jedna z najviac vymakanych veci ku akej sa da vobec dostat, patri k tym "nekonecnym nahravkam" ku ktorym sa da prakticky stale vratit :)
Music From the Soundtrack
01 - Pusher - Steppenwolf
02 - Born To Be Wild - Steppenwolf
03 - Weight - Smith
04 - Wasn't Born To Follow - The Byrds
05 - If You Want To Be A Bird - The Holy Modal Rounders
06 - Don't Bogart Me (Don't Bogart That Joint) - Fraternity Of Man
07 - If 6 Was 9 - Jimi Hendrix Experience
08 - Kyrie Eleison_Mardi Gras (When The Saints) - The Electric Prunes
09 - It's Alright, Ma (I'm Only Bleeding) - Roger McGuinn
10 - Ballad Of Easy Rider - Roger McGuinn
pw = missie
link na stiahnutie najdete na original post clanku:
- http://1900ginstreet.blogspot.com/2007/02/musicians-of-nile.html
na tomto blogu: http://ksoze.blogspot.com/
som nasiel
James Brown - Dynamite X (2007)
Temas
01. Sex Machine (Readymade Jazz Defector)
02. Give It Up Or Turnit A Loose (dZihan & Kamien Remix)
03. Call Me Super Bad (Cay Taylan Remix)
04. Give It Up Or Turnit A Loose (Fantasista Re-Formation)
05. Funky Drummer (Listen To The Muro Mix)
06. Cold Sweat (Captain Funk Dry Mix)
07. Sunny (Funk Master J.B. vs Funk Master J.S. Hardboiled Remix)
08. Soul Power (Jungle Funk Mix)
09. Get On The Good Foot (Mr. Drunk Remix)
10. Soul Power (Co-Fusion Mix)
11. Call Me Super Bad (Cornelius Rework)
http://ksoze.blogspot.com/2007/02/james-brown-dynamite-x-2007.html
a celkom podarenu zalezitost zo skveleho filmu
OST - City of God
tracklist:
1. Meu Nome E Ze - Ed Cortes & Antonio Pinto
2. Vida De Otario - Ed Cortes & Antonio Pinto
3. Funk De Virada - Antonio Pinto
4. Estoria Da Boca - Ed Cortes & Antonio Pinto
5. Na Rua, Na Chuva, Na Fazenda (Casinha De Sape) - Hyldon
6. A Transa - Antonio Pinto
7. Metamorfose Ambulante - Raul Seixas
8. Nem Vem Que Nao Tem - Simonal
9. Preciso Me Encontrar - Cartola
10. Alvorada - Cartola
11. Convite Para Vida - Antonio Pinto, S. Jorge Et Fabio Goes
12. No Caminho Do Bem - Tim Maia
13. Morte Ze Pequeno - Ed Cortes & Antonio Pinto
14. Batucada - DJ Camilo & DJ Yah [Remix]
http://ksoze.blogspot.com/2007/02/ost-city-of-god.html
a este jednu klasiku
INXS - Kick (Japan Special Edition)
1. Guns In The Sky
2. New Sensation
3. Devil Inside
4. Need You Tonight
5. Mediate
6. The Loved One
7. Wild Life
8. Never Tear Us Apart
9. Mystify
10. Kick
11. Calling All Nations
12. Tiny Daggers
13. Devil Inside (Remix Version)
14. New Sensation ( Nick 12" Mix)
15. Move On
16. Need You Tonight (Mendelsohn Mix)
17. Different World
18. Guns In The Sky (Kick Ass Mix)
http://ksoze.blogspot.com/2007/02/inxs-kick-japan-special-edition.html
Sex Pistols, raritne interviews, bootlegs a pod najdete
na tejto adrese:
http://rapidshare.com/users/7PT12O
Klasika
Miles Davis and the "Lost Quintet"
"A New Direction"
Miles Davis' late 1969/early 1970 performances with the "Lost Quintet" (Miles Davis (tpt); Wayne Shorter (ss, ts); Chick Corea (el-p); Dave Holland (b, el-b); Jack DeJohnette (d)) are unquestionably some of the most exciting of this long career. Named for the fact that they never recorded as a five-man lineup in the studio, and up until the 2001 release of Live At Fillmore East (March 7, 1970): It's About That Time, had never been featured on an official release, the "Lost Quintet" played an overwhelmingly important role in bridging Miles' older, more familiar material with his new electric direction. This meant that sets saw the unlikely pairing of standards like "'Round Midnight" or "I Fall In Love Too Easily" with "Bitches Brew" and "Miles Run The Voodoo Down," often segueing into one another to create a singular suite, and all overflowing with incredible intensity. A monumental task that produced amazing results. Jack DeJohnette and Chick Corea are absolutely ferocious on both of these recordings.
