Hello, drummer Jaki Liebezeit, who has died Januari 22nd aged 78, is the trigger for these Sundaze. today two more from Can, paired to teo from the band that was the genesis of Can, The Inner Space. It was Irmin Schmidt, courtesy his connections in the West German art world as a classical conductor, musical director at der Stadttheater Aachen and part-time film critic which led proto Can to pursue soundtrack work at their onset.


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

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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.

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.

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Bearing bar none the worst title pun of any Can album -- and with titles like Cannibalism, that's saying something -- 1977's Saw Delight was the German progressive group's farewell. Clearly, the core quartet had found themselves in a rut by the recording of this album, bringing in percussionist Reebop Kwaku Baah and bassist Rosko Gee from a late-era lineup of Traffic to add a sort of Afro-Cuban jazz feel to their sound. What's frustrating is that this idea could have worked brilliantly, but the execution is all wrong. Instead of the polyrhythmic fireworks expected from a drum duel between Baah and the African-influenced Jaki Liebezeit, Can's senior drummer basically rolls over, keeping time with simple beats while the percussionist takes on the hard work. Similarly, Rosko Gee's handling of the bass duties (which he performs superbly throughout, adding an almost Mingus-like rhythmic intensity to even the loosest songs) frees Holger Czukay to add electronics and sound effects to the proceedings, an opportunity he doesn't make much of. On the up side, the opening "Don't Say No" recalls the controlled fury of earlier tunes like "Moonshake," and side two, consisting of Gee's lengthy, jazz-based composition "Animal Waves" and the lovely instrumental "Fly by Night," is largely excellent, but the two lengthy tracks that close side one are melodically and rhythmically pale in comparison, the fire was gone.



Can - Saw Delight  (flac  338mb)

01 Don't Say No 6:28
02 Sunshine Day And Night 6:02
03 Call Me 5:33
04 Animal Waves 15:19
05 Fly By Night 4:07

Can - Saw Delight    (ogg  115mb)

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This collection of songs Can recorded for John Peel’s radio show find the band in its peak period (1973-75), pumping on all cylinders. A real treat for Can collectors, most of the tracks here were improvised, and none exist on studio recordings, so this is something of a “lost” Can album. Much of the album is taken up two extended pieces, “Tony Wanna Go” and “Up the Bakerloo Line With Anne,” both of which feature swaths of fuzz guitar and jazzy drumming over intense, minimalist structures. The other tracks opt for a bit of a lower-key groove and make more use of varied atmospheric textures, but all stand to prove why Can is regarded as one of the seminal outfits of German experimental rock.



Can - Peel Session  (flac  445mb)

01 Up The Bakerloo Line With Anne 18:48
02 Return To BB City 8:26
03 Tape Kebab 8:58
04 Tony Wanna Go 14:31
05 Geheim (Half Past One) 6:42
06 Mighty Girl 8:41

Can - Peel Session    (ogg 153mb)

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It's hard to believe that it took more than 40 years for this album to surface, since it's undeniably an important piece of history and arguably a bit of a lost Krautrock classic. Kamasutra was a sexually themed 1969 film by director Kobi Jaeger. Future Can keyboardist Irmin Schmidt, who by that time was both an experienced classical musician/conductor and a soundtrack composer, was hired to provide the music. The group he brought to the sessions was the Inner Space, which would become Can by the time of their 1969 debut album, Monster Movie. Recorded right around -- likely just before -- the Monster Movie sessions, this then is more or less Can's "real" debut album. Even now, details on the sessions are scant -- the booklet contains copious liner notes about the film and, curiously, nothing about the music. Album credits are also maddeningly unspecific, but it's been confirmed that Schmidt is joined here by Can men Malcolm Mooney on vocals, drummer Jaki Liebezeit, and guitarist Michael Karoli, and it's a good bet that the featured flutist is original Can/Inner Space member David C. Johnson, who departed in 1969, and that the bassist is indeed Holger Czukay. With the exception of the Mooney-fronted, Velvet Underground-on-acid "There Was a Man," the music Schmidt and company came up with for Kamasutra is different enough from Monster Movie or the contemporaneously recorded Delay...1968 that you probably wouldn't immediately guess in a blindfold test that this was Can, but there are definitely connecting threads. Much of Can's early music was, after all, written for soundtracks, and moving from the thumping, hypnotic funk-rock grooves of "In Kalkutta III" to the tumbling, Eastern-tinged psychedelia of "Im Tempel" and "Im Orient" and the bluesy, proto-Krautrock guitar workout "Mundharmonika Beat," it's not too tough to connect the dots to some of Can's first flowerings.



The Inner Space - Kamasutra  (flac  278mb)

01 Indisches Panorama I 3:16
02 I'm Hiding My Nightingale 3:23
03 There Was A Man 1:07
04 Im Tempel 7:31
05 In Kalkutta III 2:16
06 Indisches Panorama II 2:24
07 In Kalkutta I 3:49
08 Im Orient 1:34
09 Indisches Panorama III 2:07
10 Mundharmonika Beat 5:11
11 Indisches Panorama IV 2:03
12 Indisches Panorama V 3:11
13 Indisches Panorama VI 1:59
14 Indische Liebesszene 4:41
15 In Kalkutta II 2:21
16 Im Orient II 3:27

The Inner Space - Kamasutra   (ogg  114mb)

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About a month before Malcolm Mooney (and apparently Michael Karoli is missing from this too, although I gotta say that even though he isn't credited as being on here, it sure SOUNDS like Michael and Michael is a very distinctive musical voice...) joined, the musicians of Can (Irmin Schmidt, Holger Czukay, Jaki Liebezeit) recorded a soundtrack to a very obscure film. There were two singles released, both of which are very very rare, and that music and much more is included here in the film soundtrack. No, it's not really the great lost Can album, but it's better than a 40 year old lost soundtrack has any right to be, with some pretty trippy stuff going on and is definitely a pretty worthy score for any Can fan who enjoys their very early stuff (ala "Delay 1968").

The Inner Space is the stuff of legend. This obscure outfit is best known as the antecessor band of Can and not much is known about them except it featured the core members of Can (Irmin Schmidt, Holger Czukay, Michael Karoli and Jaki Liebezeit) and lasted just a few months before renaming themselves The Can and releasing Monster Movie. They left two ultra-obscure seven inches as their only recorded legacy and only the first of them is credited to The Inner Space, it contained two songs taken from the soundtrack of 1969's underground film Agilok & Blubbo. Originally released by the German Vogue label in 1969, it currently fetches prices around the 300 euro mark in the collector's circuit. Given the obscurity of both the band and its recorded output, we're proud to present, for the first time to the public, not only the aforementioned singles but the complete soundtrack to Peter F. Scheneider's offbeat political satire Agilok & Blubbo. Previously unavailable until now, the original master tapes of this soundtrack have been stored in the archives of legendary German producer and music publisher Hans Wewerka who produced the recording sessions back in 1968. Here you can hear history in the making, the first step of a group of musicians who'll go on to achieve fame, success and recognition over the '70s, helping define a sound (often called Krautrock) that has been highly influential to this day. Those familiar with Can's output will recognize some of the band's characteristic sound, albeit in an embryonic form. Songs like 'Agilok & Blubbo' or 'Kamera Song' already hint at their later pop brilliance whereas the short cues and extended free jams found elsewhere in this soundtrack reminds us from the heterogeneous roots of a bunch of musicians coming from rock, jazz and avant-garde backgrounds. All in all, an excellent glimpse into the early stages of an innovative band developing its own musical language. This reissue includes detailed liner notes by Wah Wah's very own Raül G.Pratginestós and comes illustrated by original b/w shoots from the movie production. This issue contains two bonus tracks: 'Memographie,' plus Irmin Schmidt's 1967 composition 'Hexapussy.'



The Inner Space - Agilok and Blubo   (flac  325mb)

01 Agilok And Blubbo 3:44
02 Es Zieht Herauf 4:37
03 Dialog Zwischen Birken 1:49
04 Michele Ist Da 1:38
05 Mama Mama 3:54
06 Kamerasong 2:30
07 Zwischen Den Bäumen 3:56
08 Zweige Und Sonne 0:14
09 Revolutionslied 1:48
10 Der Letzte Brief 1:26
11 Probleme 2:14
12 Flop Pop 3:33
13 Memographie 11:43
14 Apokalypse 10:25
15 Hexapussy 16:51

The Inner Space - Agilok and Blubo  (ogg  156mb)

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Hello, todays post comes with 3 interesting PDF's, enlighten yourselves..

What is lucid dreaming? Here's a Simple Explanation ...

In Eastern thought, cultivating the dreamer's ability to be aware that he or she is dreaming is central to both the Tibetan Buddhist practice of dream Yoga, and the ancient Indian Hindu practice of Yoga nidra. The cultivation of such awareness was common practice among early Buddhists.

Dream lucidity is the awareness that you are dreaming. This awareness can range from a faint recognition of the fact to a momentous broadening of perspective. Lucid dreams usually occur while a person is in the middle of a normal dream and suddenly realizes that they are dreaming. This is called a dream-initiated lucid dream. A wake-initiated lucid dream occurs when you go from a normal waking state directly into a dream state, with no apparent lapse in consciousness. In either case, the dreams tend to be more bizarre and emotional than regular dreams. Most importantly, you will have at least some ability to control your "dream self" and the surrounding dream.

Keep a dream journal. Keep it close by your bed at night, and write down your dream immediately after waking, or the emotions and sensations you experience right when you wake up. This will train you to remember more of your dreams, which is important for lucid dreaming. Plus, there's not much point in controlling your dreams if you forget the experience before the morning.

Alternatively, keep a recording device by your bed.
You might remember more of your dream if you stay still for a few minutes concentrating on the memory before you start writing.

Repeat "I will be aware that I'm dreaming" each time you fall asleep. Each night as you fall asleep, repeat to yourself "I will know I'm dreaming" or a similar phrase until you drift out of consciousness. This technique is known as Mnemonic Induction to Lucid Dreaming, or MILD. Mnemonic induction just means "using memory aids," or in this case using a rote phrase to turn the awareness of your dreaming into an automatic habit.

Some people like to combine this step with a reality check by staring at their hands for a few minutes before they go to sleep.

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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

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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.

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This BMV series contains four tracks that are specifically engineered to be played at night to induce lucid dreams while you are sleeping by harnassing the R.E.M. cycle. The hypnotic soundscape combined with brainwave entrainment creates an ideal tool for turbo-boosting your lucid dreaming progress.

Lucid dreaming is the ability to realize you are dreaming while you are dreaming ! Once you realize that you are within a dream, you are free to explore the dreaming realm and you are free to experience anything your heart desires. You can literally Live out your wildest fantasies with full control and experience it to the fullest with your heightened dreaming senses. You can see, hear, feel, touch, even more intensely than in your waking world, yet it is a dream so you can fly, unlimited by physical constraints of space and time. You become free to experience anything your heart desires.
 
After plunging you into a hypnotic state of deep trance, you will experience forceful awareness brainwave boosts  (beta & alpha spikes as well as 40 Hz spikes). After becoming more conscious with these high-awareness spikes, you will be much more likely to have lucid dreams. This journey takes you deep into a viable, nonphysical or non-ordinary reality. The hypnotic audioscapes that backdrop your guided journey provide an ideal environment for trance induction.

This series is a perceptual tool that needs to be Experienced to be Believed. If you are successful at fully transferring your awareness you can explore the Non-Physical Realm for as long as you desire. The more you use this program, the easier it becomes to consciously enter these altered states of consciousness.



Brainwave Mind Voyages (Series X) - The Lucid Dream Cycle (flac  387mb)

01 LCD 1 19:28
02 LCD 2 19:28
03 LCD 3 19:28
04 LCD 4 19:25
bonus PDF's
A Field Guide to Lucid Dreaming - Dylan Tuccillo
The Art of Dreaming - Carlos Castaneda
Dreams Interpreting Your Dreams and How to Dream Your Desires - Victoria Price

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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)
Brainwave Mind Voyages (Series VIII) (flac  405mb)

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Hello, on a side note ,in the region todays artist is from it has been recently established that people were living there (peacefully) 30,000 years ago and they left plenty of graffiti, in those days it was a lush region. So these Clovis people from 14,000 years ago certainly weren't the first to settle in the America's, another crack in the mentally stuck world of archeology.

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


Today's artist is a rarety as someone who functions nominally as a folklorist or music historian who becomes a celebrated performer, but one significant exception to this rule is the great Luiz Gonzaga. Colorfully attired (his most famous fashion accessory being his tasseled hat), and naked without his accordion, Gonzaga was a living, breathing representative of northeast Brazils' culture and music. Imagine if noted American musicologist Alan Lomax was as celebrated for his performing as he was for his cataloging and collecting and you get the picture. Gonzaga was indeed an archivist, but rather than spending his time in recording and cataloguing his findings for use in libraries, he became an oral historian, traveling throughout Brazil performing the indigenous music (and variations thereof) of his northeastern birthplace.   N'Joy

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Born in the tiny farming town of Caicara in 1912, Gonzaga had little formal education as the hard life of farming put him in the fields at the age of seven. As a child Gonzaga was captivated by the stories of the Brazilian bandit/accordion player Lampiao (who died at the age of 36 in 1934). In Brazilian folklore, especially amongst those living in the northeast, Lampiao is sort of Robin Hood figure, an outlaw who served the poor and dispossessed, robbing from the rich and (mostly) giving to the poor farmers. While famous as a bandit, he was as well known for his considerable skill on the accordion his all-night dances/jam sessions. Seduced by Lampiao's romantic legacy (Gonzaga's ever-present hat was styled after one worn by Lampiao), Gonzaga took up the accordion about the same time he went into the fields. Soon, his father was accompanying him to area dances and parties where the young, Luiz was hailed as a child prodigy.

Military service interrupted Gonzaga's musical career, although while in the army he learned to play coronet. After his discharge he left the farm for the bright lights of Rio scuffling for jobs while making the bulk of his money playing in brothels. A chance meeting with the legendary Ary Barroso got Gonzaga a spot on Barroso's radio program and brought him to the attention of RCA records. In 1946, Gonzaga recorded "Baiao" a dance song with rhythms borrowed from an older form of Brazilian called the baiano, a dance that resembles the African-American ring shout. So popular was "Baiao" that Gonzaga had not only recorded a hit single but, in fusing the past with the present, created a whole new style of Brazilian music.

Gonzaga's popularity remained high during the 1950s, slipping during the '60s as the influence of rock and roll attracted the attention of younger audiences. It was the young stars of tropicalia (Caetano Veloso and Gilberto Gil among others) who championed Gonzaga's work in the early '70s, recorded his songs, and brought his music to the attention of Brazil's younger music fans. His career revived, Gonzaga, now approaching 70, toured steadily frequently appearing with the younger northeastern Brazilian artists who celebrated his dedication and genius. Gonzaga died in 1989 at the age of 77.


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Luiz Gonzaga and Humberto Teixeira - Nova História Da MPB (flac 124mb)

01 Quatro Ases E Um Coringa - 1946 - Baiao
02 Luiz Gonzaga - 1950 - Vira E Mexe
03 Luiz Gonzaga & Regional De Benedito Lacerda - 1950 - Qui Nem Jilo
04 Gilberto Gil - 1969 - Dezessete Legua E Meia
05 Luiz Gonzaga - 1953 - Vozes Da Seca
06 Luiz Gonzaga - 1962 - Paraiba
07 Luiz Gonzaga - 1952 - Asa Branca
08 Gal Costa - 1971 - Assum Preto

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Luiz Gonzaga - Eu E Meu Pai (flac  236mb)

01 Orelia
02 O Mangará
03 Súplica Cearense
04 A Vida Do Viajante
05 Acordo As Quatro
06 Respeita Januário
07 Romance Matuto
08 Sorriso Cativante
09 Manoelito Cidadão
10 Sou Do Banco
11 O Caçador
12 Rio Brígida
13 Alvorada Nordestina
14 Adeus A Januário

Luiz Gonzaga - Eu E Meu Pai (ogg  98mb)

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Letra de Música Sanfona, sombrero e gibão It is the portrait of this sertão From sun to sun For all corners and places I am chasing this destiny of mine I am singer That makes the pain of your pearls A lesson of love that learned Who saw the life Spill love No Will leave From being a singer} If only the verse Of the ones I live singing Make happy The heart of someone For this little That I'm adding My heart will be happy too.



Luiz Gonzaga - Eterno Cantador  (flac  221mb)

01 Prece Por Exu Novo (with Luiz Gonzaga Jr.) 5:13
02 Dança Do Capilé 2:38
03 Maria Cangaceira(with Entradas e Bandeiras) 2:47
04 Tristezas Do Jeca (with Entradas e Bandeiras)3:04
05 Alma Do Sertão (with Entradas e Bandeiras) 2:57
06 Farinhada (with Elba Ramalho) 3:04
07 Eterno Cantador 2:11
08 Frutos Da Terra 2:41
09 Razão Do Meu Querer 2:58
10 A Volta Da Asa Branca (with Entradas e Bandeiras) 2:41
11 Acácia Amarela 3:02

Luiz Gonzaga - Eterno Cantador   (ogg   89mb)

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Gonzagão Sempre brings together some of his classics, some, because Gonzaga is one of those artists who have many classics and could not even put together a double album. This is worth the historical record of original songs that have around 50 years. And here we find that half-rudimentary sound of accordion, zabuma and triangle and lyrics that have crossed generations and continue to thrill for the load of love they present. This is the case of the classic white wing, not only of Gonzaga, but a classic of Brazilian music. The life of the traveler brings a duet between Gonzagão and Gonzaguinha, another great expression of Brazilian music.

Luiz Gonzaga was one of the main responsible for the spread of northeastern Brazilian music and his image became inseparable from his homeland. Gonzagão, besides being the "King of the Bailão", was also one of the main responsible for the development and propagation of "Forró" and "Quadrilha". Thinking about its importance for national music and remembering the 10 years of his death, completing this year, the CD "Gonzaga Always" is a compilation with the best songs of the "King of the Dance", including his most famous song , "Asa Branca", and also a more special participation of Gonzaguinha in the track "The Life of the Traveler". It is worth checking out this super-pitch and enjoy the sound of the eternal Gonzagao!



Luiz Gonzaga - Gonzagão Sempre (flac 162mb)

01 Asa Branca
02 Respeita Januario
03 Sabia
04 Baião
05 O Xote das Meninas
06 Juazeiro
07 Paraiba
08 Assum Preto
09 Qui Nem Jiló
10 A Vida Do Viajante
11 Vem Morena
12 ABC do Sertão
13 Riacho do Navio
14 Cintura Fina

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Another selection to honor the king of the baião, Luiz Gonzaga, a musical genius.  "The Best of Luiz Gonzaga" brings sixteen of his numerous hits. Pearls, be those of exaltation to the things of the northeast, or the humorous compositions with double meaning. To hear from start to finish!



Luiz Gonzaga - O melhor de Luiz Gonzaga (flac  187mb)

01 Asa Branca 1949
02 Baião 1949
03 Cintura Fina 1950
04 Qui Nem Jiló 1950
05 Paraíba 1950
06 A Volta Da Asa Branca 1950
07 Pau De Arara 1951
08 O Xote Das Meninas 1953
09 Riacho Do Navio 1953
10 Luar Do Sertão (with Milton Nascimento) 1981
11 Ovo De Codorna 1971
12 Forró No Escuro 1957
13 Danado De Bom 1984
14 Forró N° 1 with Gal Costa 1984
15 Tá Bom Demais 1985
16 Forró De Cabo A Rabo 1986

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Hello, last week PSG thrashed Barcelona in a magnificent display, a champions league week later another thrilling night, full of mistakes, drama and controversy and, ultimately, a remarkable feat of escapology for Manchester City. Monaco, barring their late collapse, had been hugely impressive and it would be reckless to think they are incapable of producing another dramatic twist in the second leg. For now a 5-3 victory for Guardiola's men. And when of the greatest matches of soccer of late..


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

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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.

continued from last week...

The band's fourth LP, 1982's double set Christ - The Album, took almost a year to record, produce and mix (during which the Falklands War broke out and ended). This caused Crass to question their approach to making records. As a group whose primary purpose was political commentary, they felt overtaken and redundant by world events. Subsequent releases (including the singles "How Does It Feel? (to Be the Mother of a Thousand Dead)" and "Sheep Farming in the Falklands" and the album Yes Sir, I Will) saw the band's sound go back to basics and were issued as "tactical responses" to political situations. They anonymously produced 20,000 copies of a flexi-disc with a live recording of "Sheep Farming...", copies of which were randomly inserted into the sleeves of other records by sympathetic workers at the Rough Trade Records distribution warehouse to spread their views to those who might not otherwise hear them.

From their early days of spraying stencilled anti-war, anarchist, feminist and anti-consumerist graffiti messages in the London Underground and on billboards, Crass was involved in politically motivated direct action and musical activities. In 1983 and 1984, Crass were part of the Stop the City actions co-ordinated by London Greenpeace[ which foreshadowed the anti-globalisation rallies of the early 21st century. Support for these activities was provided in the lyrics and sleeve notes of the band's last single, "You're Already Dead", expressing doubts about their commitment to non-violence. It was also a reflection of disagreements within the group, as explained by Rimbaud; "Half the band supported the pacifist line and half supported direct and if necessary violent action. It was a confusing time for us, and I think a lot of our records show that, inadvertently". This led to introspection within the band, with some members becoming embittered and losing sight of their essentially positive stance. Reflecting this debate, the next release under the Crass name was Acts of Love: classical-music settings of 50 poems by Penny Rimbaud, described as "songs to my other self" and intended to celebrate "the profound sense of unity, peace and love that exists within that other self".

Another Crass hoax was known as the "Thatchergate tapes", a recording of an apparently accidentally overheard telephone conversation (due to crossed lines). The tape was constructed by Crass from edited recordings of Margaret Thatcher and Ronald Reagan. Crass had become a thorn in the side of Margaret Thatcher's government after the Falklands War. Questions about the band in Parliament and an attempted prosecution by Conservative Party MP Timothy Eggar under the UK's Obscene Publications Act for their single, "How Does It Feel...", made them question their purpose:

    "We found ourselves in a strange and frightening arena. We had wanted to make our views public, had wanted to share them with like minded people, but now those views were being analysed by those dark shadows who inhabited the corridors of power (…) We had gained a form of political power, found a voice, were being treated with a slightly awed respect, but was that really what we wanted? Was that what we had set out to achieve all those years ago?"

