dance fodder. The lush pop inclinations that would form part of the bed of their later work (both as MFSB and backing numerous Philly soul artists) come more to the fore on some other tracks, particularly the grandiose "Poinciana," though even that breaks up the soaring violins with some tasty jazz-blues piano and guitar. The 2002 CD reissue on Epic/Legacy adds a live version of "T.S.O.P. (The Sound of Philadelphia)" (which is not, incidentally, otherwise represented on the album), with the Three Degrees on vocals.



MFSB - MFSB   (flac  233mb)

01 Freddie's Dead 7:13
02 Family Affair 4:23
03 Something For Nothing 3:00
04 Back Stabbers 6:32
05 Lay In Low 3:45
06 Poinciana 5:54
Bonus
07 T.S.O.P. (The Sound Of Philadelphia) (Live) 3:53

MFSB - MFSB  (ogg     87mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Most prominently featuring "Love Is the Message" and "T.S.O.P.," this 1975 album by MFSB serves as a landmark LP for Philadelphia's mid-'70s soul movement. While "T.S.O.P." became a giant hit for the group at the time of its release, forever being associated with the television show Soul Train, "Love Is the Message" would go on to be an enormous underground hit in New York's late-'70s disco scene, championed by influential DJs such as Larry Levan (becoming an anthem at Levan's Paradise Garage). In addition, the album also features the orchestra's take on "Touch Me in the Morning," a song popularized by Diana Ross that was another proto-disco classic. The other tracks here -- "Cheaper to Keep Her,""My One and Only Love," and "Bitter Sweet" -- are also wonderful tracks exemplifying the group's uplifting, massive sound but aren't nearly as timeless as the three aforementioned songs. Sony's Love Is the Message: The Best of MFSB is still the best and most readily available showcase for this group's influential accomplishments as a proto-disco group, while this album is arguably their strongest non-compilation release and one of Kenny Gamble and Leon Huff's shining moments.



MFSB - Love Is The Message   (flac  360mb)

01 Zack's Fanfare 0:23
02 Love Is The Message 6:36
03 Cheaper To Keep Her 6:53
04 My One And Only Love 4:33
05 TSOP (The Sound Of Philadelphia) 3:43
06 Zack's Fanfare (I Hear Music) 0:50
07 Touch Me In The Morning 6:22
08 Bitter Sweet 5:29
Bonus
09 Love Is The Message (Single Version) 2:38
10 TSOP (The Sound Of Philadelphia) (A Tom Moulton Mix) 5:44
11 Love Is The Message (A Tom Moulton Mix) 11:24

MFSB - Love Is The Message (ogg   131mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

MFSB was the legendary multicultural house band for the label Philadelphia International. Debuting as an act in 1973, the band released seminal early-disco tracks like "TSOP,""Love Is the Message," and the ballad "Something For Nothing." Although this effort didn't reach the heights of its predecessor, Love Is the Message, Universal Love has the band exhibiting even more skill as a hitmaking enterprise. As with the earlier hits, seven out of the eight tracks on Universal Love were arranged by Bobby Martin, who always got a classic sound out of any Philly production. The tracks "Sexy" and "T.L.C. (Tender Lovin' Care)" both effortlessly employ intonations of big band that came from the horn charts and Zach Zachery's tenor sax solos. At this point the gloss and rhythm style of the MFSB players, primarily the sound of bassist Ron Baker and drummer Earl Young, helped to initiate disco. Although they were no doubt influential, the songs "MFSB" and the hard-driving "Let's Go Disco" have an inimitable production. MFSB was no doubt known as a dance outfit, but this effort also displays its skill with ballads. The last track, the reflective "My Mood," with a vibes solo from Vince Montana, all but sums up what made this particular incarnation of the band arguably the best. Although it often doesn't make the list of Philadelphia International classics, Universal Love perfectly captures the grace of MFSB and the Philly sound.



MFSB - Universal Love   (flac 248mb)

01 Sexy 3:33
02 MFSB 3:42
03 Human Machine 3:52
04 Love Has No Time Or Place 6:18
05 T.L.C. (Tender Lovin' Care) 3:41
06 Let's Go Disco 4:14
07 K-Jee 4:15
08 My Mood 4:10

MFSB - Universal Love (ogg 114mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

While they didn't exactly set the world on fire, they DID leave the listener with no doubt as to just how talented the musicians that made up MFSB were and that they could tackle everything from Disco to Funk to Soul to MOR-Pop with grace, class and musical virtuosity. This album captures the magic of the Philadelphia Soul sound at a time when it had truly reached its apex.



MFSB - Philadelphia Freedom  (flac 288mb)

01 Zach's Fanfare #2 1:03
02 Get Down With The Philly Sound 4:29
03 Philadelphia Freedom 6:00
04 South Philly 4:28
05 Ferry Avenue 4:01
06 Interlude 1 0:52
07 When Your Love Is Gone 4:11
08 Morning Tears 5:15
09 Brothers And Sisters 3:50
00 Smile Happy 5:52
10 The Zip 3:51

MFSB - Philadelphia Freedom (ogg   106 mb)

xxxxx xxxxx xxxxx xxxxx xxxxx