July 25, 1969
La Pinède, Juan-les-Pins
1. Directions
2. Miles Runs the Voodoo Down
3. Milestones
4. Footprints
5. 'Round Midnight
6. It's About That Time
7. Sanctuary/The Theme
November 3, 1969
Salle Pleyel, Paris (First Concert)
1. Directions
2. Bitches Brew
3. Paraphanalia
4. Riot
5. I Fall In Love Too Easily
5. Sanctuary
6. Miles Runs The Voodoo Down/The Theme
http://theheatwarps.blogspot.com/2007/02/new-direction.html
no a k zaveru sa dostavame ku spickovemu blogu avantgardnej musix
http://mutant-sounds.blogspot.com/
http://mutant-sounds.blogspot.com/
http://mutant-sounds.blogspot.com/
http://mutant-sounds.blogspot.com/
http://mutant-sounds.blogspot.com/
no a pozrime sa k comu sa mozte dostat
nasledujuca musix je pre zvukofilov, industrialfilov, ufilov a vsetkych tych co chcu okusit trosku inej hudby
V/A:Ohrensausen+Ohrenschrauben,LPs,1985/6,Germany
Ohrenschrauben(1985)
Tracklisting:A1 Whitehouse My Cock's On Fire (12:56)A2 H.N.A.S. Christoph Yööl A (5:53)A3 Vagina Dentata Organ Kill Baby, Kill (1:53)B1 New Blockaders, The / Organum "----" (2:41)B2 Toll There Must Be More Than This (3:58)B3 Current 93 I'm The One (5:11)B4 P16.D4 (Virtuell) Ausgemerzt (2:01)B5 Nurse With Wound The Poo Poo Song (3:16)B6 Haters, The Crasbreak (0:59)
Ohrensausen(1986)Tracklisting:A1 Chrystal Belle Scrodd Split And Well Hung (2:19)A2 Nurse With Wound The Cockroach Of Del Monte (4:47)A3 Coil & Boyd Rice His Body Was A Playing Ground For The Nazi Elite (3:22)A4 Sema The Over Yellow (4:01)A5 Smegma Wonders Of The Human Body (2:53)A6 Duka Bass Band Die Ameise Von Rom (2:19)B1 H.N.A.S. Speck Des Jahres (4:37)B2 Asmus Tietchens Gift Im Lift (5:13)B3 Mieses Gegonge Salz (2:30)B4 P16.D4 Ausgemerzt (Virtuell) (5:09)
B5 Duka Bass Band Bitterböse Blasmusik (2:24)
link na stiahnutie najdete dolu v originale clanku tu
http://mutant-sounds.blogspot.com/2007/02/vaohrensausenohrenschraubenlps19856germ.html
dalsia prazvlastna zalezitost (skor improvizacno / ticho / akusticko / ...neviemaka ale nie je to hlukove a je to raritka
AMM & Musica Elettronica Viva (MEV)- Live Electronic Music Improvised ,LP, 1968,UK/ITALY/USA,NWW list!
AMM was initially composed of Keith Rowe on guitar, Lou Gare on saxophone and Eddie Prévost on drums. Rowe and Gare were members of Mike Westbrook's band; Prévost and Gare were also in a hard bop jazz quintet. The three men shared a common interest in exploring music beyond the boundaries of conventional jazz, as part of a larger movement that helped spawn European free jazz and free improvisation.
No AMM performance is ever planned; each is unique and spontaneous. The musicians vowed never to rehearse and never to discuss what they had played. The musicians tend to avoid any conventional melody, harmony or rhythm, and seek out an ensemble sound that often obscures any individual's role. It is often difficult to discern which musical instrument is making which specific sound on an AMM recording, due in part to liberal use of various extended techniques on their instruments.
Members of the group have come and gone over the years, but Rowe and Prévost have been present for most recordings and performances; the latter has been the only constant in the nearly four decades of AMM music.
AMM released their first recording, AMMusic 1966, on Electra Records UK in 1966. It had some initial similarities to free jazz, due in part to Gare's saxophone. One critic has written, however, that the resemblance was rather slight: "the overall sound of the group, even in 1966, was so different, so idiosyncratic, that it's not at all surprising that both new jazz and contemporary classical audiences were baffled, if not horrified." [5] Lawrence Sheaff played with the early AMM; he had been a jazz bassist, but on AMMMusic, he played cello, accordion and other instruments. Percussionist Christopher Hobbs (a student of Cornelius Cardew) also played with AMM in the late 1960s.