The band had also incurred heavy legal expenses for the Penis Envy prosecution; this, combined with exhaustion and the pressures of living and operating together, finally took its toll. On 7 July 1984 the band played a benefit gig at Aberdare, Wales, for striking miners, and on the return trip guitarist N. A. Palmer announced that he intended to leave the group. This confirmed Crass's previous intention to quit in 1984, and the band split up.

For Rimbaud the initial inspiration for founding Crass was the death of his friend Phil 'Wally Hope' Russell, as detailed in his book The Last of the Hippies: An Hysterical Romance. Russell had been placed in a psychiatric hospital after helping to set up the first Stonehenge free festival in 1974, and died shortly afterwards. Rimbaud believed that Russell was murdered by the State for political reasons. Band members have also cited influences ranging from existentialism and Zen to situationism, the poetry of Baudelaire, British working class 'kitchen sink' literature and films such as Kes and the films of Anthony McCall (McCall's Four Projected Movements was shown as part of an early Crass performance). Crass have said that their musical influences were seldom drawn from rock, but more from classical music (particularly Benjamin Britten, on whose work, Rimbaud states, some of Crass' riffs are based), free jazz, European atonality and avant-garde composers such as John Cage and Karlheinz Stockhausen.

Crass influenced the anarchist movement in the UK, the US and beyond. The growth of anarcho-punk spurred interest in anarchist ideas. The band have also claimed credit for revitalising the peace movement and the UK Campaign for Nuclear Disarmament during the late 1970s early 1980s. Others contend that they overestimated their influence, their radicalising effect on militants notwithstanding. Crass' philosophical and aesthetic influences on 1980s punk bands were far-reaching, although few mimicked their later free-form style (heard on Yes Sir, I Will and their final recording, Ten Notes on a Summer's Day). Their painted and collage black-and-white record sleeves (by Gee Vaucher) may have influenced later artists such as Banksy (with whom Vaucher collaborated) and the subvertising movement. Anti-folk artist Jeffrey Lewis's 2007 album, 12 Crass Songs, features acoustic covers of Crass material.


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Released with unplanned irony as the Falklands War raged -- an event that would provide grist for the band's eventual masterwork, Yes Sir I Will -- Christ, another two-album half-studio/half-live set like Stations of the Crass, once again aims to take no prisoners. Ratcheting up the continued "leave no stone unturned" lyrical approach that characterized the group from the start, Crass again sounds like the group's about to explode in eight million directions. Ignorant takes over the lead vocal role again, his rough ramalama bitterly leading the charge against the loathed Thatcher government and the society that allowed it to come into power. Libertine, here appearing as Peeve Libido, adds backing vocals while De Vivre takes the lead on "Birth Control" and "Sentiment." Free's guitar work roars along with the usual vim, as does the Pete Wright aka Sybil Right/Rimbaud rhythm section, while continual spiking of the musical punch via production or sonic collages, or even almost power pop catchiness at points, prevents things from being one note. "Reality Whitewash" even has a swelling string and brass combination to propel it along. Mock and real found-sound bites, from official statements to slams at Crass itself, pepper the studio side as bridges between songs or concurrently running elements of the tunes themselves. While hints had always been present in earlier songs, Crass collectively starts wearing their hearts on their sleeves even more than before; "I Know There Is Love" is another all-encompassing rejection of societal roles in favor of a real, untainted feeling, at once impolite and passionate. The live material, recorded at a June 1981 show, is interspersed with a variety of material from other sources, including more found-sound/media snippets and, in an interesting nod to the past, two cuts from the group's very first time in a studio.



Crass - Christ - The Album   (flac  286mb)

01 Have A Nice Day 2:44
02 Mother Love 2:52
03 Ninteen Eighty Bore 4:09
04 I Know There Is Love 2:47
05 Beg Your Pardon 3:07
06 Birth Control 'N' Rock 'N' Roll 2:59
07 Reality Whitewash 3:28
08 It's The Greatest Working Class Rip-Off 3:21
09 Deadhead 2:16
10 You Can Be Who? 3:01
11 Buy Now Pay As You Go 2:22
12 Rival Tribal Revel Rebel, Pt. 2 3:09
13 Bumhooler 3:19
14 Sentiment (White Feathers) 3:56
15 Major General Despair 4:34

Crass - Christ - The Album   (ogg  118mb)

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Crass - Well Forked, But Not Dead   (flac  276mb)

01 Banned From The Roxy + The Sound Of One Hand 4:30
02 Punk Is Dead 1:58
03 Nagasaki Nightmare 4:31
04 Darling + Bata Motel Blues 2:15
05 Berkertex Bribe + Fold It In Half 2:40
06 Big Hands + Heart-throb Of The Mortuary 2:14
07 Bumhooler 2:21
08 Big A Little A 4:26
09 First Woman 1:05
10 Arlington 73 1:25
11 Bomb Plus Bomb Tape 4:04
12 Contaminational Power 1:48
13 I Ain't Thick 1:49
14 G's Song 0:29
15 Securicor 1:41
16 I Can't Stand It 1:48
17 Shaved Women + A Part Of Life 3:21
18 Do They Owe Us A Living 1:22
19 So What + Salt 'n' Pepper 3:37

Crass - Well Forked, But Not Dead   (ogg  108mb)

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 Wound up to an even more vicious fury of rage and sorrow due to the Falklands War, Crass completely exploded on the awesome Yes Sir I Will, its bitter title taken from an encounter between a gruesomely wounded veteran of that conflict and Prince Charles. The most concise sonic assaults against the war and the role of Margaret Thatcher's government -- "Sheep Farming in the Falklands" and "Gotcha!" -- aren't included among the seven untitled tracks here, instead appearing as separate singles. What is here, though -- essentially one long piece divided up into six shorter pieces and a lengthy second side/second half -- is, as a collective artistic expression, one of the strongest indictments of a society and its government ever. As always, Crass mixes things up in the recording studio, from beautiful string/piano pieces (the "what did you know?/what did you care?" passage, with flat-out lovely vocals from Ignorant) to amped-up roars of rant and rage. Ignorant, Libertine, and De Vivre trade off lead throughout, creating an ever-evolving piece that more than most sounds like the expression of a full society needing to simply say the truth at long last. Musically, the fierce power of the band doesn't let up (Rimbaud's drumming sounds better than ever, punchy and full, as does Wright's bass, while Free and rhythm guitarist N.A. Palmer keep up the electric aggression). The war isn't the only subject under discussion: everything from the Thatcher government's complicity in allowing U.S. cruise missiles to be based in Britain to the exploitation/packaging of musical traditions in the guise of "world music" gets a look in. Even Crass rip-off pseudo-anarchy groups go under the knife. But as the group says early on in the recording, "Everything we write is a love song," and extreme as it all seems, there's no doubt Crass wanted to help humanity up from where it was at.



Crass - Yes Sir I Will (flac 293mb)

01 Step Outside & Rocky Eyes 0:43
02 Anarchy's Just Another Word 4:42
03 Speed Or Greed ? 2:36
04 The Five Knuckle Shuffle 1:01
05 A Rock 'n' Roll Swindler 2:09
06 Burying Hatchet 12:28
07 Taking Sides 20:07

Crass - Yes Sir I Will   (ogg  95mb)

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The last Crass album, completed and released shortly after the group's long-planned breakup and end of live performance in 1984, is more of an EP than anything else, totaling only twenty minutes long. Perhaps inspired in part by the side project Acts of Love album, Crass here takes a sometimes gently grooving tone, while lyrically the more blunt accusations of the past are turned into careful self-examination. The general atmosphere, heightened by the overall design, is almost elegiac in its own way, a reflection back upon a mission that (as the group discussed in the liner notes to the Best Before compilation) turned the band into something it didn't want to be at the end. The ten untitled pieces on the original first side of the album, mastered as one long first cut on CD, feature the Ignorant/Libertine/De Vivre trio continually trading off lines and reflections throughout while the musical wing of the group seems to be improvising gently as it goes. Free isn't raging with his guitar as much as creating atmospheres heightened by Rimbaud's work on piano and synths. His own drumming, along with Wright's bass, keeps things moving forward with sometimes martial precision, other times with an easy swing to it. Both Libertine and De Vivre do some of their sweetest singing yet, while Ignorant takes a distinctly ruminative tone. The second overall cut continues where the first one ended, moody keyboards introducing a partially haunting and meditative, partially choppy and atonal musical piece. It's an instrumental, giving the musicians an unexpected showcase, especially considering their work here bears little resemblance to what Crass' music was generally thought to be. With art showcasing steam or fog outside a building rather than the protest art familiar from other efforts, 10 Notes shows Crass in the end avoiding being painted into a punk rock corner.



Crass - Ten Notes on a Summer's Day (flac 205mb)

01 Ten Notes On A Summer's Day - Vocal Version 10:28
02 Ten Notes On A Summer's Day - Instrumental Version 10:09
03 Acts of Love No.37 - remix version (Southern Studios 1984) 2:01
04 Hit Parade - Pills & Ills (Southern Studios 1984) 5:20
05 A-Soma - Rocky Eyes (South London December 1994) 1:53
06 Outro including Acts Of Love No.39 (Southern Studios 2002) 2:37

Crass - Ten Notes on a Summer's Day  (ogg  74mb)

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Hello, still getting requests on the wrong pages, that said it's good to see requests from Rho-Xs's early days.


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 27 re-ups (17 ! now in flac), requests fullfilled up to Februari 23.

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3x Beats NOW in Flac (808 - Utd. State 90, The KLF - The White Room, VA - Ambient House)


4x Beats NOW in Flac (Breakbeat Era - Ultra-Obscene, Peshay - Fuzion, E-Z Rollers - Titles Of The Unexpected, E-Z Rollers - Live Mix)


3x Sundaze NOW in Flac (Tuxedomoon - Half-Mute / Scream, Tuxedomoon - Desire/No Tears, Tuxedomoon - Suite En Sous-Sol/Time to Lose/Short Stories)


4x Aetix Back In Flac ('Til Tuesday  - Voices Carry , 'Til Tuesday - Welcome Home, 'Til Tuesday - Everything's Different Now,  'Til Tuesday - The Spit, Boston 1 03 84)


6x Iceland NOW in Flac (Bjork - Cambridge, Apparat Organ Quartet - I , Gisli - How about that ?, Gusgus - Polydistortion, Hilmar Örn Hilmarsson - Children Of Nature, Angels of the Universe, Emilíana Torrini - Love In The Time Of Science)


1x Aetix NOW In Flac (  The Sound - New Dark Age )


3x Sundaze Back In Flac ( Aural Float - Introspectives, Aural Float - Freefloat, Aural Float - Beautiful Someday)


3x Aetix Back In Flac (Glenn Branca - Songs 77-79, Glenn Branca - The Ascension, Glenn Branca - Symphony No. 3)

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Hello, Philadelphia soul, or Philly soul, was a form of soul music that came out of Philadelphia during the mid 1960s. It provided a smoother alternative to the deep soul of the 60s while maintaining the soul and emotion of popular R&B of the time. Philly Soul is known for its incorporation of lush string arrangements along with penetrating brass, and often tells very personal and emotional stories. It's often considered a producer's genre, the essence of the genre coming mostly out of Gamble, Huff, Bell, and the other producers within PIR. Philly Soul, with its driving rhythms, later became the inspiration from which the disco craze of the 70s was born.

Philadelphia International Records (PIR) was an American record label based in Philadelphia. It was founded in 1971 by the writer-producer duo, Kenneth Gamble and Leon Huff, along with their long time collaborator Thom Bell. It was famous for showcasing the Philadelphia soul music genre (also known as Philly soul) that was founded on the gospel, doo-wop, and soul music of the time. This Philly Soul sound later became a prominent and distinct era within R&B itself. During the 1970s the label released a string of worldwide hits which emphasized lavish orchestral instrumentation, heavy bass, and driving percussion.

Some of their most popular and best selling acts included Patti LaBelle, The O'Jays, Harold Melvin & the Blue Notes, Teddy Pendergrass, MFSB, Billy Paul, and Lou Rawls. Between 1971 and the early 80s, the label sold over 170 gold and platinum records  ..... N'joy

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Kenneth Gamble and Leon Huff, the founders of Philadelphia International Records, met in 1964 while they were both playing as session musicians for various labels, including Philadelphia based Cameo-Parkway Records, whose building would later become home to Philadelphia International Records recording studio. In 1965, Huff joined Gamble's band, The Romeos, a popular moniker at the time, by replacing future Philadelphia International Records producer and arranger Thom Bell on piano. Kenny Gamble and The Romeos had seen little success up to that point playing for their label, Arctic Records, and split up soon after.

When the Romeos disbanded, Gamble and Huff went on to start one of the first iterations of Philadelphia International Records (which they named Excel and Gamble) after a visit to Motown Records in Detroit, to scope out the Motown setup. The success of their biggest signing, The Intruders, brought attention to Gamble and Huff, which allowed them to create Neptune Records in 1969. Neptune Records, a more ambitious project for the duo, was financed by Chess Records Group, and allowed them to sign later Philadelphia International Records artists The O'Jays and The Three Degrees. When Chess Records Group's management changed hands in 1969, Neptune Records folded. With the collapse of Neptune Records, Gamble and Huff transferred their signed artists onto a new project, Philadelphia International Records. Looking to attract new black acts to their label, but without the in-house know-how, Columbia Records was convinced to sign an exclusive production contract with Gamble and Huff's new Philadelphia International Records. The label was set up in connection with Mighty Three/Assorted Music, the music publishing company run by Gamble, Huff and another Philadelphia producer, Thom Bell, to showcase their songs.

The label's major hits included: "TSOP (The Sound of Philadelphia)" by MFSB, featuring The Three Degrees, 1974 (which was later used as one of the theme tunes for the TV dance-music show Soul Train); "Ain't No Stoppin' Us Now" by McFadden & Whitehead (writers and producers with the label), 1979; "Back Stabbers" and "Love Train" by The O'Jays, 1972/3; "If You Don't Know Me By Now" and "The Love I Lost" by Harold Melvin & The Blue Notes, 1972/3; "Me and Mrs. Jones" by Billy Paul, 1972; "When Will I See You Again" by The Three Degrees, 1974; and "You'll Never Find Another Love Like Mine" by Lou Rawls, 1976.

Most of the music released by the label was recorded and produced at Sigma Sound Studios in Philadelphia, with chief engineer (later studio owner) Joe Tarsia recording many of the sessions. More than 30 resident studio musicians, known collectively as MFSB "Mother Father Sister Brother", were based at this studio and backed up most of these recordings. Some of these musicians also acted as arrangers, writers or producers for Philadelphia International as well as for other labels recording in the city. They included Bobby Martin,[6][7] Norman Harris, Thom Bell, Ronnie Baker, Vince Montana and later, Jack Faith and John Usry.

Gamble and Huff worked as independent producers with a series of artists in the late 1960s and early 1970s, including Jerry Butler, Wilson Pickett and Dusty Springfield. They also produced The Jacksons' first two albums for Epic/CBS after the group had left Motown in 1976. The first, titled The Jacksons featured the platinum-selling single "Enjoy Yourself", and a second album, Goin' Places followed in 1977. Although on CBS subsidiary Epic, both albums and the singles also carried a Philadelphia International logo.

In 1965, Gamble and Huff started an independent label, Excel Records. It was soon renamed Gamble Records and in 1972, was folded into Philadelphia International as a subsidiary. In 1974, the subsidiary's name was changed to TSOP Records, from the aforementioned 1974 hit single, "TSOP (The Sound of Philadelphia)". Artists for Excel/Gamble/TSOP included Dee Dee Sharp, and Archie Bell & the Drells. Later signings to the Philly International roster in the 1980s and 1990s, included Patti Labelle, The Stylistics, Phyllis Hyman, and The Dells.

Between 1973 and 1975, Gamble and Huff also distributed a boutique label called Golden Fleece, set up by musicians Norman Harris, Ronnie Baker and Earl Young, which released the second album by The Trammps. G & H also had a short-lived subsidiary called Thunder Records. Created by Thom Bell, it only had two singles from Derek & Cyndi (You Bring Out the Best in Me/I'll Do the Impossible for You) who were produced by Bell, and Fatback Band member Michael Walker whose single (I Got the Notion, You Got the Motion) was produced by The Spinners' member Philippe Wynne.

By the mid 1980s, Philadelphia International Records ended their distribution deal with Columbia, who they had worked with since their inception. The label was soon after picked up by Capitol/EMI records. They continued to make hits, including Shirley Jones'"Do You Get Enough Love," but their most successful years were behind them. Philadelphia International now largely concentrates on licensing its music catalog worldwide and has issued few new recordings since the mid-80s, when Gamble and Huff wound down their studio work together.

In 1989, Gamble and Huff were awarded their first Grammy Award. Simply Red's cover of "If You Don't Know Me By Now," written by Gamble and Huff, won the Grammy Award for Best R&B Song. 10 years later in 1999, Gamble and Huff were awarded the Lifetime Achievement Grammy from the National Academy of Recording Arts and Sciences. In 2008, the duo were inducted in the Rock and Roll Hall of Fame in the non-performer category, joining their band the O'Jays who were inducted in 2005.

In August 2011, in honor of the 40th anniversary of the company, Philadelphia International Records launched TSOP Soul Radio, an online radio station that allows fans from all around the world the chance to tune in and listen to music and interviews from the legendary Gamble and Huff catalog. Gamble and Huff have written over 3000 songs throughout their careers, making them two of the most efficient and productive songwriters of all time. They continue to write songs together from their homes in South Philadelphia.



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As disco rose to prominence in the 1970s, MFSB played a crucial role in its development by contrasting earthy R&B rhythms with the cosmopolitan sleekness of an orchestra. By 1978, their once-innovative sound had become the status quo, and this is proven by Gamble Huff Orchestra; while never anything less than professional, this album lacks the grit and infectious hooks of MFSB's earlier outings. The band slickly moves through its paces, and the orchestral touches sound as lovely as ever, but the key elements of inspiration and personality are missing. For proof, check out the album's pair of cover versions: "Use ta Be My Guy" and "Wishing on a Star" sound as professional as any disco band of the day, but are unfortunately also completely devoid of personality. Also, Gamble Huff Orchestra finds MFSB's sound leaning more towards easy listening than R&B, a prime example being the album closer "Redwood Beach," a song that has the elegance of MFSB (tasteful strings, tinkling piano) without any of the soulfulness or R&B content. These complaints aside, the album does contain some worthwhile moments: "Dance With Me Tonight" blends a potent bass-oriented groove with a sprightly string arrangement, and "Is It Something I Said" approaches the punch of early hits with its one-two punch of a forceful horn arrangement and a churning bass groove. However, these strong moments can't overcome the blandness that characterizes Gamble Huff Orchestra. Ultimately, this professional but uninspired album can only be recommended to hardcore MFSB fanatics.



MFSB - Gamble Huff Orchestra   (flac  260mb)

01 Dance With Me Tonight 5:08
02 To Be In Love 5:47
03 Let's Party Down 5:56
04 Wishing On A Star 5:39
05 Use Ta Be My Guy 5:15
06 The Way I Feel Today 4:35
07 Is It Something I Said 3:58
08 Redwood Beach 4:13

MFSB - Gamble Huff Orchestra (ogg     97mb)

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By 1980, the disco boom that had supported the rise of MFSB was on its way out the door. Their stylish sound was in need of a makeover to keep up with the times, and this was accomplished by allowing Dexter Wansel, the producer/writer behind a string of jazzy solo albums like Life on Mars, to take the reins. The result was the stylish and jazzy Mysteries of the World. While this album is as mellow as the rest of the latter-period MFSB recordings, it never forgets the group's soul music underpinnings. For example, "Manhattan Skyline" fortifies its easygoing melody with a percolating, hard thumping bassline and some well timed blasts of horns. "Mysteries of the World" also keeps the new, softer style of MFSB from drifting into easy listening blandness by playing up the jazz underpinnings of the group's sound. For proof, look no further than the title track, which wraps an array of exploratory keyboard riffs around a busy bassline. Elsewhere, the album adds surprising little twists to keep things fresh: "Old San Juan" builds its mellow soul groove around an atypical flamenco guitar hook, and "In the Shadow" works an otherworldly synthesizer line into its bossa nova groove. The end result is an album that manages to bring a new freshness to their sound without completely severing ties with its old style. Mysteries of the World may be a little too soft and jazzy for funk fans accustomed to the likes of "Love Is the Message" and "T.S.O.P.," but it remains a fine album of jazz-inflected instrumentals that is likely to please anyone who likes soul music at its most elegant.



MFSB - Mysteries Of The World   (flac  242mb)

01 Manhattan Skyline 4:27
02 Mysteries Of The World 5:27
03 Tell Me Why 3:57
04 Metamorphosis 5:16
05 Fortune Teller 6:08
06 Old San Juan 4:27
07 Thank You Miss Scott 4:14
08 In The Shadow 3:37

MFSB - Mysteries Of The World (ogg     89mb)

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Soul Jazz's releases tend to be groove-oriented, putting a premium on funky, rhythmic grooves -- all the better to sample you with, my dear. Consequently, their loving reissues of obscurities are aimed at third- or fourth-generation listeners mining these recordings for sounds, not people who were there at the time, or collectors looking for great forgotten songs and singles. That's not to discount the material on their recordings, for record collectors, compilations like Philadelphia Roots are interesting, since they present largely unknown cuts from a familiar style. Are there any lost treasures? Not really, nothing here deserved to be as well-known as the best and biggest Philly soul singles, but they do have the sound, and they often have the groove, which is why anybody would buy this record -- it sounds like a famous sound, only with unknown songs and grooves, some of which are pretty engaging. Not all of it, though, and it's only for specialists -- but for those specialists, this is a collection that will not disappoint. (And if you find this disappointing, well, you've realized that you're not a specialist.)



Various - Philadelphia Roots  (flac 184mb)

01 People's Choice - I Likes To Do It 3:00
02 Cliff Nobles & Co - The Horse 2:44
03 The Fantastic Johnny C. - Waitin' For The Rain 3:39
04 Brothers Of Hope - I'm Gonna Make You Love Me 2:45
05 Brenda & The Tabulations - California Soul 2:32
06 Corner Boys And Friends - Take It Easy Soul Brother2:16
07 People's Choice - Let Me Do My Things 2:38
08 Brenda & The Tabulations - Hey Boy 1:52
09 Bunny Sigler - Great Big Liar 2:36
10 Alfreda Brockington - Your Love Has Got Me Chained And Bound 2:34
11 Panic Buttons - O Wow 2:30
12 John Ellison - Lost The Will To Live 3:01
13 The Philly Sound - Waitin' For The Rain 3:32
14 Bunny And Cindy - Sure Didn't Take Long 2:20
15 People's Choice - Big Ladies Man 2:33
16 Soul Brothers Six - You Gotta Come A Little Closer 2:44
17 Music Makers - United 2:30

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Love Train: The Sound of Philadelphia, released by Sony Legacy in 2008, provided an excellent and deep overview of the Philadelphia International catalog, as well as Kenneth Gamble and Leon Huff's outside work as songwriters and producers. The 40th Anniversary Box Set, released in 2012 by the U.K. label Harmless, sticks to PIR but goes ten discs deep. Naturally, there is a significant amount of overlap; 29 of the 71 songs featured on Love Train, including every big PIR single, appear here. In addition to featuring all the popular classics -- "Me and Mrs. Jones,""Wake Up Everybody,""T.S.O.P.,""Love Is the Message,""Love Train,""Back Stabbers,""You'll Never Find Another Love Like Mine,""Only You," and on and on -- the box showcases the label's stylistic breadth. There was neither one Philly sound nor one PIR sound. Picking five songs at random from five different artists will likely demonstrate the label's range from perfectly shaped soul-pop to progressive and experimental rhythm & blues, as well as its relevance beyond the '70s. Billy Paul's rollicking and explosive take on "Compared to What" (1971), Yellow Sunshine's eponymous Santana/War-like funk-rock hybrid "Yellow Sunshine" (1973), Dexter Wansel's jazz-funk floor burner "Life on Mars" (1976), the Jones Girls' transportive "Nights Over Egypt" (1981), and Phyllis Hyman's plush "Ain't You Had Enough Love" (1986) have their own placement as significant events in the PIR time line. (One minor quibble, possibly explained by a licensing issue: Edwin Birdsong's "Cola Bottle Baby" or "Phiss-Phizz" should be here.) This is a slick black box, albeit one prone to dulled and whitened corners, with a thick booklet stuffed with photos, liner notes, and detailed track information. There are meticulous singles and albums discographies, too. It's a lavish treat for anyone with serious interest in the label, and it should manage to stun hardcore PIR fans as well. No one has done such a loving job with the entirety of the label's catalog.



Philadelphia International Records - 40th Ann. 01   (flac  496mb)

01 MFSB - Zack's Fanfare #2 1:04
02 MFSB - K-Jee 4:12
03 MFSB Feat. The Three Degrees - T.S.O.P. (The Sound Of Philadelphia) 3:17
04 The O'Jays -Message In Our Music 3:21
05 MFSB - Sexy 3:10
06 Archie Bell & The Drells - Let's Groove Pt.1 3:03
07 The O'Jays Back Stabbers 3:03
08 Harold Melvin & The Blue Notes - The Love I Lost 3:33
09 The Three Degrees -When Will I See You Again 2:58
10 The O'Jays -I Love Music 6:52
11 The Intruders - I'll Always Love My Mama 2:41
12 The Three Degrees - Year Of Decision 2:38
13 Archie Bell & The Drells - The Soul City Walk 3:09
14 Harold Melvin & The Blue Notes - Bad Luck 6:24
15 People's Choice - Do It Any Way You Wanna 3:15
16 Instant Funk - Philly Jump 5:07
17 The Three Degrees - Take Good Care Of Yourself 3:03
18 MFSB - Love Is The Message 6:36
19 The Jacksons - Show You The Way To Go 3:28
20 The O'Jays - Darlin' Darlin' Baby 4:19

Philadelphia International Records - 40th Ann. 01 (ogg   178mb)

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Hello, drummer Jaki Liebezeit, who has died Januari 22nd aged 78, is the trigger for these Sundaze. today two more from Can, paired to teo from the band that was the genesis of Can, The Inner Space. It was Irmin Schmidt, courtesy his connections in the West German art world as a classical conductor, musical director at der Stadttheater Aachen and part-time film critic which led proto Can to pursue soundtrack work at their onset.


The so-called “motorik” beat, a minimalist, relentless form of rhythm practiced 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 comprise of some of the musicians Jaki Liebzeit made music with during, shortly after Can and lastly a live album 2 decades later. ......N'Joy

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Jaki Liebezeit (26 May 1938 – 22 January 2017) was a German drummer, best known as a founding member of Can. He was called "one of the few drummers to convincingly meld the funky and the cerebral".

Jaki was born in Dresden, Germany. In the mid-1960s, he was part of Manfred Schoof's quintet, who were early exponents of European free jazz. He subsequently moved towards the new possibilities being opened by psychedelic music as a member of Can. His drumming was prominent in the band's sound, particularly in his much-admired contribution to the side-long "Halleluhwah" on Tago Mago. Liebezeit is best known for his exceptional "metronome" style of playing; other members of Can have suggested that he sounds as though he is "half-man, half machine".
Liebezeit provided drums, in the form of the distinctive "Motorik beat", for Michael Rother's late-1970s solo albums.

In 1980, he became a member of Phantomband, and has formed drum ensembles such as Drums off Chaos and Club off Chaos. Later he recorded with numerous musicians, such as Jah Wobble and Philip Jeck, with whom he produced an album for Jah Wobble's 30 Hertz Records, and has contributed drums and percussion to many albums and as a guest throughout the years, such as the Depeche Mode album Ultra and Brian Eno's album Before and After Science. In the '00's, he has worked with Burnt Friedman on the  5 Secret Rhythms albums and with Schiller on the Atemlos album.

The last release he worked on was the Cyclopean EP, released on 11 Feb 2013 on 12” and download for Mute Records. Cyclopean was a project that involved, other than Liebezeit, Irmin Schmidt from Can alongside long time collaborators Jono Podmore (Kumo / Metamono) and musician and producer Burnt Friedman. Liebezeit died of pneumonia on 22 January 2017.

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Michael Rother was the guitar and keyboard playing half of the groundbreaking Krautrock group Neu, and earlier, a founding member of Kraftwerk. Flammende Herzen (Flaming Heart) is his first solo album, recorded by and produced by Conny Plank in 1976 and issued at the dawn of punk in 1977. Flammende Herzen is, in a sense, the complete and utter flowering of a vision Rother held from Kraftwerk through his work with Klaus Dinger in Neu and through his short-term collaboration with Moebius and Roedelius in Harmonia. Rother's signature guitar sound is twinned with an analog delay, the simple mechanical or "motorik" percussion all wound around simple, yet transcendent, melodies that are nearly anthemic in their strident execution. With percussion assistance from the very unique behind the beat drumming of Jaki Liebezeit, Rother crafts a driving, soaring ride into the sonic abyss that is rich with melody and rock & roll rhythm. For Rother, music is a thing filled with light, and tracks such as the title, "Zyklodrom," and "Karussell" feature a cylindrical weave of electronic and organic percussion, opaque but insistent synthesizers playing chord progressions, and, of course, acoustic and electric guitars either chiming in single- and double-string Brucknerian motifs or churning on two or three chords hypnotically into the ether. , there is plenty of spaced-out psychedelia and churning rock & roll ellipsis here ("Feuerland") for fans of early Krautrock. This remains one of Rother's strongest and most visionary records, with Conny Plank at the helm.



Michael Rother- Flammende Herzen   (flac  199mb)

01 Flammende Herzen 7:04
02 Zyklodrom 9:38
03 Karussell 5:22
04 Feuerland 7:09
05 Zeni 5:11

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Right out of the '70s, Can drummer Jaki Liebezeit formed a new band, Phantom Band, obviously to carry on where a creativity-depleted Can had left. Yes, the group's eponymous debut, released in 1980, has the "Krautrock goes worldbeat in the cold wave" feel found on Can's last two or three records. Phantom Band would make three albums, and this first one is the weakest of them, mostly due to the presence of bassist/singer Rosko Gee. Once a member of Traffic, Gee contributes the blandest pop songs on the album, and his slightly androgynous vocals simply don't fit the dub-ish mood of the music -- however, his bass work does. For this project, Liebezeit recruited (in Cologne) top musicians such as Helmut Zerlett (e.g. Dunkelziffer, Unknown Cases), Rosko Gee (Traffic, Can), Dominik von Senger (e.g. Damo Suzuki Band, Dunkelziffer), Olek Gelba, and Holger Czukay (Can) as guest musician.

The Phantom Band mixes Can-style monotonic polyrhythms with afrobeat, funk, jazz, disco, reggae, and dub. percussionist Olek Gelba, keyboardist Helmut Zerlett, and guitarist Dominik von Senger. Can alumnus Holger Czukay makes an appearance on horn. The drums take center stage; it is obvious that each song has been assigned a carefully designed beat, and Liebezeit is exploring most of his interests in music here, from repetitive Krautrock pummeling to complex Afro-funk and reggae-dub patterns. The arrangements are dark but clear-cut. Liebezeit's songs are the most interesting, from the tense "No More Fooling" (although Gee's falsetto mars it) to the funky vamp of "Absolutely Straight." Zerlett also contributes strong compositions in the spacy "Pulsar" and "I'm the One," the most expansive song of the set at six minutes. The two songs penned by Gee, each opening an LP side, have forgettable melodies and mediocre lyrics (they are also the most dated tracks production-wise). Despite Liebezeit's long and strong experience by 1980, Phantom Band bears all the signs of a debut album by a band that still hasn't gelled. Can fans who diss the group's final albums will definitely not like this one. In any case, skip forward to the group's second effort, Freedom of Speech, a much stronger proposition recorded after Gee's departure.



Phantom Band - I (flac  232mb)

01 You Inspired Me 3:55
02 I'm The One 5:52
03 For M. 4:14
04 Phantom Drums 1:21
05 Absolutely Straight 3:28
06 Rolling 5:11
07 Without Desire 2:36
08 No More Fooling 4:08
09 Pulsar 4:00
10 Latest News 2:46

Phantom Band - I   (ogg  99mb)

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Things changed a lot for Phantom Band in less than a year. Original bassist/singer Rosko Gee left and was replaced by spoken-word artist Sheldon Ancel, remaining bass-less. This lineup change made it possible for the band to align its actual sound with its experimental leanings. The situation can be summed up by comparing the first two albums' opening tracks. The lead-in track on the group's 1980 debut LP was the Gee-penned midtempo song "You Inspired Me," clearly meant as a crowd-pleaser and potential hit single. The lead-in track on "Freedom of Speech" is the title track, a vocodered rant on how the government knows what's best for us, presented over a disquieting rhythm track. The tone is set: Freedom of Speech is a darker, edgier record. It retains the Krautrock-gone-dub feel of the first album, but drops all pretensions of charting to present a more mature, better asserted group sound wrapped in a production that has aged much better than the debut LP. Ancel is not a rapper, but a spoken-word performer: he embodies characters, and uses effects to dress up his voice. It works very well, especially on the dub-laden "Brain Police," the angry "Gravity" (a love story at its sour end), and the electro-freak "Dream Machine." Freedom of Speech is a stunning avant rock record informed by the New York no wave scene and the European reggae/dub scene, with Can's history in genre-pushing repetitive rock serving as the foundation.



Phantom Band - Freedom Of Speech  (flac  214mb)

01 Freedom Of Speech 3:46
02 E. F. 1 4:15
03 Brain Police 4:08
04 No Question 2:05
05 Relax 4:07
06 Gravity 5:18
07 Trapped Again 1:00
08 Experiments 3:40
09 Dream Machine 5:33
10 Dangerous Conversation 2:12

Phantom Band - Freedom Of Speech    (ogg 88mb)

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Wobble had not been solo very long before he caught the attention of Holger Czukay, the leader of Can, one of the world's premier avant-garde bands. Czukay described Wobble in glowing terms before the EP which preceded this album was released. The coming together of old and new turned out to be far from disappointing. It would be doing Jaki Liebezeit a great disservice by not mentioning him also. The musicianship displayed here is superb and the inventiveness has rarely been equaled. Full Circle is a true landmark album. How Much Are They?’ is an absolutely brilliant track, way ahead of its time. If I would need to date this purely based on its musical qualities I would say it should be from around 1990, almost 10 years after it was actually made. The sweeping bass line combined with dub elements and reverberating drums and samples, is almost intoxicating. A classic of early '80s alternative music, the heavy Wobble bass fitting like a glove with Czukays dub experiments



Holger Czukay, Jah Wobble, Jaki Liebezeit - Full Circle  (flac  235mb)

01 How Much Are They ? 4:48
02 Where's The Money ? 5:02
03 Full Circle R.P.S. (No. 7) 10:58
04 Mystery R.P.S. (No. 8) 8:47
05 Trench Warfare 6:45
06 Twilight World 4:20

Holger Czukay, Jah Wobble, Jaki Liebezeit - Full Circle   (ogg  99mb)

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Jah Wobble has proved the most enigmatic of ex-punks, delving into all manner of different musics over the last two decades. This aggregation puts him in some stellar company, with bassist Bill Laswell, former Can drummer Jaki Liebezeit, along with pianist Harold Budd and cornetist Graham Haynes, both best known for their more ambient work. What they stir up together is quite mind-boggling. With just four tracks (the briefest of which runs over six minutes) they tear the roof off the sucker throughout. Both Haynes and Budd are revelations, attacking their instruments -- just listen to Haynes during "The Mystery of Twilight, Pt. 1," for example, or Budd anywhere on this album, as he assembles sound collages of noise and fury. Laswell turns on the fuzz bass, most notably on "Seven Dials," where he and Haynes trade off phrases with an energy that's quite palpable. Liebezeit does what he does best -- keeping very metronomic time,  at the closer, "Around the Lake," he seems to break out and catch fire. Wobble himself is rarely in the spotlight, but gives a center to everything, from which the other players can leap as far as their imaginations and abilities can carry them -- which proves to be very far. It's an unsung but vital role, keeping everything together with his bass work. He continues to take chances, and in this instance it pays off very handsomely.



Jah Wobble's Solaris - Live In Concert   (flac  415mb)

01 The Mystery Of Twilight Part 1 20:01
02 The Mystery Of Twilight Part 2 24:37
03 Seven Dials 6:17
04 Around The Lake 18:53

Jah Wobble's Solaris - Live In Concert  (ogg  159mb)

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Hello, todays post was probally triggered by yesterdays last posting..


Solaris is a 1961 philosophical science fiction novel by Polish writer Stanisław Lem. The book centers upon the themes of the nature of human memory, experience and the ultimate inadequacy of communication between human and non-human species.
In probing and examining the oceanic surface of the planet Solaris from a hovering research station the human scientists are, in turn, being apparently studied by the sentient planet itself, which probes for and examines the thoughts of the human beings who are analyzing it. Solaris has the ability to cast their secret, guilty concerns into a material form, for each scientist to personally confront. Solaris is one of Lem’s philosophic explorations of man’s anthropomorphic limitations. ..N'joy.

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During the Soviet era, Polish writer Stanislaw Lem was the most celebrated SF author in the Communist world. Although he read Western SF when he was young, he soon found it shallow and turned for inspiration to the long tradition of Eastern European philosophical fantasy. Western readers not familiar with this tradition often misread his works, expecting more action-oriented, technophilic fiction. Solaris comes closer to being a traditional SF novel than most of his works, but its main thrust is still philosophical. There is a deep strain of irony which runs through this work, for all its occasionally grim moments.

The great Russian experimental director Andrei Tarkovsky made an important film based on the novel which is considerably more confusing that the book. The pared-down 2002 version by Steven Soderbergh keeps amazingly close--for a Hollywood film--to Lem's original themes and ideas, but its emotional inertness prevents it from having the full effect intended. This is one case where reading the book before seeing the film may help you to experience the intended effect better. Perhaps Soderbergh remembered the anguish of Kelvin so clearly from his reading that he didn't realize the need to convey it more vividly to an audience that would not share the same memories.

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The novel begins as the narrator, a scientist named Kris Kelvin, is descending toward the surface of the mysterious planet Solaris. How many instances can you find in this chapter of failures to perceive, breakdowns in communication, etc.? This is to be the main theme of the book. Whereas conventional SF poses puzzles only to solve them, Solaris concentrates on the puzzling nature of reality and the limits of science. The ship that has brought Kelvin to Solaris is called the Promethus, a name associated with civilization and enlightenment in Greek mythology, but also with condemnation to terrible torment. As he enters the station suspended above the planet's surface, note the many instances of wear, disorder and confusion. In the original Polish, Snow's name is "Snaut." What do the many concrete details given suggest about the state of things in the station? Snow's strange initial reaction to Kelvin will be explained later. What features are reminiscent of a mystery story?

Characters
The protagonist, Dr. Kris Kelvin, is a psychologist recently arrived from Earth to the space station studying the planet Solaris. He was cohabiting with Harey (Rheya in the Kilmartin/Cox translation), who committed suicide when he abandoned their relationship. Her exact double is his visitor aboard the space station and becomes an important character.

Snaut (Snow in the Kilmartin/Cox translation) is the first person Kelvin meets aboard the station, and his visitor is not shown. The last inhabitant Kelvin meets is Sartorius, the most reclusive member of the crew. He shows up only intermittently and is always suspicious of the other crewmembers. His visitor remains anonymous, yet there are indications it might be a child with a straw hat.

Gibarian, who had been an instructor of Kelvin's at university, commits suicide just hours before Kelvin arrives at the station. Gibarian's visitor was a "giant Negress" who twice appears to Kelvin; first in a hallway soon after his arrival, and then while he is examining Gibarian's cadaver. She seems to be unaware of the other humans she meets, or she simply chooses to ignore them.

Harey, who killed herself with a lethal injection after quarreling with Kelvin, returns as his visitor. Overwhelmed with conflicting emotions after confronting her, Kelvin lures the first Harey visitor into a shuttle and launches it into outer space to be rid of her. Her fate is unknown to the other scientists. Snaut suggests hailing Harey's shuttle to learn her condition, but Kelvin objects. Harey soon reappears but with no memory of the shuttle incident. Moreover, the second Harey becomes aware of her transient nature and is haunted by being Solaris's means-to-an-end, affecting Kelvin in unknown ways.


With:
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Kris....Ron Cook
Rheya....Joanne Froggatt
Snow....Tim McMullan
Sartorius....Stuart Richman
Woman....Maxine Burth



Stansilaw Lem - Solaris (mp3  52mb)

01 Solaris - 1 of 2 56:54

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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)
Brainwave Mind Voyages (Series VIII) (flac  405mb)
Brainwave Mind Voyages (Series X) (flac  387mb)


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Hello, it's carnaval time and in Brazil that means ....Sambas


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 music is recognized around the world as a symbol of Brazil and the Brazilian Carnival. Considered one of the most popular Brazilian cultural expressions, samba has become an icon of Brazilian national identity. The Bahian Samba de Roda (dance circle), which became a UNESCO Heritage of Humanity in 2005, is the main root of the samba carioca, the samba that is played and danced in Rio de Janeiro. The modern samba that emerged at the beginning of the 20th century is predominantly in a 2/4 tempo varied with the conscious use of a sung chorus to a batucada rhythm, with various stanzas of declaratory verses. Traditionally, the samba is played by strings (cavaquinho and various types of guitar) and various percussion instruments such as tamborim. Influenced by American orchestras in vogue since the Second World War and the cultural impact of US music post-war, samba began to use trombones, trumpets, choros, flutes, and clarinets ...  N'Joy

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Black Rio is a weirdly compelling compilation that unearths a scene and phenomenon so far underground that only Brazilian music historians knew it existed until now. The excellent liner notes are fascinating in explaining the historical formation of the movement, the vital role of sound system dances playing artists like James Brown, and how it all fit in the social/political/cultural context of Brazil's military dictatorship during the 1970s. What's more open to debate is the quality of the music. Black Rio certainly confounds chronology by opening with "Melô Da Tagarela" (aka "Rappers Delight") done as an instrumental -- which means horn solos over the bassline created by Chic's Bernard Edwards that's the most archetypal one since the '60s Motown and Stax classics. Several tracks sound like early '70s soul-funk with nothing that stamps them as Brazilian -- the horn riffs and lead bass riff on União Black's title track sound a bit like early Kool & the Gang, and Gershon King's "Uma Chance" has a certain Jimmy Castor appeal. Jorge Ben's "Comanche" has the first real Brazilian feel, but then it's also the first piece with a song feel rather than just riff and groove, soul-style. Banda Black Rio's "Gafieira Universal" is a Brazilian-flavored instrumental with choppy polyrhythms and horns leading the way, while Orlandivo goes the mellow MPB route on "Onde Anda O Meu Amor" with vocals, flutes, and mellow electric piano chords. Trio Mocotó's "Nagô" rocks out pretty well once the organ solo takes over from an Afro-chant and strum/scratch rhythm guitar, while Antonio Carlos e Jocafi's "Kabaluere" kicks it behind a rowdy lead guitar and nice rising chant hook. And the only thing wrong with instrumentals like Eklipse Soul's "Psicose" or Dom Salvador e Abolição's "Som, Sangue e Raça" is that the riffs and grooves are strong enough to keep going longer. Black Rio is certainly an interesting volume -- it's good that it exists, even if the track info is buried in fine print at the end of the booklet and individual musician credits are missing in action. But it's certainly more for Brazilian music fanatics or searchers for offbeat soul-funk sounds -- the singer on Manito's "Na Baixa da Sapateiro" struggling with "I miss my love" in English is pretty funny in a good sort of way. For casual fans, there isn't any must-have landmark of Brazilian music or even songs that stick -- it's mostly an hour's worth of Brazilians playing in their funky soul garages decades ago.



VA - Black Rio (Brazil Soul Power 71-80) (flac 352mb)

01 Gang Do Tagarela - Melô Da Tagarela (Rapper's Delight) 4:10
02 Copa 7 - Copa 7 No Samba 2:53
03 Grupo Arembepe - Iaiá 3:04
04 Uniao Black - Black Rio 2:46
05 Miguel de Deus - Cinco Anos 4:56
06 Jorge Ben - Comanche 2:58
07 Trio Mocotó - Nagô 3:40
08 Banda Black Rio - Gafiera Universal 3:06
09 Toni Tornado - Podes Crer, Amizade 2:30
10 Eklipse Soul - Psicose 2:11
11 Manito - Na Baixa Da Sapateiro 3:28
12 Orlandivo - Onde Anda O Meu Amor 3:46
13 Dom Salvador e Aboliçao - Som, Sangue E Raça 2:46
14 Antonio Carlos E Jocafi - Kabaluere 2:22
15 Orquestra E Coro - Kriola 2:27
16 Gerson King Combo - Uma Chance 5:25

VA - Black Rio (Brazil Soul Power 71-80) (ogg  136mb)

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The funk and soul scene in Brazil in the late 1960s, '70s, and early '80s fed off of a hybrid mix of Afro, Latin, and American influences, and while the result was a dance music that was relentless and infectious, it somehow added up to less than it should or might have been, maybe because the scene lacked a defining artist, a Bob Marley, a Fela Kuti, or a James Brown, to provide a template, a direction, and an iconic face to the whole thing. Put together by DJ Cliffy, the man behind "Batmacumba," the longest running Brazilian club night in London, this set is the second volume of "samba soul" from Strut Records (the first volume was released in 2002). It's a fun compilation, full of bright grooves and irresistible energy, but yet nothing really leaps out here, and listening to this anthology is a bit like dancing all night in a club and then not remembering a single song or melody the next morning. Not that there aren't cool tracks here -- sides like Super Sam Lord's horn-drenched "BR Samba" hit hard with a samba-on-steroids force, and Emilio Santiago's "Bananeira" has a groove and flow so natural and easy one could just float away on it. But no international hits came out of the Brazilian soul scene because there just wasn't that big, defining record that put all of it on the map.