The next AMM material to see release were the important The Crypt sessions from June 12, 1968. Further "out" and even less conventional than earlier material, one critic has written of it that "an eerie sensation inevitably accompanies each listen to the raw streams of electric noise channeled on AMM's second album and early masterpiece, The Crypt. To ears informed by the twenty-first century, it's the uncanny feeling of listening to three-and-a-half decades of experimental music history as delivered in a chillingly prescient sort of reverse premonition... It's a little unnerving that the only records that seem to accurately describe the brave new soundworld harnessed on The Crypt came into being well after its creation."
The Crypt sessions have been issued many times, twice in the 1980s as a double LP, and it still available (with extra material, billed as "The Complete Sessions") on a double CD from Matchless Recordings. The Crypt continues to inspire adventurous listeners; in the liner notes to the 1992 double CD, Prévost writes, "Despite being (arguably) the most 'difficult' material on Matchless, The Crypt has been a mainstay for the label. It obviously pays not to underestimate the audience. Its continued success has enabled us to release other works. So we felt committed, obliged almost, to keep it available... this music has proved itself not to be ephemeral." Composer Cornelius Cardew joined AMM in 1966, performing on piano and cello. He worked with AMM intermittently until he abandoned his earlier experimental music in the late 1970s (Cardew died in an unsolved auto accident in 1981). Composer Christian Wolff performed with AMM in 1968. Cardew and Rowe became committed to socialism and to Maoism, and thought that AMM's music should reflect their sociopolitical outlook. Prévost accuses the pair of "cultural bullying", and there was tension in the group, resulting in some AMM performances being made by alternating duos: Rowe and Cardew, Prévost and Gare.
1970sThis personal and political tension culminated with a long period (about 1972 to 1976) when AMM was rarely active, and then usually as a Prévost-Gare duo. This was arguably AMM's most jazz-like era, with Gare's sputtering, squawking saxophone (unique but showing the influence of John Gilmore and Albert Ayler) brought to the fore, although Prévost has stated the music was "decidedly non-jazz."
Rowe rejoined in the mid-1970s, and shortly thereafter, Gare departed, leaving a Rowe-Prévost duo for a period.
1980s and 1990sPianist John Tilbury — previously an occasional AMM collaborator — joined in about 1980. His shimmering Feldmanesque playing brought a measure of conventionality to AMM (relatively speaking); unlike Rowe or Prévost, Tilbury's instrument was nearly always recognizable in conventional terms. This version of AMM generally explored quieter, more meditative sounds, perhaps having more in common with minimalism -- though they could generate a cacophonous racket when so inclined. Of this period, one critic has noted that "their ability, after more than 35 years as a functioning unit, to avoid routines and ruts while retaining an unmistakable "AMM-ness" is astonishing." [9] Perhaps the most notable shift was in Rowe's approach: his playing grew increasingly subtle, and was often described in painterly terms, as though he were offering a canvas for the other musicians to color.
Later collaborators have included saxophonist Evan Parker, cellist Rohan de Saram, and clarinetist Ian Mitchell. Christian Wolff also returned as a collaborator for a concert at the Conway Hall in London in 2001. Prévost has reported that of all their collaborators, Parker and Wolff best grasped the AMM aesthetic.2000sThe Prévost/Rowe/Tilbury line-up remained stable for two decades. But since about 2000, Rowe's increasing involvement with what has become known as "electroacoustic improvisation" ("eai" for short), especially under the aegis of Jon Abbey's Erstwhile Records, meant that more of his musical activities began to take place outside AMM. Rowe has reported that he felt somewhat limited having been almost exlusively a Matchless Records artist, and that he wanted to explore music outside of AMM. Tension between Rowe and Prévost was exacerbated by the appearance of Prévost's second book of essays, Minute Particulars, which contained some disparaging comments about Rowe, who then left the group. In his review of Prévost's book, Walter Horn notes that while Prévost offers often scathing opinions of many people, Rowe is singled out for multiple barbs, and "one can hardly fail to wonder whether there's something of a personal nature lurking behind the barrage of what are superficially theoretical complaints."
The trio's last performance with Rowe is documented on the 2005 double-CD Apogee. The set is shared with another of the electronic improvisational ensembles that emerged during the 1960s: Musica Elettronica Viva (MEV). The first CD is a studio recording in a joint session in England on April 30th 2004 featuring MEV's Alvin Curran, Richard Teitelbaum and Frederic Rzewski with Prévost-Rowe-Tilbury. This is the first occasion that the two ensembles have performed together, but not the first time they have shared a split release: each outfit filled a side of the LP Live Electronic Music Improvised, released on a US label in 1968 (AMM's side features excerpts from The Crypt sessions; MEV's side is an excerpt from their magnum opus "Spacecraft."). The second CD consists of the performances that each group gave at a festival held in London on May 1, 2004.