VA - Black Rio 2 (Brazil Soul Power 1968-1981) (flac  314mb)

01 Zeca Do Trombone & Roberto Sax - Coluna Do Meio 2:58
02 Renata Lú - Faz Tanto Tempo 2:25
03 Guimaes E O Grupo Som Sagrado - Som Sagrado 3:25
04 Pete Dunaway - Supermarket 4:55
05 Watusi - Oio Gere 1:56
06 Os Diagonais - Não Vou Chorar 2:36
07 Som Nosso - Pra Swingar 2:32
08 Rubinho E Mauro Assumpçao - Ta Tudo Ai 2:32
09 Super Som Lord  BR Samba 2:53
10 Azambuja & CIA - Tema Do Azambuja 4:26
11 Avan Samba - Ibere 4:07
12 Cry Babies - It's My Thing 2:34
13 Balança Povo - Novo Dia 2:37
14 Edson Frederico E A Transa - Bobeiro 3:15
15 Emilio Santiago - Bananeira 3:03
16 Bebeto - Princesa Negra De Angola 3:43
17 Marilene - Sinal Vermelho 2:19
18 Sonia Santos - Poema Ritmico Do Malandro 2:55

VA - Black Rio 2 (Brazil Soul Power 1968-1981) (ogg  129mb)

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The samba schools provide the soundtrack for Rio's annual carnival. But samba, as this excellent compilation shows, comes in so many different shades. There's the sweet, swinging gentility of Luisa Maita; the rock-samba of Mané Sagaz (a combination that works better than it might seem); the electronica of Loop B, who takes the music to places never originally imagined, making noise part of the fabric; and the rampant, proud traditionalism of Samba Chula de São Braz, who hark back to the early days of samba. And in between there's everything else, with a fair selection on display here. As a primer it's pretty much essential, with superb sleeve notes, putting the music, and the musicians, in context.



VA - The Rough Guide To Samba  (flac  409mb)

01 Alcione - Duas FAces 5:13
02 Partideiros Do Cacique - Meu Bloco 3:06
03 Velha Guarda Da Portela Feat. Marisa Monte - Volta Meu Amor 4:22
04 Rogê - A Nega E O Malandro 4:47
05 Teresa Cristina - Coisas Banais 3:40
06 Samba Urbano - Deixa 2:05
07 Moyseis Marques - Samba, Ciência Da Graça 3:14
08 Samba Um - Malandro Dpdp 4:21
09 Luísa Maita - Lero-Lero 4:43
10 Odilara - Já É 3:41
11 Mart'nália - Cabide 2:17
12 Márcio Local - Soul Do Samba 3:16
13 Loop B - Drill Samba/Samba Da Furadeira 2:31
14 Mané Sagaz - Um Samba Que Não Sai 4:15
15 Samba Chula De São Braz - Samba, Cachaça E Viola 9:18

VA - The Rough Guide To Samba   (ogg   160mb)

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This exclusive release introduces listeners to the work of a sensational sambista who is hot on the Brazilian scene right now.
Introducing Ruivão is a great samba album brought to you direct from Brazil, by an artist who has been immersed deep in the scene since the tender age of just 8 years old. Ruivão’s music is smooth like the best Brazilian lounge, but with a sharp percussive edge reflecting on samba’s constant pulse throughout Brazilian music and culture. Ruivão’s voice is mid-range and flows from silky slow tunes to fast tongue-twisting tempos with ease. Within his music you can also hear the discernable influence of curling Cuban rhythms that bounce along freely. Samba is the dancing spirit and rhythm of life in Brazil, and Ruivão is one of an important band of contemporary artists connecting their tradition with their experiences of modern life.


Ruivão - Introducing Ruivão (flac 284mb)

01 Criação É Ato Continuo 2:59
02 Todas As Cores Num Hino 3:56
03 O Jogo Termina Aos 90 3:35
04 Sou Sambista Dr Fé 3:30
05 Pout-Pourrit De Partido Alto: Dia De João / Apelo / Disfarce 4:20
06 Sambas Da Vida 3:41
07 Eu Vejo 2:59
08 Sol Bordado 3:07
09 Pingo Da Vela 3:48
10 Rapaz Sagaz 3:54
11 Não Me Encarregue De Enviar Fax 3:08

Ruivão - Introducing Ruivão (ogg   104 mb)

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Another selection to honor the king of the baião, Luiz Gonzaga, a musical genius.  "The Best of Luiz Gonzaga" brings sixteen of his numerous hits. Pearls, be those of exaltation to the things of the northeast, or the humorous compositions with double meaning. To hear from start to finish!



Luiz Gonzaga - O melhor de Luiz Gonzaga (flac  187mb)

01 Asa Branca 1949
02 Baião 1949
03 Cintura Fina 1950
04 Qui Nem Jiló 1950
05 Paraíba 1950
06 A Volta Da Asa Branca 1950
07 Pau De Arara 1951
08 O Xote Das Meninas 1953
09 Riacho Do Navio 1953
10 Luar Do Sertão (with Milton Nascimento) 1981
11 Ovo De Codorna 1971
12 Forró No Escuro 1957
13 Danado De Bom 1984
14 Forró N° 1 with Gal Costa 1984
15 Tá Bom Demais 1985
16 Forró De Cabo A Rabo 1986

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Hello,

Today's artists are playing a hybrid of punk to advance their liberal socialist agenda (serving as the rough equivalent of a Dutch Crass), the Ex put out reams of records and propaganda during the '80s -- each released on a different Dutch label -- but in the '90s began to embrace industrial forms of percussion and improvisation more in line with Einstürzende Neubauten and Test Dept. Formed in the late '70s, the group debuted at the turn of the decade with Disturbing Domestic Peace. Two more LPs appeared during the mid-'80s, after which the group formed their own Ex label .........N'Joy

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The Ex are an underground band from the Netherlands that formed in 1979 at the height of the original punk explosion. Initially known as an anarcho-punk band, they have since released over 20 full-length albums of musical experiments and numerous collaborations blending punk and free jazz with styles of folk music from all over the world. The Ex's music has undergone significant evolution over the years from their beginnings as a punk band. Founded by singer Jos Kley (better known as G.W. Sok), guitarist Terrie Hessels, drummer Geurt and bassist René, the band debuted with a song titled "Stupid Americans" on the Utreg-Punx vinyl 7" compilation released by Rock Against records in Rotterdam. The release of their first 7" All Corpses Smell the Same followed shortly after that, in 1980. Through the decades their music has gradually developed into its current form of highly intricate, experimental punk/post-punk/no wave-inspired work.

Expanding beyond punk rock, The Ex have incorporated a wide array of influences, often from non-Western and non-rock sources. Some include Hungarian and Turkish folk songs, and more recently music from Ethiopia, Congo and Eritrea (the independence song of Eritrea is covered by The Ex to kick off their 2004 album Turn). Other examples of branching out stylistically include the improvised double album Instant and a release under the moniker Ex Orkest, a 20 piece big band assembled for performances at Holland Festival.

Throughout the early 1980s The Ex went through many line-up changes before settling on the core quartet of G.W. Sok on vocals, Terrie on guitar, Luc on bass and Kat on drums. In the early 1990s, Andy became the band's permanent 2nd guitarist. In 2003 Luc left the band after 19 years, to be replaced by double bassist Rozemarie Heggen.[3] In 2005 Heggen in turn left the band and Colin (formerly of the Dog Faced Hermans) served as the band's bass player for recordings and tours with Ethiopian saxophone legend Getatchew Mekuria before becoming The Ex's sound board operator. Guitarists Andy Moor and Terrie Hessels have since filled in bass parts by switching off on baritone guitar.

The band has collaborated with many disparate artists, including UK anarchist band Chumbawamba (sometimes using the name Antidote), the Dog Faced Hermans (one former member, Andy Moor, has played guitar in The Ex since 1990), and with the late avant-garde cellist Tom Cora in the early 1990s, resulting in the album Scrabbling at the Lock (1991) and the follow-up And the Weathermen Shrug Their Shoulders (1993). The album In the Fishtank 5 (1999) was made with Chicago's Tortoise, and on In the Fishtank 9 (2001) they collaborated with members of Sonic Youth and the Dutch improvisers Instant Composers Pool Orchestra (ICP).

The band composes the music for "Two Men Walking", a new short dance film by Dick Hauser, and in February 2003 The Ex goes on tour for the first time with the new line-up and a brand new set of songs. They do shows all over Holland, together with the group Konono No. 1 from the Republic of Congo. In September The Ex tour for three weeks in the USA and visit the East coast, Texas, and Chicago. During that period they record a new album, for the third time in a row with album with Steve Albini, in his Electrical Audio Studio in Chicago.

In March 2004 The Ex once again leave for Ethiopia, for their second three-and-a-half-week tour. In 2002 they visited the North, this time they travel South, through an area where hardly ever any European bands have played before. In November The Ex celebrate their 25th anniversary with a two-day festival at the Paradiso in Amsterdam. At the same time they celebrate the release of "Beautiful Frenzy" on DVD by Blowpipe/Moskwood, containing the original film plus lots of live-extras. The event is followed by a convoy tour with a lot of the festival's artists playing in five French cities and Brussels.

2006 The Ex play Spain in May, followed by some Dutch shows with Zea. Around the Summer they play festivals in Zagreb (Croatia), Roskilde (Denmark), and Lärz (Germany), Nickelsdorf (Austria) and Parthenay (France).
In September they're flown over to Chicago to play at the 25th anniversary festival of their US record-label Touch And Go. It is the 13th time they visit the USA. In the autumn they play again in Spain and then tour France, Italy and Austria, together with the Mohammed Jimmy Mohammed trio from Ethiopia. The album "Moa Anbessa", by Getatchew Mekuria & The Ex & Guests, is released in December on their sub-label Terp Records. At the same time The Ex is back in the USA for a ten-day East coast tour together with DJ Rupture.

The DVD "Building A Broken Mousetrap" by filmmaker Jem Cohen is released in November 2007, featuring 9 songs from The Ex recorded during their concert at the Knitting Factory, New York City on 11th September 2004. In 2008 Drummer / singer Katherina and guitarist / singer Jon Langford (Mekons) make an album full of folk punk songs under the name Katjonband.

In 2009, after 30 years with the group, singer and co-founder G.W. Sok announced his departure from the band. Sok did so, believing he lacked sufficient enthusiasm to continue with the group, having decided to focus on writing and graphic design as well as singing in new musical projects with several other bands. His replacement is Arnold de Boer from the Dutch group Zea, with whom The Ex have toured and collaborated. In addition to singing, De Boer plays guitar and utilizes samples with The Ex.

The Ex is the subject of a documentary, Beautiful Frenzy (2004) by Christina Hallström and Mandra U. Wabäck, and the concert film Building a Broken Mousetrap (2006), directed by Jem Cohen. In 2008 the band was also featured in the film Roll Up Your Sleeves, directed by Dylan Haskins. In 2011 The Ex were chosen by Caribou to perform at and co-curate the All Tomorrow's Parties music festival in Minehead, England.


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This is prime stuff. It's primitive when compared with their current wide-ranging output, but even then they were embellishing their their scratchy politico-punk with some interesting instrumental touches. Morse code keyboards, a chipped-flint guitar sound, distorted vocals, and the rhythm section's implacable forward motion make this worth a listen even if you don't care what they had to say. "What makes them interesting, is their original musical approach, not hindered by technical ingenuity."



The Ex - Disturbing Domestic Peace   (flac  196mb)

01 The Sky Is Blue Again 2:01
02 Map 1:14
03 Outlook-Army 0:39
04 Sucking Pig 1:58
05 A Sense Of Tumour 4:00
06 Meanwhile 3:54
07 Rules 1:41
08 Squatsong 1:51
09 Warning-Shot 2:55
10 New Wars 2:46
+ Live-Skive:
11 Introduction 2:21
12 Human Car 1:48
13 Punk 1:47
14 Horse 1:12

  (ogg  mb)

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It's caustic. A real burner. (...) While still retaining an all important relevant edge to their musical comment , they've introduced elements of tunesmithing, attack, decay and composition that places them head and shoulders above their contemporaries. Well-known venom, but the music becomes more experimental (i.e. slower, richer, more stirring, fed by yet rather remarkable set of instruments) with every new release. It was the first of The Ex's albums to feature Luc playing bass guitar and he would remain as the band's bass player for 20 years. The album also featured many guest musicians, a notable trend in The Ex's discography that would provide musical elements unique to each of their albums.



The Ex - Blueprints For A Blackout (flac  373mb)

01 Streetcars Named Desire / Animals Harm (Medley) 2:39
02 Blueprints For A Blackout 3:54
03 Rabble With A Cause 2:19
04 Requiem For A Rip-Off 2:52
05 Pleased To Meat You 4:17
06 A Goodbuy To You 3:39
07 The Swim 1:48
08 Boohoo 2:29
09 U.S. Hole 2:41
10 (Not) 2B Continued 1:10
11 Grimm Stories 4:52
12 A Plague To Survive 5:22
13 The Rise Of The Dutch Republic 3:53
14 Kidnap Connection 2:17
15 Fire And Ice 4:41
16 Jack Frost Is Innocent 2:53
17 Love You Till Eh 2:48
18 Food On 45 3:17
19 Scrub That Scum 8:18

The Ex - Blueprints For A Blackout   (ogg  159mb)

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Their 6th full length is a collection of new songs the group had performed on an anti-military tour. "The Ex, with 'Pokkeherrie' have produced a masterful killer weapon of raw power that rattles up the spine into numbed pink brain cells and fills the vacuum with social issue. ""They've done it again. While they maintain melody, dissonance, moodiness, and a hard edge, they continue to grow and encompass many styles. (...) Their integrity is rock hard and dependable.""Subtleties, intricacies, complexities, repetitions, basic noise."



The Ex - Pokkeherrie (flac 362mb)

01 Nurse! 6:09
02 Soviet Threat 7:08
03 Mmm Crisis 3:29
04 1,000,000 Ashtrays 9:15
05 Pock 0:15
06 White Liberals 5:42
07 Everything We Never Wanted 4:28
08 Friendly Neighbours 4:20
09 Hit The Headlines 5:47
10 Rumours Of Music (The Original Soundcrack) 6:29

The Ex - Pokkeherrie   (ogg  143mb)

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"The Ex create music that's abrasive, driving and challenging, much of it recorded live between 16 and 26 October 1986, shards of guitar, bass and drums coalescing like jagged pieces of a puzzle, pumped up by influences that introduce the post-punk jar of Gang of Four, The Fall and Sonic Youth, and the spirit and experimentation of Crass, albeit more accessible. Intelligent, intriguing and well-executed."



The Ex - Too Many Cowboys (flac 485mb)


01 Red & Black 5:47
02 White Shirts 3:53
03 Adversity 0:30
04 People Again 4:12
05 Knock 2:46
06 Hands Up, You're Free 3:06
07 Ignorance 2:54
08 Butter Or Bombs 4:11
09 Dumbo 3:18
10 How Can One Sell The Air 5:46
11 Business As Usual 5:56
12 Olympigs 4:19
13 Choice 2:58
14 A Job / Stupid 2:40
15 Oops 6:32
16 No Fear 5:04
17 Vivisection 1:19
18 A Piece Of Paper 6:37
19 They Shall Not Pass 3:28

The Ex - Too Many Cowboys  (ogg  185mb)

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Hello, still getting requests on the wrong pages, that said it's good to see requests from Rho-Xs's early days.


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 25 re-ups (19 ! now in flac), requests fullfilled up to March 2.

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4x Sundaze NOW in Flac (Spirit Space - A Journey Into Your Consciousness, Steve Roach and Vidna Obmana - Inner Zone, Thompson - Space Sounds Music, Kit Watkins - This Time and Space)


3x Aetix NOW In Flac (Cabaret Voltaire - Three Mantras, Cabaret Voltaire - 2x45,  Cabaret Voltaire - Code)


4x Beats NOW in Flac (Cabaret Voltaire - Plasticity, Cabaret Voltaire - International Language,  Cabaret Voltaire - The Conversation 1 + 2)


3x Beats NOW In Flac ( Fluke - Oto, Fluke - Risotto, Fluke - Slid (12"))


3x Aetix NOW In Flac ( XTC - English Settlement , XTC=Dukes Of Stratosphear - Chips From The Chocolate Fireball (An Anthology), XTC - Oranges and Lemons)


3x Roots Back In Flac (Orchestra Baobab - Bamba, Orchestra Baobab - Pirates Choice, Orchestra Baobab - Specialist In All)


2x Grooves NOW In Flac ( VA - DJ Kicks ( DJ Cam),  VA - DJ-Kicks (Terranova) )


3x Grooves Back In Flac (Jungle Brothers – Done By The Forces, De La Soul – 3 Feet High And Rising, Tribe Call.Quest - Midnight Marauders )


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Hello,


Philadelphia International Records (PIR) was an American record label based in Philadelphia. It was founded in 1971 by the writer-producer duo, Kenneth Gamble and Leon Huff, along with their long time collaborator Thom Bell. It was famous for showcasing the Philadelphia soul music genre (also known as Philly soul) that was founded on the gospel, doo-wop, and soul music of the time. This Philly Soul sound later became a prominent and distinct era within R&B itself. During the 1970s the label released a string of worldwide hits which emphasized lavish orchestral instrumentation, heavy bass, and driving percussion. Some of their most popular and best selling acts included Patti LaBelle, The O'Jays, Harold Melvin & the Blue Notes, Teddy Pendergrass, MFSB, Billy Paul, and Lou Rawls. Between 1971 and the early 80s, the label sold over 170 gold and platinum records  ..... N'joy

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Kenneth Gamble and Leon Huff, the founders of Philadelphia International Records, met in 1964 while they were both playing as session musicians for various labels, including Philadelphia based Cameo-Parkway Records, whose building would later become home to Philadelphia International Records recording studio. In 1965, Huff joined Gamble's band, The Romeos, a popular moniker at the time, by replacing future Philadelphia International Records producer and arranger Thom Bell on piano. Kenny Gamble and The Romeos had seen little success up to that point playing for their label, Arctic Records, and split up soon after.

When the Romeos disbanded, Gamble and Huff went on to start one of the first iterations of Philadelphia International Records (which they named Excel and Gamble) after a visit to Motown Records in Detroit, to scope out the Motown setup. The success of their biggest signing, The Intruders, brought attention to Gamble and Huff, which allowed them to create Neptune Records in 1969. Neptune Records, a more ambitious project for the duo, was financed by Chess Records Group, and allowed them to sign later Philadelphia International Records artists The O'Jays and The Three Degrees. When Chess Records Group's management changed hands in 1969, Neptune Records folded. With the collapse of Neptune Records, Gamble and Huff transferred their signed artists onto a new project, Philadelphia International Records. Looking to attract new black acts to their label, but without the in-house know-how, Columbia Records was convinced to sign an exclusive production contract with Gamble and Huff's new Philadelphia International Records. The label was set up in connection with Mighty Three/Assorted Music, the music publishing company run by Gamble, Huff and another Philadelphia producer, Thom Bell, to showcase their songs.

The label's major hits included: "TSOP (The Sound of Philadelphia)" by MFSB, featuring The Three Degrees, 1974 (which was later used as one of the theme tunes for the TV dance-music show Soul Train); "Ain't No Stoppin' Us Now" by McFadden & Whitehead (writers and producers with the label), 1979; "Back Stabbers" and "Love Train" by The O'Jays, 1972/3; "If You Don't Know Me By Now" and "The Love I Lost" by Harold Melvin & The Blue Notes, 1972/3; "Me and Mrs. Jones" by Billy Paul, 1972; "When Will I See You Again" by The Three Degrees, 1974; and "You'll Never Find Another Love Like Mine" by Lou Rawls, 1976.

Most of the music released by the label was recorded and produced at Sigma Sound Studios in Philadelphia, with chief engineer (later studio owner) Joe Tarsia recording many of the sessions. More than 30 resident studio musicians, known collectively as MFSB "Mother Father Sister Brother", were based at this studio and backed up most of these recordings. Some of these musicians also acted as arrangers, writers or producers for Philadelphia International as well as for other labels recording in the city. They included Bobby Martin,[6][7] Norman Harris, Thom Bell, Ronnie Baker, Vince Montana and later, Jack Faith and John Usry.

Gamble and Huff worked as independent producers with a series of artists in the late 1960s and early 1970s, including Jerry Butler, Wilson Pickett and Dusty Springfield. They also produced The Jacksons' first two albums for Epic/CBS after the group had left Motown in 1976. The first, titled The Jacksons featured the platinum-selling single "Enjoy Yourself", and a second album, Goin' Places followed in 1977. Although on CBS subsidiary Epic, both albums and the singles also carried a Philadelphia International logo.

In 1965, Gamble and Huff started an independent label, Excel Records. It was soon renamed Gamble Records and in 1972, was folded into Philadelphia International as a subsidiary. In 1974, the subsidiary's name was changed to TSOP Records, from the aforementioned 1974 hit single, "TSOP (The Sound of Philadelphia)". Artists for Excel/Gamble/TSOP included Dee Dee Sharp, and Archie Bell & the Drells. Later signings to the Philly International roster in the 1980s and 1990s, included Patti Labelle, The Stylistics, Phyllis Hyman, and The Dells.

Between 1973 and 1975, Gamble and Huff also distributed a boutique label called Golden Fleece, set up by musicians Norman Harris, Ronnie Baker and Earl Young, which released the second album by The Trammps. G & H also had a short-lived subsidiary called Thunder Records. Created by Thom Bell, it only had two singles from Derek & Cyndi (You Bring Out the Best in Me/I'll Do the Impossible for You) who were produced by Bell, and Fatback Band member Michael Walker whose single (I Got the Notion, You Got the Motion) was produced by The Spinners' member Philippe Wynne.

By the mid 1980s, Philadelphia International Records ended their distribution deal with Columbia, who they had worked with since their inception. The label was soon after picked up by Capitol/EMI records. They continued to make hits, including Shirley Jones'"Do You Get Enough Love," but their most successful years were behind them. Philadelphia International now largely concentrates on licensing its music catalog worldwide and has issued few new recordings since the mid-80s, when Gamble and Huff wound down their studio work together.

In 1989, Gamble and Huff were awarded their first Grammy Award. Simply Red's cover of "If You Don't Know Me By Now," written by Gamble and Huff, won the Grammy Award for Best R&B Song. 10 years later in 1999, Gamble and Huff were awarded the Lifetime Achievement Grammy from the National Academy of Recording Arts and Sciences. In 2008, the duo were inducted in the Rock and Roll Hall of Fame in the non-performer category, joining their band the O'Jays who were inducted in 2005.

In August 2011, in honor of the 40th anniversary of the company, Philadelphia International Records launched TSOP Soul Radio, an online radio station that allows fans from all around the world the chance to tune in and listen to music and interviews from the legendary Gamble and Huff catalog. Gamble and Huff have written over 3000 songs throughout their careers, making them two of the most efficient and productive songwriters of all time. They continue to write songs together from their homes in South Philadelphia.

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The O'Jays were formed in 1958 in Canton, OH, where all five original members -- Eddie Levert, Walter Williams, William Powell, Bill Isles, and Bobby Massey -- attended McKinley High School. As the Mascots they made their recording debut in 1961 with the single "Miracles". It earned them a fan in the influential Cleveland DJ Eddie O'Jay, who gave them some airplay and career advice; in turn, the group renamed itself the O'Jays in 1963. Isles left the group in 1965 and was not replaced, leaving them a quartet; late in the year, they released their first-ever album, Comin' Through. In 1967, the O'Jays landed their first Top Ten single on the R&B charts, "I'll Be Sweeter Tomorrow (Than I Was Today)." Discouraged by the difficulty of following that success, the group members considered throwing in the towel until they met Gamble & Huff -- then working as a production team for the Neptune label -- in 1968. They recorded several successful R&B singles together; however, Neptune folded in 1971, leaving the O'Jays in limbo, and Massey decided to exit the group.

Fortunately, Gamble & Huff formed their own label, Philadelphia International, and made the O'Jays -- now a trio -- one of their first signings. The O'Jays' label debut, Back Stabbers, released in 1972, became a classic landmark of Philly soul, and finally made them stars; the paranoid title track hit the pop Top Five, and the utopian "Love Train" went all the way to number one. It was the beginning of a remarkable run that produced nearly 30 chart singles over the course of the '70s, plus a series of best-selling albums and a bevy of number one hits on the R&B charts. Sadly, William Powell was diagnosed with cancer that year, and although he continued to record with the group for a time (appearing on 1976's Message in Our Music), he was forced to retire from live performing, and passed away on May 26, 1977.
Powell's replacement was Sammy Strain, a 12-year veteran of Little Anthony & the Imperials. The O'Jays regrouped on the albums Travelin' at the Speed of Thought (1977) and So Full of Love (1978), the latter of which produced their final Top Five pop hit, "Use ta Be My Girl." Released in 1979, Identify Yourself began to show signs of wear and tear in the group's successful formula, and often consciously attempted to follow disco trends. Although it sold respectably, it marked the beginning of a decline in the O'Jays' commercial fortunes.




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This music takes you straight back to the 70's, where music used to be mellow, and all soul soothing, the essential music of the O'Jays is a must for everyone who loves R&B. Eddie Levert has an outstanding voice, and was only topped by his son, the late Gerald LeVert, who unfortunately moved on. This music is inspirational on a Sunday, seductive on a Saturday night, and even works during the week. This collection offers the highlights of their classic ‘70s hits for Philadelphia International. Like other purveyors of Philly Soul, the trio harmonized impeccably over well-tailored strings and rhythm tracks. What set them apart was the political content of their songs — when lead vocalist Eddie Levert sang about betrayal in “Back Stabbers” or raw need in “For the Love of Money,” he challenged his audience to think as well as groove. Tracks like “Survival” and “Give the People What They Want” are insistent demands for justice amidst the deceptions of the Nixon Era. The flip side to these angry sentiments is offered in “Love Train” and “Put Your Hands Together.” The O’Jays are masterful at balladry as well, melting hearts effortlessly in “Use Ta Be My Girl” and the gospel-rooted “Stairway to Heaven.” Whatever the song, Kenny Gamble and Leon Huff’s production stays crisp and inventive, whether the mood is spiteful (“992 Arguments”) or celebratory (“Message in Our Music”). The Essential O’Jays is just that: mandatory listening for anyone with a taste for soul.



O'Jays - The Essential 1   (flac  469mb)

01 Lonely Drifter 2:25
02 Lipstick Traces (On A Cigarette) 2:45
03 Stand In For Love (Live Version) 3:44
04 I'll Be Sweeter Tomorrow (Than I Was Today) 3:04
05 There's Someone (Waiting Back Home) 2:30
06 One Night Affair 2:19
07 Deeper (In Love With You) 2:41
08 Back Stabbers 3:05
09 992 Arguments 2:22
10 Love Train 2:59
11 Time To Get Down 2:54
12 Put Your Hands Together 4:08
13 Sunshine (Part 1) 3:45
14 You Got Your Hooks In Me 5:34
15 Now That We Found Love 4:42
16 For The Love Of Money 7:21
17 Give The People What They Want 4:12
18 Survival 3:44
19 Let Me Make Love To You 3:40
20 I Love Music 6:50

O'Jays - The Essential 1  (ogg     176mb)

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O'Jays - The Essential 2    (flac  486mb)

01 Livin' For The Weekend 6:38
02 Stairway To Heaven 6:17
03 Family Reunion 6:57
04 Ship Ahoy (2008 Single Version) 4:15
05 Message In Our Music 6:05
06 Darlin' Darlin' Baby (Sweet, Tender, Love) 4:12
07 The Big Gangster 3:18
08 Use Ta Be My Girl 3:20
09 Brandy (I Really Miss You) 4:13
10 Cry Together 5:35
11 Forever Mine 6:08
12 Sing A Happy Song 5:02
13 Lovin' You 5:20
14 Wind Beneath My Wings 5:39
15 Emotionally Yours (Gospel Version) 5:38

O'Jays - The Essential 2 (ogg     185mb)

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Harold Melvin was one of the driving forces behind Philadelphia soul, leading his group the Blue Notes to the top of the charts during their stint on Kenny Gamble and Leon Huff's Philadelphia International label. Despite Melvin's billing out front, the Blue Notes' focal point was lead singer and onetime drummer Teddy Pendergrass, whose surging baritone graced the Blue Notes' recordings during their glory years of 1972-1975 and gave them a truly distinctive sound. Their output ranged from sweeping, extended proto-disco dance tracks to silky, smoldering ballads, all wrapped up in Gamble and Huff's lushly orchestrated production. When Pendergrass left for a solo career, Melvin & the Blue Notes' commercial fortunes largely reverted to the pre-Pendergrass days (of which there were quite a few), although they did continue to record for a time. They never really disbanded, and by the time Melvin passed away in 1997, he'd been leading the Blue Notes for over four decades.

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A fantastic debut by Harold Melvin & the Blue Notes that wasn't meant to be. Most of these songs, including "If You Don't Know Me By Now," were originally written for the Dells, but the deal fell through. Harold Melvin got the opportunity because his ex-drummer Teddy Pendergrass had a voice similar to Dells lead singer Marvin Junior. The way Pendergrass tore into these songs, nobody remotely suspected that these love dramas were written for anybody but Teddy. He sounds like he's about to lose it when he sings "I Miss You" as he pleads with his ex-love about how he has changed. The poignant "If You Don't Know Me By Now" sold a million for the Blue Notes and did even better years later for Simply Red. "Be For Real" is one of the finest recorded pieces in R&B history; it's not a song, it's a pleader where a guy admonishes his woman for looking down on people. They dusted off "Let Me Into Your World" for the Blue Notes; this one was not written for the Dells, as Gamble & Huff had recorded it a few years earlier with the O'Jays for Neptune Records. A hard-hitting package that established Harold Melvin & the Blue Notes as a force to be reckoned with.



Harold Melvin and The Blue Notes - I Miss You  (flac 342mb)

01 I Miss You 8:28
02 Ebony Woman 3:41
03 Yesterday I Had The Blues 7:25
04 If You Don't Know Me By Now 3:27
05 Be For Real 4:31
06 Let Me Into Your World 2:40
07 Let It Be You 3:33
08 I Miss You (Part I - Single Version) 3:20
09 Yesterday I Had The Blues (Single Version) 3:54
10 Be For Real (Single Version) 3:24
11 If You Don't Know Me By Now (Live In San Francisco, 1973) 4:08

Harold Melvin and The Blue Notes - I Miss You (ogg  120mb)

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Harold Melvin & the Blue Notes' second album found the group continuing to ride its early peak, featuring the hit "The Love I Lost" (in a six-minute version longer than the one that made the pop Top Ten) and an additional Top Ten R&B hit in "Satisfaction Guaranteed (Or Take Your Love Back)." The album and its "The Love I Lost" single also became milestones for Gamble & Huff productions and Philadelphia soul in general for introducing the dance groove that became so integral to disco. But while the two hits and "Is There a Place for Me" were forceful uptempo tracks, they were balanced by a good number of effective ballads, the only misstep (and a most curious one) being the decision to lead off the album with a cover of "Cabaret." The 2010 CD reissue adds the "Pt. 1" single versions of "The Love I Lost" and "I'm Weak for You" as bonus tracks, and, more importantly, very interesting liner notes spotlighting detailed recollections by MFSB guitarist Bobby Eli.



Harold Melvin and The Blue Notes - Black and Blue  (flac  311mb)

01 Cabaret 1:45
02 The Love I Lost 6:26
03 It All Depends On You 4:52
04 Concentrate On Me 3:13
05 Satisfaction Guaranteed (Or Take Your Love Back) 3:32
06 Is There A Place For Me 7:00
07 I'm Weak For You 6:54
08 I'm Coming Home Tomorrow 6:16
Bonus Tracks
09 The Love I Lost (Part I - Single Version) 3:35
10 I'm Weak For You (Part I - Single Version) 3:23

Harold Melvin and The Blue Notes - Black and Blue (ogg   107mb)

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Hello, drummer Jaki Liebezeit, who has died Januari 22nd aged 78, has been the trigger for these Sundazes.

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.



Alas today is the final Liebezeit posting, but what a set of Secret Rhythms it is, i'd say get all and play them back to back and you'll get 3.5 hours of hynotically complex polyrhythmic patterns which make time fly by, it's unassuming but always purposeful a perfect sundaze. ......N'Joy

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Jaki Liebezeit (26 May 1938 – 22 January 2017) was a German drummer, best known as a founding member of Can. He was called "one of the few drummers to convincingly meld the funky and the cerebral".

Jaki was born in Dresden, Germany. In the mid-1960s, he was part of Manfred Schoof's quintet, who were early exponents of European free jazz. He subsequently moved towards the new possibilities being opened by psychedelic music as a member of Can. His drumming was prominent in the band's sound, particularly in his much-admired contribution to the side-long "Halleluhwah" on Tago Mago. Liebezeit is best known for his exceptional "metronome" style of playing; other members of Can have suggested that he sounds as though he is "half-man, half machine".
Liebezeit provided drums, in the form of the distinctive "Motorik beat", for Michael Rother's late-1970s solo albums.

In 1980, he became a member of Phantomband, and has formed drum ensembles such as Drums off Chaos and Club off Chaos. Later he recorded with numerous musicians, such as Jah Wobble and Philip Jeck, with whom he produced an album for Jah Wobble's 30 Hertz Records, and has contributed drums and percussion to many albums and as a guest throughout the years, such as the Depeche Mode album Ultra and Brian Eno's album Before and After Science. In the '00's, he has worked with Burnt Friedman on the  5 Secret Rhythms albums and with Schiller on the Atemlos album.

The last release he worked on was the Cyclopean EP, released on 11 Feb 2013 on 12” and download for Mute Records. Cyclopean was a project that involved, other than Liebezeit, Irmin Schmidt from Can alongside long time collaborators Jono Podmore (Kumo / Metamono) and musician and producer Burnt Friedman. Liebezeit died of pneumonia on 22 January 2017.

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Keyboardist and vibraphonist from Koeln (Germany), Burnt Friedman (real name Bernd Friedmann) (born 1965 in Coburg, Germany) is a German musician and producer who works under a variety of project names in the fields of Electronica, Dub and Jazz, having recorded as Some More Crime,Drome, Flanger (with Atom Heart), Non Place Urban Field and Nu Dub Players.

Friedmann was raised in Kassel where he studied painting, performance and video at the Kunsthochschule Kassel from 1984 to 1990. His first recordings of found and self-built instruments, done with Wolfram Der Spyra from 1978 to 1982, were released under the name TOXH in 1989. Burnt Friedman has become an unavoidable maverick over the last few years. His many musical incarnations, from his jazz-fuelled collaboration with Atom™ to the electronic perversions of some of his solo projects, rarely help to create a complete portrait of the man. Beside his musical activities, the German also heads Nonplace Records, has produced numerous records and is responsible for collecting his favourite tracks from both Atom™, on last year’s Replicant Rumba Rockers, and very recently, from Freeform on Condensed.

Friedmann's music defies easy categorisation. His instruments include ambient noise and speech samples, analogue synthesizers and organs, as well as toy piano, steeldrum, kalimba, vibraphone or Melodica. Over the years his trademark sound became easily recognizable even in his remix work for other artists. Often complex polyrhythmic patterns stand beside long passages without audible drums.

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If you are looking for a slow, cool chilling sound this album is a must buy. Matching the complex improvisational elements of electronic music with accessibly warm acoustic instruments. The German guru Burnt Friedman is becoming one of the most respected musicians of his generation across Europe. On each project Burnt gets some of the bests to work with. For this album, he's teamed up with legendary Can drummer Jaki Liebezeit.Praised and admired for his unique cyclical beats, Liebezeit offers here a rather subdued performance compared to some of his previous work. Always remaining slightly in the background of Friedman’s deceptively simple melodies, he however injects complex rhythmic structures on each track, providing a healthy balance to Burnt’s Latin inspired electronic composition. The mood on Secret Rhythms is definitely laid back and hypnotic, ranging from languorous dub style moments (Rastafahndung) to exotic impressions (Gulli Verreisen). If the work is by essence electronic, the result has the intensity of live music, establishing an interesting parallel with Flanger’s outer space jazz excursions. Here though, the jazz element is not as predominant as on some of Friedman’s previous releases, concentrating on more colourful ambiences instead. By using ambitious polyrhythms and complex arrangements, the duo manages to unlock a great wealth of possibilities, matching the complex improvisational elements of electronic music with accessibly warm acoustic instruments.



Burnt Friedman and Jaki Liebezeit - Secret Rhythms   (flac  312mb)


01 Rhein Rauf 6:27
02 Rechter Winkl 4:23
03 Royal Roost 5:46
04 Shades Of Soddin Orion 4:18
05 Rastafahndung 3:40
06 Gulli Verreisen 4:59
07 Wirklich 3:14
08 Obscured By 5 3:48
09 Obscured By 5 (Nonplace Rmx) 4:50
10 Obscured By 5 (Extended) 13:26

Burnt Friedman and Jaki Liebezeit - Secret Rhythms    (ogg  139mb)

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As the title indicates, it's the second full collaboration between the two performers, or at least the second in the series, following on the first from 2002. Working with a number of other guests, most notably Burnt Friedman's Nine Horses bandmate David Sylvian, the duo create eight tracks which are enjoyable if not always immediately stunning. But the subtlety is actually Secret Rhythms, Vol. 2's strength -- coming here for the second coming of, say, "Halleluwah" is missing the point. Jaki Liebezeit's skill as a hypnotic drummer remains strong, as the deceptively low-key performance on "The Sticks" makes clear -- quick fills and careful shifts between drums and cymbals revolve around the central beat, with Friedman's keyboards ably creating the core textures and melodies which other performers add to. (Special notice should be given to Tim Molzer's acoustic and electric guitar parts throughout.) "Fearer" is another standout, with just a hint of dub echo at points expanding the reach of both Liebezeit's steady beat and Friedman's equally important -- almost relentless -- single piano note. At times the two lead performers almost seem to disappear behind their guests, but the results are often quite intriguing -- thus, on "Niedrige Decken," Liebezeit's drumming is initially barely there, with Hayden Chisholm's clarinet playing lead, until at two minutes in Liebezeit begins a killer groove that transforms the song. Sylvian's guest turn is on a song originally done with Nine Horses, "The Librarian." It's interesting to hear just the first signs of a rougher, older Sylvian starting to surface in his voice, but it works perfectly nonetheless, while Liebezeit's background cymbal fills, treated more as texture than rhythm, are a beautiful touch.



Burnt Friedman and Jaki Liebezeit - Secret Rhythms 2 (flac  237mb)


01 Sikkerhed 4:20
02 The Sticks 8:17
03 The Librarian (Voc David Sylvian) 8:15
04 Mikrokasper 3:40
05 Niedrige Decken 8:13
06 Broken Wind Repair Kit 4:59
07 Fearer 6:54
08 Caracoles 4:29

Burnt Friedman and Jaki Liebezeit - Secret Rhythms 2   (ogg  109mb)

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On this third release in their Secret Rhythms series, electronica artist Burnt Friedman and former Can drummer Jaki Liebezeit team up for further explorations of atmosphere, texture, and rhythm. These instrumental compositions make use of Leibezeit’s cycle-based drum system, which draws on rhythmic motifs from Africa and Asia, while Friedman adds fragments of melody and pulsing digital ambience. The unique blend of acoustic and electronic elements makes this album a startling, and thoroughly absorbing, listening experience.



Burnt Friedman and Jaki Liebezeit - Secret Rhythms 3 (flac  251mb)

01 Morning Has Broken 9:00
02 Gegenwart 9:42
03 Trittbrettfahrer 5:45
04 Die Ehrliche Haut 6:30
05 Entsafter 8:04
06 Wirklich Version 4:05
07 Sandale 9:33

Burnt Friedman and Jaki Liebezeit - Secret Rhythms    (ogg 115mb)

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Multi-instrumentalist Burnt Friedman and drummer Jaki Liebezeit have been working together since 2000 on musical projects that have gradually emerged as numbered releases under the title Secret Rhythms. The fourth volume in the series consists of six instrumental tracks ranging in length from four to nearly 16 minutes, all having random-looking numerical titles. Some are based loosely on material heard on previous volumes, but most of the music is new, and two tracks also feature guitarist Joseph Suchy (a regular guest on Secret Rhythms releases). Because Liebezeit and Friedman like to alter their instruments' outputs both during performance and in post-production, it's frequently difficult or impossible to tell what is being played, let alone by whom: are those really steel pans on "204-07," or is it just Suchy's guitar? "128-05" sounds like it consists entirely of percussion sounds, but who knows for certain? Ultimately, it doesn't really matter that much; this is relentlessly weird music, but also consistently lovely; it would almost be recommendable as relaxation or meditation music, except that it's kind of difficult to relax in 7/8 and 5/8 time. It might pass for trance music except that the textures shift a bit too often. Not only that, but Friedman and Liebezeit have an almost uncanny ability to produce music that is simultaneously quiet and unsettled, jittery and calm. Those who are looking for something between Brian Eno's Ambient series and Byrne and Eno's My Life in the Bush of Ghosts may find that this is exactly what the doctor ordered.



Burnt Friedman and Jaki Liebezeit - Secret Rhythms 4 (flac  283mb)

01 204-0710:44
02 128-0510:21
03 182-1115:40
04 131-075:33
05 120-114:17
06 120-0510:20

Burnt Friedman and Jaki Liebezeit - Secret Rhythms 4   (ogg  125mb)

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a superb bonus

The interest for Sylvian fans is the original version of The Librarian. The track got redone later by Friedman & Liebezeit on Secret Rhythms 2 and by Sylvian with Nine Horses, but this version is the best by far. The whole EP…one for the repeat button....



Burnt Friedman & Jaki Liebezeit with David Sylvian - Out in the Sticks   (flac  415mb)

01 Out In The Sticks 10:49
02 The Librarian 8:33
03 Sikkerhed (remix) 3:50

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Hello,

Solaris is a 1961 philosophical science fiction novel by Polish writer Stanisław Lem. The book centers upon the themes of the nature of human memory, experience and the ultimate inadequacy of communication between human and non-human species.
In probing and examining the oceanic surface of the planet Solaris from a hovering research station the human scientists are, in turn, being apparently studied by the sentient planet itself, which probes for and examines the thoughts of the human beings who are analyzing it. Solaris has the ability to cast their secret, guilty concerns into a material form, for each scientist to personally confront. Solaris is one of Lem’s philosophic explorations of man’s anthropomorphic limitations. ..N'joy.

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During the Soviet era, Polish writer Stanislaw Lem was the most celebrated SF author in the Communist world. Although he read Western SF when he was young, he soon found it shallow and turned for inspiration to the long tradition of Eastern European philosophical fantasy. Western readers not familiar with this tradition often misread his works, expecting more action-oriented, technophilic fiction. Solaris comes closer to being a traditional SF novel than most of his works, but its main thrust is still philosophical. There is a deep strain of irony which runs through this work, for all its occasionally grim moments.

The great Russian experimental director Andrei Tarkovsky made an important film based on the novel which is considerably more confusing that the book. The pared-down 2002 version by Steven Soderbergh keeps amazingly close--for a Hollywood film--to Lem's original themes and ideas, but its emotional inertness prevents it from having the full effect intended. This is one case where reading the book before seeing the film may help you to experience the intended effect better. Perhaps Soderbergh remembered the anguish of Kelvin so clearly from his reading that he didn't realize the need to convey it more vividly to an audience that would not share the same memories.

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The novel begins as the narrator, a scientist named Kris Kelvin, is descending toward the surface of the mysterious planet Solaris. How many instances can you find in this chapter of failures to perceive, breakdowns in communication, etc.? This is to be the main theme of the book. Whereas conventional SF poses puzzles only to solve them, Solaris concentrates on the puzzling nature of reality and the limits of science. The ship that has brought Kelvin to Solaris is called the Promethus, a name associated with civilization and enlightenment in Greek mythology, but also with condemnation to terrible torment. As he enters the station suspended above the planet's surface, note the many instances of wear, disorder and confusion. In the original Polish, Snow's name is "Snaut." What do the many concrete details given suggest about the state of things in the station? Snow's strange initial reaction to Kelvin will be explained later. What features are reminiscent of a mystery story?