Prévost and Tilbury continue to record and perform as AMM. They performed in London during December, 2004, with Sachiko M joining as a guest, at the 2005 LMC Festival of Experimental Music, with David Jackman as a guest, and at a festival of experimental music in Belgium in February 2006. They also released a duo CD as AMM, Norwich, during 2005.
Musica Elettronica Viva (MEV) is a live acoustic/electronic improvisational group formed in Rome in 1966 by Alvin Curran, Richard Teitelbaum, Frederic Rzewski, Allan Bryant, Carol Plantamura, Ivan Vandor, and Jon Phetteplace.
They were early experimenters with the use of synthesizers to transform sounds: a 1967 concert in Berlin included a performance of John Cage's Solo for Voice 2 with Plantamura's voice transformed through a Moog synthesizer. They also used such "non-musical" objects as amplified panes of glass and olive oil cans, and their performances achieved notoriety in Italy for their ability to generate riots.
Their recordings include Spacecraft, recorded in Cologne in 1967 by Bryant, Curran, Rzewski, Teitelbaum and Vandor Unified Patchwork Theory, recorded in Zurich in 1990 by Curran, Rzewski, Teitelbaum, Steve Lacy and Garrett List -- both of the above rereleased in 2001 on the CD, "Spacecraft/Unified Patchwork Theory" (Alga Marghen, Plana-M 15NMN.038)
Friday, recorded in London in 1969 by Curran, Rzewski, Teitelbaum, Franco Cataldi and Gunther Carius "The Sound Pool," recorded 1969, reissued 1998 (Spalax CD14969) Active to this day, 2005 saw the release of an MEV double CD, Apogee, shared with another of the electronic improvisational ensembles that emerged during the 1960s: AMM. The first CD is a studio recording in a joint session in England on April 30, 2004 featuring MEV's Curran, Teitelbaum and Rzewski with the three members of AMM. This is the first occasion that the two ensembles have performed together, but not the first time they have shared a split release - each outfit filled a side of the LP Live Electronic Music Improvised, released on a US label in 1968. The second CD consists of the performances that each group gave at a festival held in London on May 1, 2004.
While in Rome during the sixties, the MEV studio was on the ground floor of a building in Via Pietro Peretti, in the Trastevere neighborhood. Around the corner with Via de' Genovesi, lived Alan Bryant on the first floor. Three blocks away, in Via della Luce 55, fourth and last floor, lived Frederic Rzewski, and at No. 66, lived Richard Teitelbaum on the third floor. Carol Plantamura lived on the corner of Via della Luce and Via Giulio Cesare Santini. Alvin Curran lived 2 km away, in Via dell'Orso, near Piazza Navona.
All from Wikipedia
http://mutant-sounds.blogspot.com/2007/02/amm-musica-elettronica-viva-mev-live.html
jedeme dal
ALL OF DEADBOLT'S CDS ARE PERFECT SOUNDTRACKS FOR:...
...GETTING
DRUNK IN THE DESERT, DRIVING THRU THE DESERT TO VEGAS, GOING ON
HOMICIDAL RAMPAGES DRESSED UP LIKE PATCHES, & GOING TO TIJUANA (AT
YOUR OWN RISK).
Deadbolt "Zulu Death Mask" 1998
Here
is Deadbolt's fourth album, continuing to cement their image as "the
world's scariest band." These tough guys from San Diego tell tales of
corruption, revenge, exotic rituals, and psychotic clowns ("the only
good clown is a dead clown"), all over a background of dark surf-style
guitar melodies. Deadbolt is one of the few bands I've seen with one
guitarist and two bass players. The instrumental parts on this one are
real laid-back and heavy, but also kinda catchy, which works well with
the low-key vocals. So if you're not just playing this as surfy
background music but actually paying attention to the storylines in
these tunes, the benefit is that you get the jokes. Definitely not for
the politically correct crowd, which is another reason why these guys
are tops in my book. Their stage act also includes all kinds of fun
like severed heads, circlesaw-grinder spark shows, and even snake
dancing. And this disc has a triple image cover, with a prism-type
plastic cover that makes the image change when you move it around.