Characters
The protagonist, Dr. Kris Kelvin, is a psychologist recently arrived from Earth to the space station studying the planet Solaris. He was cohabiting with Harey (Rheya in the Kilmartin/Cox translation), who committed suicide when he abandoned their relationship. Her exact double is his visitor aboard the space station and becomes an important character.

Snaut (Snow in the Kilmartin/Cox translation) is the first person Kelvin meets aboard the station, and his visitor is not shown. The last inhabitant Kelvin meets is Sartorius, the most reclusive member of the crew. He shows up only intermittently and is always suspicious of the other crewmembers. His visitor remains anonymous, yet there are indications it might be a child with a straw hat.

Gibarian, who had been an instructor of Kelvin's at university, commits suicide just hours before Kelvin arrives at the station. Gibarian's visitor was a "giant Negress" who twice appears to Kelvin; first in a hallway soon after his arrival, and then while he is examining Gibarian's cadaver. She seems to be unaware of the other humans she meets, or she simply chooses to ignore them.

Harey, who killed herself with a lethal injection after quarreling with Kelvin, returns as his visitor. Overwhelmed with conflicting emotions after confronting her, Kelvin lures the first Harey visitor into a shuttle and launches it into outer space to be rid of her. Her fate is unknown to the other scientists. Snaut suggests hailing Harey's shuttle to learn her condition, but Kelvin objects. Harey soon reappears but with no memory of the shuttle incident. Moreover, the second Harey becomes aware of her transient nature and is haunted by being Solaris's means-to-an-end, affecting Kelvin in unknown ways.


With:
-----
Kris....Ron Cook
Rheya....Joanne Froggatt
Snow....Tim McMullan
Sartorius....Stuart Richman
Woman....Maxine Burth



Stansilaw Lem - Solaris (mp3  52mb)

02 Solaris - 2 of 2 56:54

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Previously

Stansilaw Lem - Solaris (mp3  52mb)


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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 while many of the performers during the heyday of Tropicalia and the rise of MPB (música popular brasileira) opted for a more radical stance in their challenge to Brazil's political and cultural authorities, artists like Jorge Ben took a more understated approach. Rather than use overly theatrical performance to shock the audience or write songs loaded with political content, Ben became known as one of the country's great musical alchemists, a furiously eclectic songwriter who combined elements of indigenous Brazilian music with a groove from the west coast of Africa.  With that he became one of the most respected and resilient figures in Brazilian pop.  ...  N'Joy

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Born (March 22, 1945) Jorge Duilio Lima Menezes in Rio de Janeiro, he first took the stage name Jorge Ben after his mother's name (of Ethiopian origin) but in the 1980s changed it to Jorge Ben Jor (commonly written Benjor). Jorge Ben obtained his first pandeiro (Brazil's most popular type of tambourine) when he was thirteen, and two years later, was singing in a church choir. He also took part as a pandeiro player in the blocos of Carnaval, and from eighteen years of age, he began performing at parties and nightclubs with the guitar that his mother gifted him. He received the nickname "Babulina", after their enthusiastic pronunciation of Ronnie Self's song "Bop-A-Lena". Was presented to Tim Maia by Erasmo Carlos, soon discovered that Maia was also known for the same reason. It was at one of those clubs in which he performed that his musical career took off. In 1963, Jorge came on stage and sang "Mas Que Nada" to a small crowd that happened to include an executive from the recording company, Philips. One week later, Jorge Ben's first single was released.

The hybrid rhythms that Jorge employed brought him some problems at the start of his career, when Brazilian music was split between the rockier sounds of the Jovem Guarda and traditional samba with its complex lyrics. But as that phase in Brazilian pop music history passed, and bossa nova became better known throughout the world, Ben rose to prominence.
Holdings both television programs O Fino da Bossa and Jovem Guarda from Rede Record, after being reprimanded by the production of "O Fino da Bossa", chose to participate in the Jovem Guarda, soon after, joined the program Divino, Maravilhoso from TV Tupi, presented by Caetano Veloso and Gilberto Gil.

Jorge Ben's first public appearances were in small festivals organised by his friends, where bossa nova and rock and roll predominated. As with most musicians of the time, Ben was initially influenced by João Gilberto even though he was quite innovative in his own right. The aforementioned song, "Mas Que Nada", was his first big hit in Brazil, and remains to this day the most played song in the United States sung entirely in Portuguese.[citation needed] Outside of Brazil, the song is better known in cover versions by Sérgio Mendes and the Tamba Trio. The song has also been reinterpreted by jazz luminaries such as Ella Fitzgerald, Oscar Peterson, Dizzy Gillespie and Al Jarreau; as well as other samba artists of the time, such as Elza Soares. His musical work has been vastly sampled by music producers and DJ's, and covered by many bands in a variety of genres such as heavy metal, disco, rock, reggae, jazz, drum and bass, house music and more.

In 1969, Jorge Ben released his self-titled album amid the excitement of the cultural and musical Tropicália movement. The album featured Trio Mocotó as his backing band, who would go on to launch a successful career on the back of their association with Ben. The album was noted for "País Tropical," one of his most famous compositions, although it would be Wilson Simonal who would take his recording of the song to the top of the charts in Brazil that same year. Instead, the song "Charles, Anjo 45", also from the self-titled album, would become Ben's biggest self-performed chart hit of the year.

In the 1970s, Jorge Ben released his most esoteric and experimental albums, most notably A Tábua de Esmeralda in 1974 and Solta o Pavão in 1975. In 1976, he released one of his most popular albums: "África Brasil," a fusion of funk and samba which relied more on the electric guitar than previous efforts. This album also features a remake of his previously released song "Taj Mahal," from which Rod Stewart's 1979 hit "Da Ya Think I'm Sexy? was plagiarized (a matter that he claimed was settled out of court in his favor).

In 1989, Jorge changed his recording label as well as his artistic name, becoming Jorge Benjor (or Jorge Ben Jor). At the time, it was said that there were numerological reasons for his change in name; other sources say it was in response to an incident where some of his royalties accidentally went to American guitarist George Benson. In 2002, Jorge Ben contributed to the critically acclaimed Red Hot + Riot, a compilation CD created by the Red Hot Organization in tribute to the music and work of Nigerian musician, Fela Kuti, that raised money for various charities devoted to raising AIDS awareness and fighting the disease. He collaborated with fellow hip-hop artists Dead Prez, Talib Kweli, and Bilal to remake the famous song by Fela Kuti, "Shuffering and Shmiling," for the CD.

In 2006, a remake of Ben's "Mas Que Nada" became an international chart hit for Sérgio Mendes with The Black Eyed Peas after being used by Nike in a global TV advertisement during the 2006 FIFA World Cup; this remake (the second time Mendes had covered the track) reached the Top 10 in several European countries, including the UK and Germany, in addition to reaching Number 1 in the Netherlands. Jorge Ben is also a big fan of Flamengo, a Brazilian football club, located in Rio de Janeiro, which counts Zico, Junior and Leandro among their former star players. Ben's interest in football carries over to his music, as many of his songs deal with the subject, such as "Flamengo,""Camisa 10 da Gávea,""Ponta De Lança Africano (Umbabarauma),""Zagueiro," and "Filho Maravilha."

On July 7, 2007 he performed at the Brazilian leg of Live Earth in Rio de Janeiro. On March 20, 2011 his name was mentioned in President Barack Obama's speech in Rio de Janeiro, Brazil at the Theatro Municipal (Rio de Janeiro). President Barack Obama quoted: "You are, as Jorge Ben-Jor sang, “A tropical country, blessed by God, and beautiful by nature.”"



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Ben's first full-length record, this 1963 release contains the hit singles "Mas Que Nada" and "Chove Chuva" and typifies the light yet propulsive rhythms that afforded Ben a decades-long career in Brazilian pop. Not yet pared down to the more rock- and Afro percussive-driven sound he eventually developed, Samba Esquema Novo (which translates to "New Style Samba") is replete with swirling bossa nova rhythms and soaring choruses. Its big-band-style accompaniment, nicely off-set by Ben's signature minor-tone guitar workings, propels the set into an upbeat and enjoyable listen.



Jorge Ben - Samba Esquema Novo (flac 189mb)

01 Mas, Que Nada! 3:04
02 Tim Dom Dom 2:21
03 Balança Pema 1:34
04 Vem, Morena, Vem 2:03
05 Chove Chuva 3:02
06 É Só Sambar 2:09
07 Rosa, Menina Rosa 2:15
08 Quero Esquecer Você 2:21
09 Uála Uálalá 2:42
10 A Tamba 3:03
11 Menina Bonita Não Chora 2:11
12 Por Causa De Você, Menina 2:58

  (ogg  mb)

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Sacudin Ben Samba is the second album of Jorge Ben Jor released in 1964. After the fabulous Samba Esquema Novo (1963), Jorge Ben Jor proposes a more Samba Jazz album (like the very good "Capoeira" accompanied on the trumpet. Sacudin Ben Samba contains most of the ingredients of his previous successes. It is a bit of the limit of this album where no title is really exceptional (like the precedents "Mas, Que Nada!", "Tim, Dom , Jorge Ben Jor has teamed up with two very good arrangers (Luiz Carlos Vignes and JT Meirelles Perhaps the least known of the work of the first phase Benjor, Sacudin Ben Samba widens the mix between the Samba, the Bossa Nova and the Jazz.It is certainly underestimated, it informs on the exploratory approach of Jorge Ben Jor And his constant search for new territories of play in a festive atmosphere and very Pop. A pretty pretty curiosity



Jorge Ben - Sacundin Ben Samba (flac  243mb)

01 Descalço No Parque 3:04
02 Onde Anda O Meu Amoa 3:04
03 Bicho Do Mato 3:19
04 Vou de Samba Com Você 2:44
05 Samba Legal 2:24
06 Oba-Lá-Lá 2:36
07 Gabriela 2:53
08 Zópe Zópe 2:45
09 Saída Do Porto 3:16
10 Dandara, Hei 2:35
11 Samba, Menina 3:19
12 Guerreiro Do Rei 2:49

Jorge Ben - Sacundin Ben Samba (ogg  99mb)

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"Once in a while, an unexplained phenomena emerges in popular music. Other times, artists of real value are surprisingly swallowed by the abyss of anonymity. But what rarely happens is the emerging of a truly authentic talent - not only in popular preference - but also in selling records. in other words, someone with proven artistic ability to get beat in the music scene with full mainstream acceptance. This happened to Jorge Ben, he's became one of the most prominent exponent of Brazilian music. Before Jorge Ben became the Funkmeister of world music he was a traditional Sambalero. This early work is very Bossa Nova, featuring a jazzy quintet, with Ben's writing and a crooning pop music singing style.This legendary LP features some of the best arrangers in the genre such as: Meirelles, Nelson and Gaya.



Jorge Ben - Ben e Samba Bom  (flac  235mb)

01 Descalço No Parque 3:04
02 Onde Anda O Meu Amor 3:04
03 Bicho Do Mato 3:19
04 Vou De Samba Com Você 2:44
05 Samba Legal 2:24
06 Ôba Lá Lá 2:36
07 Gabriela 2:53
08 Zópe Zópe 2:45
09 Saída Do Porto 3:16
10 Dandara, Hei 2:35
11 Samba Menina 3:19
12 Guerreiro Do Rei 2:49

Jorge Ben - Ben e Samba Bom   (ogg   105mb)

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If you're a fan of Jorge's other early jazzy samba releases, then this one doesn't disappoint. The songwriting's a bit more adventurous, and while it's still very jazzy, there's more guitar, less blaring horns, and the flute and piano are a bit more restrained. This is worth picking up for "o homem, que matou..." alone , and guaranteed to get the kids dancing!



Jorge Ben - Big-Ben (flac 242mb)

01 Criação É Ato Continuo 2:59
02 Todas As Cores Num Hino 3:56
03 O Jogo Termina Aos 90 3:35
04 Sou Sambista Dr Fé 3:30
05 Pout-Pourrit De Partido Alto: Dia De João / Apelo / Disfarce 4:20
06 Sambas Da Vida 3:41
07 Eu Vejo 2:59
08 Sol Bordado 3:07
09 Pingo Da Vela 3:48
10 Rapaz Sagaz 3:54
11 Não Me Encarregue De Enviar Fax 3:08

Jorge Ben - Big-Ben (ogg   104 mb)

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Hello,

Today's artists are cacophonous and anarchic, imbued with an insular irony, and inspired equally by punk primitivism and Krautrock experimentalism, they pioneered a hyperintelligent yet unforgivingly amateurish approach to music-making that sounds now like a blueprint for all the aspiring art-school noisemakers that came in their wake. Always marginal, the band seemed to have operated with a sublime indifference to any potential audience they might have had, which makes them a contrarian’s dream, the perfect band to listen to in order to indulge one’s masochism and sullen anti-social tendencies at the same time, all without surrendering the cachet attached to being into something obscure that’s not overtly silly. Because their records have been relatively hard to track down, the band acquired a path-breaking reputation  .........N'Joy

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Noisy and experimental, Britain's Swell Maps experienced little commercial success during the course of their chaotic career, but in hindsight they stand as one of the pivotal acts of the new wave: not only was the group an acknowledged inspiration to the likes of Sonic Youth and Pavement, but their alumni -- most notably brothers Nikki Sudden and Epic Soundtracks -- continued on as key players in the underground music community.

Although Sudden (vocals/guitar) and Soundtracks (piano/drums) formed the first incarnation of the Swell Maps (named after the charts used by surfers to gauge wave intensities) as far back as 1972, the group did not begin to truly take shape until 1976, when the siblings enlisted bassist Jowe Head and guitarist Richard Earl. In the spirit of punk's D.I.Y. mentality, they formed their own label, Rather Records, and issued their debut single -- the brief, jarring "Read About Seymour" -- in the early weeks of 1978. Local media support soon won the Swell Maps a distribution pact with Rough Trade, but they did not resurface until over a year later with the single "Dresden Style."

In mid-1979, the band released its full-length debut, A Trip to Marineville, a crazy quilt of punk energy and Krautrock-influenced clatter. After the release of the speaker-shredding single "Let's Build a Car," the group recorded one final studio LP, Jane from Occupied Europe, before breaking up. A series of outtakes and singles collections -- 1981's Whatever Happens Next, 1982's Collision Time, and 1987's Train Out of It -- followed, while the members followed their own career paths: Sudden formed the Jacobites, Soundtracks joined Crime and the City Solution, and Head played with the Television Personalities. All later enjoyed solo careers as well.

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Swell Maps' debut album was a scattershot affair, ranging from blistering three-chord punk to free-form noise experiments, that was intriguing, yet frequently incoherent. Released in 1979, the band’s first full-length album, A Trip to Marineville is the slightly more accessible of the two, but not because it has all that many hooks or melodies or anything like that. Swell Maps approach to songwriting involves pounding out a riff or chord progression over and over again—on chunky, thickly distorted guitars or on a piano—while unexpected noises and abstruse, sullenly intoned vocals are layered on top. Borrowing much from the loosely structured jams of Can, this strategy would ultimately be adopted by bands like Flipper and the Germs. Impenetrable at first, songs quickly grow on you, if only through their sheer repetition, their relentless momentum.

On the cover is a photo of a house on fire, very appropriate to how the album opens, with well-orchestrated burst of three short, explosive tracks that run together seamlessly: the sneering “H.S. Art”, which repeatedly asks “Do you believe in art?” with such scorn that it’s clear you don’t if you have to stop and ask; the metacritique of “Another Song”, which seems to question its own right to exist as it co-opts pop-song formula, and the concise, incisive “Vertical Slum”. The rest of the album eschews such tight focus, and progressively becomes more difficult listening. Songs that begin with crisp, throbbing riffs and well-layered guitars—“Midget Submarines” and “Harmony in Your Bathroom”—have endings that stretch out and devolve into chaos. And the instrumentals mount up as well, starting with the innocuous piano and found noise fragment “Don’t Throw Ashtrays at Me!” and moving through the drifting, meditative “Gunboats” and climaxing with “Adventures into Basketry”, a spontaneous eight-minute noise fest that sounds like a spastic drum circle conducted during an air raid. A Trip to Marineville is featured in The Guardian's list "1000 Albums to Hear Before You Die".



Swell Maps - A Trip To Marineville (flac  355mb)

01 H.S.art 2:20
02 Another Song 1:43
03 Vertical Slum 1:12
04 Spitfire Parade 3:10
05 Harmony In Your Bathroom 5:26
06 Don't Throw Ashtrays At Me! 1:14
07 Midget Submarines 4:34
08 Bridge Head (Pt.9) 1:59
09 Full Moon In My Pocket 1:29
10 Blam!! 3:31
11 Full Moon (Reprise) 1:23
12 Gunboats 8:20
13 Adventuring Into Basketry 7:35
14 My Little Shops 0:45
15 Ripped & Torn 1:47
16 International Rescue 2:25
17 Loin Of The Surf 2:21
18 Shoot The Angels 0:51
19 Elephant Flowers (no.2) 1:28
20 Turn Me On Dead Man 0:30
21 Bronze & Baby Shoes 3:34
22 Nevertoseeanyotherway1:39

Swell Maps - A Trip To Marineville  (ogg  137mb)

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Jane from Occupied Europe is composed of many turgid instrumentals whose exhausted lack of structure suggests not spontaneity but an inspiration deficit. “Robot Machines” is a dud drum machine track and fizz and the aptly named “Big Empty Field” is some random harmonics and machine shop noises over an intricate but wearisome rhythm. “Collision with a Frogman” and “. . . Vs. the Mangrove Delta Plan” are consecutive sound-alikes that meander in search of melody without ever settling for one. All the best songs come at the end: “Secret Island”, “Whatever Happens Next . . .” and “Blenheim Shots” pick up from where Wire left off with 154 and give some sense of what that band might have sounded like if they didn’t immediately start sucking after the release of that masterwork. Adopting obscure topics from military history into blearily intoned lyrics, and melding them with menacing drones, explosive drumming and organ hooks out of nowhere, these represent the Swell Maps finest work; but it’s emblematic that these are buried at the end of an album, preceded by so many unlistenable instrumentals. Either the Swell Maps were a band that sought to demand an indulgent patience from listeners, making them earn whatever pleasure the band could offer, or they were a band that had absolutely no sense of when they were at their best, and didn’t care to think about it all that much.



Swell Maps - Jane From Occupied Europe (flac  405mb)

01 Robot Factory 2:25
02 Let's Buy A Bridge 1:54
03 Border Country 2:12
04 Cake Shop Girl 2:27
05 The Helicopter Spies 4:16
06 Big Maz In The Desert 5:07
07 Big Empty Field3:44
08 Mining Villages 1:04
09 Collision With A Frogman 3:40
10 ... Vs. The Mangrove Delta Plan 4:23
11 Secret Island 4:33
12 Whatever Happens Next ...3:00
13 Blenheim Shots 3:40
14 A Raincoat's Room 1:43
Bonus
15 The Stairs Are Like An Avalanche 3:23
16 New York 3:20

Swell Maps - Jane From Occupied Europe   (ogg  134mb)

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You'll have to be a pretty major Swell Maps fan to make heads or tails, at a glance, out of which songs on this 19-track compilation you may already have. It's all over the Swell map, including four songs that have never been on CD [including "Dresden Style (City Boys)," which was on a single]; three that have never been released anywhere; three "unreleased mixes"; and a few songs that appeared on U.K. singles ("Let's Build a Car,""Real Shocks,""Read About Seymour"). It doesn't really succeed as either a representative overview compilation or a rarities disc. Approached on its own terms -- which you might want to do if this happens to be the first, or only, Swell Maps album you get -- it's decent arty punk that's too monochromatic to sustain burning interest over the course of the lengthy program. It does have a heartier sense of joie de vivre than much U.K. punk/new wave of the period, particularly in the vocals.



Swell Maps - International Rescue (flac 335mb)

01 International Rescue2:24
02 Real Shocks 2:16
03 Let's Build A Car 3:01
04 Black Velvet 1:59
05 Ammunition Train 3:30
06 Ripped & Torn 1:47
07 Secret Island 4:35
08 Read About Seymour 1:29
09 Get Down And Get With It 1:29
10 Spitfire Parade 3:11
11 New York 3:19
12 Forest Fire 3:02
13 Winter Rainbow 3:40
14 Dresden Style (City Boys) 2:30
15 Off The Beach (Spilling Coffee) 2:23
16 One Of The Crowd 2:21
17 Vertical Slum 1:14
18 H.A.K. 1:22
19 I Really Love You 2:13
20 Hey Johnny! Where's The Chewing Gum? 1:11

Swell Maps - International Rescue   (ogg  119mb)

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Hello, no re-ups yesterday i was busy upgrading my pc and even if that wasn't that much of an issue, having to dislodge all that entangled wires below my desk/cabinet and causing a short circuit whilst cleaning didn't help-needed to to dis entangle all electrics too, there's more then 20 electricity suckers below there, with limited sight crawling on my knees getting up and down again my back is hurting now, yes i'm not that fit and somewhat overweight. Bad news is its still not in order, on top of all that a new Seagate external hardisk didn't work a mysterious problem that apparently is unheard of as google didn't caugh up a way how i could access a disk where a large part of the file system was gone (became RAW), disk management didn't see it, neither does Diskpart, but Minitool partition recovery could see the disk and their recovery could copy what was on the part which was still in NTFS but it can't format the disk and even Test Disk was unable to do anything....much wasted time then.



Harold Melvin was one of the driving forces behind Philadelphia soul, leading his group the Blue Notes to the top of the charts during their stint on Kenny Gamble and Leon Huff's Philadelphia International label. Despite Melvin's billing out front, the Blue Notes' focal point was lead singer and onetime drummer Teddy Pendergrass, whose surging baritone graced the Blue Notes' recordings during their glory years of 1972-1975 and gave them a truly distinctive sound. Their output ranged from sweeping, extended proto-disco dance tracks to silky, smoldering ballads, all wrapped up in Gamble and Huff's lushly orchestrated production. When Pendergrass left for a solo career, Melvin & the Blue Notes' commercial fortunes largely reverted to the pre-Pendergrass days (of which there were quite a few), although they did continue to record for a time. They never really disbanded, and by the time Melvin passed away in 1997, he'd been leading the Blue Notes for over four decades.  ..... N'joy

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Harold Melvin was one of the driving forces behind Philadelphia soul, leading his group the Blue Notes to the top of the charts during their stint on Kenny Gamble and Leon Huff's Philadelphia International label. Despite Melvin's billing out front, the Blue Notes' focal point was lead singer and onetime drummer Teddy Pendergrass, whose surging baritone graced the Blue Notes' recordings during their glory years of 1972-1975 and gave them a truly distinctive sound. Their output ranged from sweeping, extended proto-disco dance tracks to silky, smoldering ballads, all wrapped up in Gamble and Huff's lushly orchestrated production. When Pendergrass left for a solo career, Melvin & the Blue Notes' commercial fortunes largely reverted to the pre-Pendergrass days (of which there were quite a few), although they did continue to record for a time. They never really disbanded, and by the time Melvin passed away in 1997, he'd been leading the Blue Notes for over four decades.

Melvin was born June 25, 1939, in Philadelphia. A self-taught pianist, he began singing doo wop as a teenager with a group called the Charlemagnes, and put together the very first edition of the Blue Notes in 1954. The original lineup was a quintet featuring Melvin as the lead singer (for a time), songwriter, arranger, and choreographer; ironically, he would mostly relinquish those duties by the time the group achieved its greatest success. The other members were co-leader Bernard Williams, Roosevelt Brodie, Jesse Gillis, Jr., and Franklin Peaker. The Blue Notes cut their first single, "If You Love Me," for Josie in 1956, and turned it into a regional hit. They recorded for several other labels over the next few years, Dot chief among them, before scoring their first R&B chart hit in 1960 with "My Hero" (released on Val-Ue). Numerous personnel shifts kept the group in flux despite steady recording activity, and Bernard Williams split off to lead what he dubbed the Original Blue Notes in the mid-'60s. Melvin assembled a new version of the Blue Notes centered around lead singer John Atkins, who returned the group to the R&B charts in 1965 with the Landa single "Get Out (And Let Me Cry)." Further releases on Arctic, Checker, and Uni followed over the rest of the '60s, as well as more personnel changes. During the late '60s, the group toured often with the Cadillacs, whose young drummer Teddy Pendergrass would prove to be Melvin's greatest discovery.

Pendergrass first joined the Blue Notes' backing band, but demonstrated so much vocal talent that after John Atkins left in 1970, Melvin soon elevated him to the post of lead vocalist. This move helped them land a deal with Gamble and Huff's Philadelphia International label in 1972, just as the company was taking its place as soul music's new epicenter; Pendergrass' voice was similar to that of Dells singer Marvin Junior, whom Gamble & Huff had courted heavily. By this time, the Blue Notes consisted of Melvin, Pendergrass, bass vocalist Lawrence Brown, baritone vocalist Bernard Wilson, and tenor vocalist Lloyd Parks. With Gamble & Huff now supplying top-quality material and production, Harold Melvin & the Blue Notes would become one of the most popular groups in R&B over the next few years. Their self-titled debut mostly featured songs that had been written in anticipation of landing Marvin Junior. The first single, "I Miss You," was a hit on the R&B charts, but their second was a smash -- the classic ballad "If You Don't Know Me by Now," which featured an anguished, star-making vocal turn from Pendergrass. "If You Don't Know Me by Now" went all the way to number one R&B, and also became their only Top Five hit on the pop side; it was later covered in 1989 for a number one hit by Simply Red.

The Blue Notes scored again in 1973 with the string-laden dance track "The Love I Lost," credited by many observers as one of the first disco records; it was their second R&B chart-topper and Top Ten pop single. The accompanying album, Black & Blue, produced another R&B Top Ten in the follow-up "Satisfaction Guaranteed (Or Take Your Love Back)." In 1974, Lloyd Parks was replaced by Jerry Cummings, who debuted on the R&B chart-topping LP To Be True. "Where Are All My Friends" and "Bad Luck" continued their string of Top Ten R&B hits, and a new addition to the group, female vocalist Sharon Paige, helped bring them back to the top of the R&B charts in 1975 with the duet "Hope That We Can Be Together Soon." Another excellent album followed later that year in Wake Up Everybody, whose title track was another R&B number one; "Tell the World How I Feel About 'Cha Baby" also reached the R&B Top Ten, and the album cut "Don't Leave Me This Way" was later covered for a disco smash by Thelma Houston.

However, tension was building within the group. The heavily spotlighted Pendergrass was hungry for separate billing, but Melvin, still the group's chief organizing force, turned him down. In 1976, Pendergrass left the Blue Notes for a solo career that quickly made him one of R&B's top sex symbols. Sharon Paige helped fill his shoes on lead vocals, as well as new male lead David Ebo, whose sound was fairly similar to Pendergrass'. However, Pendergrass' departure also signaled the end of the Blue Notes' relationship with Philadelphia International -- their next recordings were for ABC, for whom they hit the R&B Top Ten in 1977 with the title track of Reaching for the World. It would prove to be their last major success, however; after one more album for ABC, they moved to MCA subsidiary Source in 1979 for two LPs that failed to reignite their commercial momentum. Cummings and Wilson had both departed in 1977, replaced by Dwight Johnson and William Spratelly, and Paige and Ebo both left in 1980. Still, Melvin soldiered on, helming one last album of new material for Philly World in 1984's hopefully titled Talk It Up (Tell Everybody). It was mildly popular in the U.K., but not enough to re-establish them. Melvin continued to tour with versions of the Blue Notes steadily into the '90s, and Paige eventually returned to the fold as well. Sadly, Melvin suffered a stroke and never fully recovered; he passed away on March 24, 1997, in his beloved hometown of Philadelphia.

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The third album from the melodramatic smooth soul quintet featured an array of R&B classics. While Teddy Pendergrass was featured on this album, he did not lead every song. The three singles -- "Where Are All My Friends,""Bad Luck,""Hope That We Can Be Together Soon" were all Billboard R&B Top Ten chart hits, and "Bad Luck" reached number one, sporting an incessant grooving rhythm where Teddy Pendergrass cuts into the lyric with conviction. "Hope That We Can Be Together Soon" features the velvety smooth vocals of Sharon Paige on an easy-flowing number. While Harold Melvin carries most of the vocal duties, Pendergrass steps in for a one-liner and closes out on the vamp. Whereas most ballads climax towards the end of the song, the most climatic part of this number one song is the string and horn intro. This is one of four consecutive great albums to come from the Philadelphia vocal quintet.



Harold Melvin and The Blue Notes - To Be True   (flac  228mb)

01 Where Are All My Friends 3:22
02 To Be True 4:42
03 Pretty Flower 5:42
04 Hope That We Can Be Together Soon 3:45
05 Nobody Could Take Your Place 4:22
06 Somewhere Down The Line 4:55
07 Bad Luck 6:29
08 It's All Because Of A Woman 5:26

Harold Melvin and The Blue Notes - To Be True (ogg     87mb)

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Philly soul staples Harold Melvin & the Blue Notes were in full swing on 1975's Wake Up Everybody. Sporting their trademark lush, string-laden production from Gamble and Huff (who also wrote about half the album's material), the smooth soul outfit delivers a mix of deep soul balladry and uptempo dance tracks. The title track, with its socially relevant messages, is a standout. There is no shortage of fine vocal performances all around, notably from Melvin and from future solo star Teddy Pendergrass.



Harold Melvin and The Blue Notes - Wake Up Everybody    (flac  329mb)

01 Wake Up Everybody 7:32
02 Keep On Lovin' You 3:41
03 You Know How To Make Me Feel So Good 5:17
04 Don't Leave Me This Way 6:04
05 Tell The World How I Feel About 'Cha Baby 5:53
06 To Be Free To Be Who We Are 5:05
07 I'm Searching For A Love 5:22
Bonus
08 Don't Leave Me This Way (A Tom Moulton Mix) 7:05

Harold Melvin and The Blue Notes - Wake Up Everybody (ogg     113mb)

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Harold Melvin & the Blue Notes' first album without any involvement from Teddy Pendergrass and Philadelphia International Records is better than anticipated. David Ebbo sounds identical to Pendergrass and delivers some spirited leads on the skimpy eight-song LP. Ebbo excels on "Reaching For the World," an uplifting, be-what-you-wanna-be song that sounds like a Gamble & Huff production. He continues the duet trend he started with Sharon Paige with the mellow "After You Love Me Why Do You Leave Me." Some of the songs are weak; "Hostage Pt. 1 & 2," for instance, doesn't live up to its intriguing title. Overall, though, this is a good first effort and proves that the Blue Notes' sound didn't leave with Pendergrass.



Harold Melvin and The Blue Notes - Reaching For The World  (flac 250mb)

01 Reaching For The World 4:20
02 Where There's A Will - There's A Way 3:55
03 After You Love Me, Why Do You Leave Me 4:41
04 Sandman 4:11
05 Hostage Part 1 & 2 6:27
06 He Loves You And I Do Too 3:35
07 Big Singing Star 3:31
08 Stay Together 4:48

Harold Melvin and The Blue Notes - Reaching For The World (ogg  84mb)

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The skeptics had their suspicions allayed quickly when Teddy Pendergrass' debut album as a solo singer cracked the Top 40. Its lead single, "I Don't Love You Anymore," was among his best uptempo tunes, and the follow-up ballad "The Whole Town's Laughing at Me" ended any speculation that he was returning to Harold Melvin & the Blue Notes. While many thought the album would launch him to consistent R&B success, almost no one thought he would be R&B's biggest male star in a couple of years.



Teddy Pendergrass - I   (flac  221mb)

01 You Can't Hide From Yourself 4:06
02 Somebody Told Me 5:12
03 Be Sure 5:16
04 And If I Had 4:21
05 I Don't Love You Anymore 3:58
06 The Whole Town's Laughing At Me 4:27
07 Easy, Easy, Got To Take It Easy 4:53
08 The More I Get, The More I Want 4:25

Teddy Pendergrass - I  (ogg   88mb)

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Hello, well i got my money back for that defective Seagate i mentioned yesterday the girl at the desk wasn't particularly interested in my efforts to revive it, it was within warranty and i had the receipt. I immediately bought a new one at a slightly inflated price, oh joy there's 3 TB more space for data, to think my first pc, 19 years ago had 5 gig, i lived happily with that for years, this internet is getting into our brains demanding evermore space, who knows in 100 years it may have consumed us all and this experiment in materialist living has come to an unsuccesful end....



Today's Artist stands for a 2 decades of experimental electronic, dubtech and consequently pushing dubhouse tracks for intense nights on the floor. In this process the productive artist likes to integrate himself in different artistic constellations with project pseudonyms such as Saafi Brothers and Aural Float into ambient, space and experimental sound scapes… Next to his music projects Gabriel also works with Aural Float on audiovisual concepts: as a team they did the artistic supervision of Spacenight, a prototype of an integral TV-concept, utilizing spectacular film- and documentary footage from outer space with music made on earth. With an open mind and always in a search for fresh musical experiences, our man keeps on exploring electronic music. With Dr. Motte, he started mixing electronic music, focussing on the pure aspects of dance. Still following that path that led them together searching for the soul in the machines, the music lovers are playing with the various settings inside their electronic devices to get the sound and atmosphere they were after for. ....N'Joy

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Gabriel Le Mar is one of the high profile musicproducers and lives and works in Frankfurt/Germany. He is bringing together different musical styles such as Dub, Techno and "electronic leftfield music", which you can hear in his productions. Gabriel was born in Germany, the son of Greek parents, and grew up in Berlin. Around 1984, he gets his first stage experience as a professional club dj and bassman of a band experimenting with electronic sounds. In 1987, Gabriel studied at the HdK, Berlin (University of Fine Arts) and got a diploma in "Society and Economy Communication". Then he worked as an Art-Director in advertising agencies but could never quit producing music and soon he produced soundtrax for commercials still today. 1987, in Berlin he gets in contact with the art "pop project" Bamboo Industry and they released longplayers on a major label plus an extensive tour with appearances at big festivals. Besides "Bamboo Industry", Gabriel is also part of the Berlin based experimental electronic project, "Cosmic Trigger" with Mike V.A.M.P. from the "Märtini Brös".

1992, Gabriel moved to Frankfurt and became founder of the electronic project Saafi Brothers. Together with Frankfurt based producer "Michael Kohlbecker" (Eternal Basement), Gabriel did a remix for the German number one hit "Sie ist weg" by the hip hop group "Die Fantastischen Vier". 1993, inspired by the mix techniques of "Jamaican dub music", Gabriel was also a member of the successful local "dub club concept" Serious Dropout with the producers "Jammin´ Unit" (Air Liquide), "Tricky Cris" and "The Reverend". The unique connection of dub reggae, electronics, ambient and techno sounds featured musicians and producers from Jamaica (like Yah Meek) and the UK (like Rootsman) and they released 3 albums on a major label.

1994, soon, Gabriel followed this concept not only at the monthly dub nights in Frankfurt, but also at other events, including DJs more influenced by techno and electronic sounds. He met Alex Azary, mastermind of the XS-Club, at this time one of the leading venues for ambient and chill out sounds in Europe. Together, they formed the Aural Float project and appeared on the stages of many events all over Europe (Montreux Jazz Festival /CH, Mayday, Rave City, Universe, and Euphoria). In the same year, Aural Float released their first track on a various artists compilation put out by a major label. The producer Pascal FEOS became a member of the project and they delivered a well acclaimed remix for Sven Väth.

1995, the first Aural Float album Introspectives was released on the Elektrolux label.
 Eversince their first "chill out sessions" at Frankfurts legendary XS Club, Aural Float has remained one of the main driving forces for the German electronic-leftfield music scene.
 In order to achieve visionary progress for electronic music, they started the Elektrolux-Label and joined UK designer "Neville Brody" in creating the corporate design of Elektrolux. The project raises public attention and interest for innovation. They also cooperate with diverse artists and cross genres from media to video to movie to photography and graphic design.

1996, Aural Float created the soundtrack for the TV-series Space Night broadcast by "German station BR" every night. As a team they did the "artistic supervision" of SpaceNight, a prototype of an integral tv-concept, utilizing spectacular pictures and visionary soundscapes which became a landmark success on german television and was highly acclaimed on an international level and remains a synonyme for chillout until today. Since then his music can be heard every night as part of the successful "Space Night", showing pictures from planet earth taken from space. Aural Float took over the musical direction for the concept of the tv-series and associated CD/Vinyl compilations series as well.
 Alongside the SpaceNight activities and the ongoing work for the first Saafi Brothers album, he was also busy with live appearances with different acts at the first Cocoon events in Frankfurt, Munich and Copenhagen, and at festivals like Vision (CH) and Roskilde (DK). Gabriel also played in clubs like the Colosseum (London), Fuse (Brussels), Orbit (Leeds), Sensor (Zürich).

 1997 the Saafi Brothers debut "Mystic Cigarettes" came out on the well known british label BlueRoomRel./UK. With the internationally successful and today classic album the project consisting of Frankfurt/Germany based producers Gabriel Le Mar, Michael Kohlbecker, Alex Azary and Groovetitan immediately placed itself among the first row of the international ambient and electronic scene. Tracks from the album have been released on numerous compilations, the extracted 12"³Internal.Code.Error.930" featured a remix by british techno/dub project Bandulu and became a club hit.

1998, Gabriel and his Saafi Brothers partner, Michael Kohlbecker, put out the techno influenced Def=Lim album from their side project, "Montauk P.", which is also signed to BlueRoomReleased/UK. In London, he was in recording-sessions with "Mike Maguire" (Juno Reactor) and the legendary Band Amampondo (South Africa). On Elektrolux the "Dub Mix Convention" series was released.

1999 Gabriel Le Mar began to record his first solo album "Gab´s Lab", which was released on SpiritZone and represented a journey through Gabriels musical influences from dub and electronics to techno and trance. For the first time, he played in the USA, doing shows in New York and San Francisco. More dates followed in places like Vienna, Copenhagen, Zurich and Tokyo. Also in 1999, Gabriel started new projects with "Dub_Connected" (Liquid Audio Soundz) and "Banned-X" (multiColor), which included different guest artists and combined the whole spectrum of electronic music with "dub and reggae elements".  2000 Gabriel released his second solo album "Gab´s Gift" on SpiritZone, which widened the concept of its predecessor with even more musical components. Gab´s Gift was album of the month in German music mags like Keyboards and Raveline. Also on stage Gabriel performed at festivals like Lovefield, Excalibur, Liberty One, Moonflight and Love Parade, as well as in clubs like Nostru (Helsinki), Gaskessel (Bern) and Matrix (Zurich).  After a long tour with numerous live and dj sets (a.o. TribalGathering/UK, Roskilde/DK) Saafi Brothers returned to the studio and delivered their second longplayer on BlueRoom/UK, "Midnight´s Children". The album represented another perfect demonstration of the Saafi-style made up of the will to experiment and a feeling for the combination of different influences between West and East.

2001 Gabriel entered the studio alongside "Alex Azary" and "Pascal FEOS" to record the long awaited second Aural Float album Freefloat. It features a musical spectrum including ambient, downbeat, and electronic sounds.Together with Tokyo/Japan based producer "Toby Izui", Gabriel started the project Supercruizer. The album, Skydiverz (Superstition Records) combined Techno and electronic sounds with far East vibes. The second "Dub_Connected" album "Electronic Music" appeared on "Liquid Audio Soundz".  2002 Gabriel Le Mar introduced his 3rd solo album "Hear and Now" on SpiritZone Rec. (heavy rotation at Raveline mag). Gabriel Le Mar has remixed artists like "Anne Clark", "Thomas D", "Bob Marley", "Martha + the Muffins", shaping his personal vision of global electronic music and the co-existence of styles.

2003 "Gabriel Le Mar" and "George DIN" released "Studio India", a sampling-CD on bestservice and also produced his 4th solo album "Short Stories" on SpiritZone Records, which became album of the month in "Raveline magazine". On SHORT STORIES the selected tracks form a progressive journey through electro breaks, dance beats and "magnetising instrumental atmospheres".A ten stories soundtrack of self-discovery. In 2003 as well the third album of Saafi Brothers, "Liquid Beach" on Saafi Rec./EFA came out. The album also received good reviews (heavy rotation in Raveline) and became no. 1 at the offical "German Chill Out album charts" DCOC and toured in europe with the live band. Gabriel Le Mar and Saafi Brothers, both play their live-sets with computer, FX and controllers. In accordance to their versatility as producers, their dj sets also cover a wide spectrum of electronic music: both will take us on a trip through a variety of "4-2-the-floor-styles" from "deep and minimal TechHouse" to "energetic soulful Techno" on the decks, merging his own productions into one mix together.

2004 Gabriel Le Mars 5th solo album "Nightradio" was released on C.O.R.N. rec. and was for several weeks no. 1 at the Deutsche Chill Out Album Charts. Digital studio production and innovative programming trickeries meet acoustic guitar. Nightradio is a synthesis of beautiful listening and some "slow and groovy tracks". Since then Gabriel produced over more than 150 tracks solo and in various formations. 2005 Aural Floats 3rd. album "Beautiful Someday" (with Pascal FEOS and Alex Azary) was released on Elektrolux on CD and comes in 2006 with special video-artworks on DVD. "Kim Sanders" is chanting on 5 tracks of this album. 2005 is also the year, in which the Elektrolux label celebrated its 10th anniversary. The jubilee started with the nighttime "Flowmotion-tv-chillout-special"as well as with furthermore visual music-DVD´s, featuring the sound of Aural Float and Gabriel Le Mar. The videos can be seen at a Flowmotion tv chill out special at German station Hessen TV (HR) via "Astra satellite". With "Flowmotion" Elektrolux hosts another successfull tv-Chill-Out-special that is being broadcasted also every night.



Being a productive and live experienced artist since more than a decade, Gabriel Le Mar seeks to integrate inspiring moments from his travels from India, Nepal and Japan with a visual appearence into his music. Meanwhile Gabriel focussed his live performances also on visuals as well as live sequenced music itself. Combined with a passion for ambientdub and trip hop, the rhythmic roots in his sound are hard to ignore and crosses the definitions between dance and listening music. 2006 Gabriels first DVD Reel Time will be released on Elektrolux. Gabriel Le Mar surprises by sophisticated graphic and cinematic interpretations of his music. Gabriel performs the clips and tunes from his new solo album "Reel Time" live and very electronic...according to the vibes and the special atmosphere of the moment...

2007 Saafi Brothers hit a perfect balance of electrodub with their 4th album "Supernatural". Saafi Brothers put together a unique blend of riddims and synthesis with an emphasis on live sound manipulations, deep basslines and "dub-wise grooves". 2007 Aural Float , release their first DVD Moving Images. The DVD includes selected "Aural Float" tracks as well as comprehensive bonus material. The tracks are interpreted anew in an exciting way by well-known video artists, based on high quality film material from "Corbis Motion" and music from their last album "Beautiful Someday". Aural Float also did deep remixes of Juli`s single "Dieses Leben", Xavier Naidoo`s single "Zeilen aus Gold" and A-ha`s single "cosy prisons". 2008 Gabriel and Alex produced - Subsonic Park - and move on entirely new ground. "Second Skin", the first vinyl release from the album "Inner City Codes", starts with "deep ambient dubhouse", syncopic chords and gently demanding percussive beats. A sensual form of dub allowing memories of the "Basic Channel series"....

The origins of "Subsonic Park" date back about 10 years ago. In the context of Sven Väths regular gigs at the UK cult club Orbit, Leeds, they were DJing on the second floor. "At our gigs, my partner used to be at the turntables and I played with my synthies and samplers in real-time. This way, our shows were always a mixture of DJ performance and live act. Now, this special mix of club music and experimental electronic music also characterizes the productions by Subsonic Park as far as tempo, deepness, syncopic chords and dub sequences are concerned.  2009 is a very productive year for Gabriel. His new album DUBWIZE sounds refreshingly variable and discrete, caused by an uncoerced approach in the studio and conveyed by the input received by the creative exchange processes with his project partners and last but not least, the musical socialization which encompasses rich influences from "King Tubby" to "Andy Scott" is definitely a factor which helps gabriel to stay refreshingly flexible. In this process the productive artist likes to integrate himself in different artistic constellations with project pseudonyms and Co-ops with "Dr. Motte", "Pete Namlook", "Justin Sequence" and "Subsonic Park".

2010 African funk and "african musical traditions" and culture influenced Gabriel in many ways.
 On his new album JUMP CUTS Gabriel Le Mar co-opted again with singers and songwriters from South-Africa like "Busi Mhlongo", "Lungiswa Plaatjies", "Madala Kunene" and "Mantombe Matotiyani" from Amampondo, one of Nelson Mandela`s favourite bands. Fusing techhouse and dub influences with the local style of south african music like Kwaito, Maskanda and traditional Zulu music into modern club sound. The result is a fusion of ideas that became evident through the characteristic expression of these artists, whose vocal performances oscillate between traditional to contemporary, and that are merged in the techhouse mix with a soul and dub feel. "It`s about combining these styles, the physical energy of "digital club and dancefloor sounds" with hypnotic afro-rhythms and the vocal-power. It`s about to push the musical styles and to find ways to intensifying our tracks both emotionally and meaningwise"

2011 Gabriel Le Mar nices up with his album Level, it features Gabriel´s affinity to Techno, TechHouse and Detroit influences, while Dub sound is what connects the tunes in all the variations. All tracks are made for the floor but also work in pure listening fun if you like music that can tell stories. Moody floating sounds, bassy grooves and atmospheric filterworks as well as danceable deepness are the carrying elements of Level. Gabriel was looking to find the right balance of emotion in "sound and groove" and to give space for floating lyricism on the music. Level features vocal performances with lyrics by his friends Ingo Ito and George DIN, who are both excellent musicians and writers. On Level, Gabriel Le Mar exposed himself on different levels and put the focus more and more on the groovy DubTechno beat and refer more to "atmospheric Detroit Techno". This special mix of club music and "experimental deepness", syncopic chords and dub sequences characterizes his productions.

2012 With his new vinyl label Dub2Dust Records, Gabriel steps on a new ground, releasing electronic dance music with a special focus on the various colours of deep DubTechno and "Dub inspired TechHouse". The dub-feeling is clearly the inspiration behind the general flavor of the dub2dust sound and will demonstrate innovative efforts to offer interesting hybrids of techno/house music. Dub2Dust is operated by Gabriel Le Mar and Carsten Schorr. the sound: from Electro-Ambient to Dub-inspiered Minimal-Tech-House....2012 Lifes filled with music Dr. Motte and Gabriel Le Mar still following the path that they have led them together, searching for the soul in the machines. On different sessions the two tracks The Breeze and Puttin` On The Green Hat were recorded at Gab`s lab in Frankfurt, playing with the various settings inside their electronic devices to get the sound and atmosphere they were after for. The two EP`s draw its energy from the deep and dubby tension to put the listener in a trance-like state and were release on Motte`s imprint Praxxiz.

Saafi Brothers latest album Live on the Roadblog was released on iboga records in Febr 2014. Music and ideas and the interaction process will always go on, the Saafi Brothers tell us a lot of stories. With “Live on the Roadblog” they walk a deep line between ambientdub orientation and blissed out beats. Luca Anzilotti, George DIN and Rikta join Gabriel Le Mar, Michael Kohlbecker and Groovetitan for the production. Sleepless-faced on music Saafi Brothers digged deep into a series of "live recording sessions", rediscovering the emotional depth of "real-time created music" after a couple of live shows that fueled the idea of creating an entirely live recorded album. In a jammin´ good time it becomes more and more developing into something more meaningful, working with lyrics and create moments. The result is the organic flow and deepness in "Live on the Roadblog", linking the message like secret friends on the road.

2014 launches the first free download track "Moving Crossraods" from Saafi Brothers, their podcast and in February their new album "Live on the Roadblog" on Iboga Records. With Live on the Roadblog Saafi Brothers walks a deep line between ambientdub orientation and blissed out beats. Luca Anzilotti joins Gabriel Le Mar, Michael Kohlbecker and Groovetitan for the production.

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"Hear And Now" from Gabriel Le Mar is an incredibly fresh-sounding techno-trance-experimental hybrid, drawing in influences from world music, electro, ambient and all with a heavy dose of live instruments. "Experience The Lightness" is a wonderfully restrained opener, while "In Some Other´s Life" picks up the pace with a housey, dance-all-night vibe. "Machine Karma", as its name suggests, is a tricky fusion between old and new, featuring live didgeridoo over staccato techno rhythms, and "Right From The Heart" is a catchy leftfield/electro number featuring German singer and producer "George DIN". Le Mar´s more reflective, experimental and spiritual side is prevalent on "Find A Passage To India", and on two sublime tracks featuring a host of Indian musicians, "Journey To Eurasia" and "Hear And Now". The dubby worldstomper vibe of "Travelogue" is a delight, and with the semi-chilled, semi-breakbeat bliss of "Into Deep", this is an album of depth and intricacy which is geared less to the dancefloor and more to your lounge, beach spaceship or hammock.



Gabriel Le Mar - Hear And Now  (flac 522mb)

01 Experience The Lightness 6:36
02 Sunrise To Sunset 8:04
03 In Some Other's Life 6:08
04 140 Degrees 6:55
05 Machine Karma 8:27
06 Right From The Heart - Feat. George Din (Dub-Mix) 5:23
07 Find A Passage To India 7:40
08 Travelogue 5:40
09 Into Deep 5:41
10 Journey To Eurasia 8:23
11 Here And Now 6:09

Gabriel Le Mar - Hear And Now   (ogg 210mb)

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Gabriel Le Mar is out with his fifth album. He is also known for other projects, such as Saafi Brothers Aural Float etc. He has mostly released music on Spirit Zone Records, but this time he releases on C.O.R.N. Records, which is the same label as Entheogenic released their wonderful second album. This time, he has also collaborated with another artist called Cylancer. Gabriel Le Mar delivers quality as always. This time we get a little bit more organic sound than usual, more chilled tracks and great variation.



Gabriel Le Mar vs. Cylancer - Nightradio (flac  484mb)

01 Water And Electricity 7:20
02 Mello Bits 6:38
03 Welcome To Dreamland 4:08
04 Flight 108 5:15
05 No. 1 Mantra 7:20
06 111 FM 5:57
07 Interlude 1:00
08 Ambient Jam 5:28
09 Nightradio 6:00
10 Filtered Reality 6:56
11 Nightbus 116 (Marble King Mix) 6:53
12 Walking On A Jetwing 6:55

Gabriel Le Mar vs. Cylancer - Nightradio (ogg 169mb)

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Gabriel Le Mar is well-known beyond the national borders. His releases on labels such as Spirit Zone, BlueRoom and multiColor are countless. Additionally, he did some legendary remixes, e.g. for Bob Marley and Air Liquide. On Reel Time, opulent stringslayer in early nineties tradition (“Firefly”), percussively enriched progressive House with a pinch of Acid (“Stick Dance”) or orientally inspired Dubfunk (zero db) can be found - a real cornucopia of style-determining factors from Le Mar's broad musical socialisation between Ambienttrance, Downbeat, Chillout, Electro and, of course, lots of Dub. Thus, Reel Time kind of takes a stock of the Elektrolux sound from somebody with a deep understanding, bringing this mix of elements together to a synthesis in best “reel time” - just in the middle of the magic interface between past, present and future of electronic music! It is quite a mystery why the mastermind of Ambient Dub and co-founder of the Spacenight compilations waited to relase his solo debut until the eleventh year of the label history. Only when listening very carefully, the solution becomes obvious: Reel Time adds a new, powerful feeling to the Elektrolux sound - a brilliant intersection which had just been missing in the perfectly arranged world of electro. Gabriel Le Mar at the right time - enjoy Reel Time in sound and vision.



Gabriel Le Mar - Reel Time (flac 476mb)

01 Ta2ed (Liquid Dubmix) 7:12
02 Reels Of Steel 6:08
03 Tokyodrive 6:46
04 Firefly 8:14
05 Stickdance 6:29
06 The Gathering 7:14
07 Jazzy Mid-On 6:08
08 Zero DB 5:42
09 Travellight 7:58
10 Without A Warning 4:31
11 Seaside (X-Tended Album Mix) 6:48

Gabriel Le Mar - Reel Time (ogg 181mb)

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8 new tracks which are tailored for the "dub inspired clubber", combining different playful approaches of Dub with the functionality and stringency of techhouse music, without sounding like another "Basic Channel" epigone, but rather to focus on an own approach with different methods and results. Precisely this means that the length of an album context is used to tell a story: agile tracks like the opening "Dubster" mixes and the more minimal pounding "Love Dub" alternate with "spheric minimal groovers" like "Seasonal Dub" and "Time For Everything". Bridges are built by more minimal functional grooves like "Minitex" or "Nova Bluez" which give an opportunity to exhale. A perfect on-the-point production, Dubwize sounds refreshingly variable and deep.



Gabriel Le Mar - Dubwize (flac 314mb)

01 Dubster 7:36
02 Nova Bluez 7:14
03 Seasonal Dub 7:56
04 Funkstern 7:52
05 Love Dub 8:13
06 Minitex 7:08
07 Time For Everything 8:33
08 Motorace (Dub Mix) 7:03

Gabriel Le Mar - Dubwize (ogg 140mb)

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Hello,

There's a profound spiritual possibility open to all people: the opportunity to be absolutely connected to the source of all life, and have that energy steer us in the direction of destiny. Kundalini is the natural creative alignment with the divine; it is our inherent birthright that most have been separated from. How do you unify lower and higher self so that you may reactivate your Kundalini? What would be the advantages of doing so? Activating Kundalini is like connecting to the fast track of the internal superhighway - plugging directly into the 'mains' of universal consciousness... ..N'joy.


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To me the soul is a flowing stream of consciousness, out from the source and back again. In an aligned state, it's an eternal flow of creativity, symbolised by the figure 8. You're in creative alignment with the divine, every step feels interconnected with the universe, an orchestra of synchronicity sounding in your ears. It's like every action is supported, and even when your creative manifestation is blocked in the physical world by someone or something, you're still able to appreciative the deeper significance, the deeper meaning, the higher teaching that all co-creators in the event are being invited to realise. This interconnected flow of creativity is the harmonious flow of an aligned and balanced soul. This is kundalini. We can reactivate this kundalini. And to do so will guide you on a profound journey of rediscovery of who you truly are and your place in the cosmos. You become once more an active channel for divine expression. So how do you do it? How do you reclaim your true nature?



Kundalini Activation 1,2 (mp3  56mb)

01 Kundalini Activation Module 1 31:08
02 Kundalini Activation Module 2 31:03

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Previously

Stansilaw Lem - Solaris (mp3  52mb)
Stansilaw Lem - Solaris 2 (mp3  52mb)

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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 while many of the performers during the heyday of Tropicalia and the rise of MPB (música popular brasileira) opted for a more radical stance in their challenge to Brazil's political and cultural authorities, artists like Jorge Ben took a more understated approach. Rather than use overly theatrical performance to shock the audience or write songs loaded with political content, Ben became known as one of the country's great musical alchemists, a furiously eclectic songwriter who combined elements of indigenous Brazilian music with a groove from the west coast of Africa.  With that he became one of the most respected and resilient figures in Brazilian pop.  ...  N'Joy

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Born (March 22, 1945) Jorge Duilio Lima Menezes in Rio de Janeiro, he first took the stage name Jorge Ben after his mother's name (of Ethiopian origin) but in the 1980s changed it to Jorge Ben Jor (commonly written Benjor). Jorge Ben obtained his first pandeiro (Brazil's most popular type of tambourine) when he was thirteen, and two years later, was singing in a church choir. He also took part as a pandeiro player in the blocos of Carnaval, and from eighteen years of age, he began performing at parties and nightclubs with the guitar that his mother gifted him. He received the nickname "Babulina", after their enthusiastic pronunciation of Ronnie Self's song "Bop-A-Lena". Was presented to Tim Maia by Erasmo Carlos, soon discovered that Maia was also known for the same reason. It was at one of those clubs in which he performed that his musical career took off. In 1963, Jorge came on stage and sang "Mas Que Nada" to a small crowd that happened to include an executive from the recording company, Philips. One week later, Jorge Ben's first single was released.

The hybrid rhythms that Jorge employed brought him some problems at the start of his career, when Brazilian music was split between the rockier sounds of the Jovem Guarda and traditional samba with its complex lyrics. But as that phase in Brazilian pop music history passed, and bossa nova became better known throughout the world, Ben rose to prominence.
Holdings both television programs O Fino da Bossa and Jovem Guarda from Rede Record, after being reprimanded by the production of "O Fino da Bossa", chose to participate in the Jovem Guarda, soon after, joined the program Divino, Maravilhoso from TV Tupi, presented by Caetano Veloso and Gilberto Gil.

Jorge Ben's first public appearances were in small festivals organised by his friends, where bossa nova and rock and roll predominated. As with most musicians of the time, Ben was initially influenced by João Gilberto even though he was quite innovative in his own right. The aforementioned song, "Mas Que Nada", was his first big hit in Brazil, and remains to this day the most played song in the United States sung entirely in Portuguese.[citation needed] Outside of Brazil, the song is better known in cover versions by Sérgio Mendes and the Tamba Trio. The song has also been reinterpreted by jazz luminaries such as Ella Fitzgerald, Oscar Peterson, Dizzy Gillespie and Al Jarreau; as well as other samba artists of the time, such as Elza Soares. His musical work has been vastly sampled by music producers and DJ's, and covered by many bands in a variety of genres such as heavy metal, disco, rock, reggae, jazz, drum and bass, house music and more.

In 1969, Jorge Ben released his self-titled album amid the excitement of the cultural and musical Tropicália movement. The album featured Trio Mocotó as his backing band, who would go on to launch a successful career on the back of their association with Ben. The album was noted for "País Tropical," one of his most famous compositions, although it would be Wilson Simonal who would take his recording of the song to the top of the charts in Brazil that same year. Instead, the song "Charles, Anjo 45", also from the self-titled album, would become Ben's biggest self-performed chart hit of the year.

In the 1970s, Jorge Ben released his most esoteric and experimental albums, most notably A Tábua de Esmeralda in 1974 and Solta o Pavão in 1975. In 1976, he released one of his most popular albums: "África Brasil," a fusion of funk and samba which relied more on the electric guitar than previous efforts. This album also features a remake of his previously released song "Taj Mahal," from which Rod Stewart's 1979 hit "Da Ya Think I'm Sexy? was plagiarized (a matter that he claimed was settled out of court in his favor).

In 1989, Jorge changed his recording label as well as his artistic name, becoming Jorge Benjor (or Jorge Ben Jor). At the time, it was said that there were numerological reasons for his change in name; other sources say it was in response to an incident where some of his royalties accidentally went to American guitarist George Benson. In 2002, Jorge Ben contributed to the critically acclaimed Red Hot + Riot, a compilation CD created by the Red Hot Organization in tribute to the music and work of Nigerian musician, Fela Kuti, that raised money for various charities devoted to raising AIDS awareness and fighting the disease. He collaborated with fellow hip-hop artists Dead Prez, Talib Kweli, and Bilal to remake the famous song by Fela Kuti, "Shuffering and Shmiling," for the CD.

In 2006, a remake of Ben's "Mas Que Nada" became an international chart hit for Sérgio Mendes with The Black Eyed Peas after being used by Nike in a global TV advertisement during the 2006 FIFA World Cup; this remake (the second time Mendes had covered the track) reached the Top 10 in several European countries, including the UK and Germany, in addition to reaching Number 1 in the Netherlands. Jorge Ben is also a big fan of Flamengo, a Brazilian football club, located in Rio de Janeiro, which counts Zico, Junior and Leandro among their former star players. Ben's interest in football carries over to his music, as many of his songs deal with the subject, such as "Flamengo,""Camisa 10 da Gávea,""Ponta De Lança Africano (Umbabarauma),""Zagueiro," and "Filho Maravilha."

On July 7, 2007 he performed at the Brazilian leg of Live Earth in Rio de Janeiro. On March 20, 2011 his name was mentioned in President Barack Obama's speech in Rio de Janeiro, Brazil at the Theatro Municipal (Rio de Janeiro). President Barack Obama quoted: "You are, as Jorge Ben-Jor sang, “A tropical country, blessed by God, and beautiful by nature.”"



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1969 was a big year for Jorge Ben. While he was already an established veteran in Brazilian musical circles, he refused to align himself with either the Jovem Guarda or MPB movements because he found both camps willing to abandon samba in favor of popular styles from North America and England. That ambivalence hurt him professionally but not creatively -- until the release of this self-titled classic. When the new tropicalia crew heard the set, they were floored and they attempted to draft the brilliant singer, songwriter, and multi-instrumentalist into their fold. If emulation is the best form of flattery, it happened immediately. Two tracks from this set, "Que Pena" and "País Tropical," were recorded immediately by Gal Costa and showed up on both her 1969 releases. Caetano Veloso recorded this set's final track "Charles, Anjo 45" for his own self-titled recording that same year. While the cover of this album is psychedelic enough to be folded into the emergent tropicalista brand, the music tells a different story. True to his feelings, Ben kept the samba as the central tenet of this recording. It's true that he drew great inspiration from American soul music, but rather than attempt to create a style of music that was merely derivative of it, he went out of his way to write songs and collaborated with his two great arrangers, José Briamonteand the great Rogerio Duprat to inspire that samba and soul flowed seamlessly together. Further, he and producer Manoel Barenbien used reverb and other sounds to great effect. The end result is a recording that sounds truly revolutionary even in the 21st century. Samba and Brazilian folk forms dominate the structures of these tunes. Rhythmically, it couldn't be further from soul. "Criola," that opens the album, is a perfect example. While horns and strings reflecting Motown's psychedelic soul sound of the era are heard prominently, the shifting time signature, the strong acoustic guitar flow in the forefront, whistles, berimbaus, hand drums, shakers, and chanted choruses behind Ben's breezy delivery bring out all the most infectious elements of samba. "Domingas," which follows, is the tune's mirror image; a ballad saturated in wispy flute, the constant presence of the backing voices, maracas, and the choppy, rhythmic acoustic guitar and a baritone sax solo emulating the lyric on the second chorus offer something emotionally riveting, and seductive, even if the tune is rather socially and politically charged with ambivalence. "País Tropical" marries soul and samba to Caribbean calypso with a beautiful call and response lyric and chorus. But it's not just the music. Ben is a poet as well as a songwriter. "Take It Easy My Brother Charles," reflects the tension between races and celebrates the black element in Brazilian and even world society, and the creative debt owed to Africa prefigures the Black Rio movement by three years. The shifting meters in "Descobri Que Eu Sou Um Anjo," where the strings hold true to one rhythm and harmonic structure and the rest of the instruments and voices follow another, is delirious and enchanting. This set stands out a bit because while it sums up all the places he'd been in the '60s, it also prefigures the funkier elements that he would embrace as the '70s emerged. Two periods of Brazilian culture are embraced here, held in an uneasy tension that nonetheless feels seamless in this brilliant recording.



Jorge Ben - Jorge Ben (flac  264mb)

01 Criola 3:30
02 Domingas 3:31
03 Cadê Tereza 3:22
04 Barbarella 3:14
05 País Tropical 4:10
06 Take It Easy My Brother Charles 2:36
07 Descobri Que Eu Sou Um Anjo 4:04
08 Bebete Vãobora 2:35
09 Quem Foi Que Roubou A Sopeira De Porcelana Chinesa Que A Vovó Ganhou Da Baronesa? 3:07
10 Que Pena 3:01
11 Charles Anjo 4:50

Jorge Ben - Jorge Ben   (ogg  111mb)

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The combination of Jorge Ben and Trio Mocotó had already produced great things when Força Bruta first appeared in 1970. Ben's self-titled album of the year before had reeled off a succession of Brazilian hits, including "País Tropical" and "Cadê Teresa," and made the four musicians very busy as a result. Força Bruta was a slightly different album, a slice of mellow samba soul that may perhaps have been the result of such a hectic schedule during 1969. One of the hidden gems in Jorge Ben's discography, it's a wonderful album because it kept everyone's plentiful musical skills intact while simply sailing along on a wonderful acoustic groove that may have varied little but was all the better for its agreeable evenness. The songs may have been more difficult to distinguish -- virtually every one began with acoustic guitar, similar instrumentation, and Ben's caressing vocals over the top -- but it made the record one of the best in Ben's hearty career.



Jorge Ben - Forca Bruta  (flac  275mb)

01 Oba Lá Vem Ela 4:12
02 Zé Canjica 3:50
03 Domenica Domingava Num Domingo Toda De Branco 3:47
04 Charles Junior 6:05
05 Pulo, Pulo 2:47
06 Apareceu Aparecida 3:14
07 O Telefone Tocou Novamente 3:48
08 Mulher Brasileira 4:23
09 Terezinha 3:11
10 Fôrça Bruta 5:08

Jorge Ben - Forca Bruta   (ogg   110mb)

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Negro E Lindo is a worthy successor for the great album he had released in the previous year - Forca Bruta. Jorge now takes his sound further toward a tropical Soul, a style that was his unique invention. But there are also still those hypnotic Samba grooves. Clearly, Negro E Lindo belongs to those master albums Jorge Ben bestowed to the world. with a good handful of records, Jorge Ben enriched Brazilian Pop and beyond, international Pop music.



Jorge Ben - Negro E Lindo (flac  233mb)

01 Rita Jeep 2:58
02 Porque É Proibido Pisar Na Grama 4:55
03 Cassius Marcelo Clay 3:33
04 Cigana 3:13
05 Zula 2:58
06 Negro É Lindo 3:30
07 Comanche 2:55
08 Que Maravilha 4:08
09 Maria Domingas 3:58
10 Palomaris 3:00

Jorge Ben - Negro E Lindo (ogg  96mb)

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This album is clearly the start of the samba rock fusion that Jorge Ben, a legend of Brazilian pop, is credited for. Acoustic nylon-string guitar, bass guitar, percussion trio. Basic, authentic elements of Brazilian pop and samba.
Jorge Ben's creativity is flowing freely here. He gets wise, playful (always), poetic, passionate, spacy and spaced out. The guitar riffs are spectacular and the percussion is authentic samba rock groove. The bass groove on "Take It Easy My Brother Charles" deserves special mention. It is groovy to the bone (try listening to "Criola", "Take It Easy My Brother Charles", "Bebete", "Pais Tropical" -- Brazil's unofficial national anthem). The album has a good, varied instrumental pallette. Some tracks have tasteful string arrangements with a slightly spacy feel ("Barbarella", "Sou Um Anjo"), some have piano ("Cadê Tereza", "Que Pena"), and even flute on "Quem Foi Que Roubou..."



Jorge Ben - Ben (flac 239mb)

01 Morre O Burro, Fica O Homem 2:06
02 O Circo Chegou 2:44
03 Paz E Arroz 2:04
04 Moça 4:59
05 Domingo 23 3:49
06 Fio Maravilha 2:11
07 Quem Cochicha O Rabo Espicha 3:28
08 Caramba!... Galileu Da Galiléia 2:29
09 Que Nega é Essa 3:33
10 As Rosas Eram Todas Amarelas 3:52
11 Taj Mahal 5:29

Jorge Ben - Ben (ogg   96mb)

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