Deadbolt are:
Harley
Davidson (vocals, guitar, organ), R.A. Maclean (vocals, bass), Les
Vegas (drums). Additional personnel: Jeff Forrest (organ), Mark
Davidson (percussion)
trax:
1. 15 Year Search 2. Macombo's
Revenge 3. Jackals Of Botswana 4. Watongo 5. Zulu Death Mask 6. She's
Gone Gongwipdu 7. Jimmie's Grave 8. Swahili Bob 9. Burn, Lil' Debby,
Burn 10. Creepy And Weird 11. Return Of Patches 12. October In Zimbabwe
13. Crime Scene 14. Mogimbu 15. It's A Creepy World
turnip_juice said...
"hi
RYP, diggin your blog, dude!!! thanx 4 the great tunez!!! i'm a big fan
of surf & billy - perhaps the last vestige of true r&r. i agree
with u that deadbolt cds are very much the same. my fave is Tikiman.
here is a link to the Deadbolt cd - Zulu Death Mask. use it as you
wish!"
Thank you very much Turnip_Juice!
http://rideyourpony-twighlightzone.blogspot.com/2007/02/all-of-deadbolts-cds-are-perfect.html
Dynamic Helsinki Finland instrumental band serves up a mad meltdown of biker-fuzz, psychedelia and soulful organ groove...
...free your mind, throw away that straitjacket and get down!
Hypnomen "Trip With Satan" 2000
While
quite a short release with only 8 tracks and just over 24 minutes, this
is another step forward from their adventurous Watusi 99 CD. Half go-go
fuzz and half psychedelic coolness, this release is a cool blend of the
European and Hollywood views of the San Francisco scene. Yet it lacks
the cheesy imitation quality that might imply, but rather is well
though out, nicely arranged, and quite enjoyable. Another good
instrumental bet from a fine Finish band. - Phil Dirt at Reverb Central
(link in the sitebar!)
The Hypnomen are:
Pekka Laine (guitar,
electric sitar); Jan Gron (guitar, bass); Sami Nieminen (Hammond
organ); Juha Litmanen (drums, percussion). Additional personnel: Jansku
(vocals); Jan Pethman (bongos, congas, cowbells). Recorded at Hideout
Studios, Helsinki, Finland in February 2000
trax:
1. Hush 2.
Dance With the Devil 3. Need No Doctor 4. Sunstroke Dreamer 5. Mike the
Malo 6. Trip With Satan (I Wanna Get Back From) 7. Jethead 8. Tangerine
Blue
http://rideyourpony-twighlightzone.blogspot.com/2007/02/dynamic-helsinki-finland-instrumental.html
Prima Materia -Tail of the Tiger,LP,1977,Italy
In 1977 an obscure Italian private label issued a record that sounded
like it came from outer space. A long and dense trance-inducing drone
of sustained notes, rich with overtones and harmonic embellishments,
coming from a space so vast and unexplored that seemed almost of
non-human, even electronic nature. Paradoxically, each and any molecule
of that sound was produced using only the most original and archaic
instrument, the human voice. The name of the group was Prima Materia
(First Matter), a project that took shape in 1973 in San Diego, and the
record – “The Tail of the Tiger” – was issued by the Ananda label,
owned by Roberto Laneri, Alvin Curran and Giacinto Scelsi. The record
soon disappeared and over the became almost a legend among collectors
and experimental music lovers.
The musicians of the group Prima
Materia individually researched and developed unusual vocal techniques
(originally used in Tantric rituals in North India, Mongolia and
Tibet), based upon the use of overtones coupled with a special state of
inner concentration, which was the essential condition for both the
emission and control of long-sustained and complex vocal sounds. Their
capacity to sustain a note for what seems an eternity, and then
continue to provide endless variations generates a continuous and
sustained drone of sound, in which the overtones are clearly perceived.
The Wire (by Alan Cummings)
The
way of the holy longform vocal drone is most strongly associateci with
the mystical wing of the American post-war avant garde, particularly La
Monte Young and Terry Riley. But there were adherents in old Europe
too. Resplendent in their matching white robes and long hair, Italian a
cappella vocal group Prima Materia were the most accomplished. Active
through the latter half of the 1970s, they released a single album on a
label set up by MEV's Alvin Curran and Giacinto Scelsi, which has now
been lovingly reissued by Die Schachtel.Prima Materia leader Roberto
Laneri's concerns were very much ofthe period: he wrote a thesis on
"sound as the vehicle of altered states of consciousness", exploring
his interest in Asian tantric techniques, Ur-klang trance states and
the collective unconscious. The concepts may no longer resonate in the
same way, but the group's music remains an intensely focused and
ascetic experience, slicingthrough the brain with narrow-beam
psychedelic power. Sustained vocal drones, originating deep in the
throat and diaphragm, are layered one over the other in impossibly
long, treacle slow pulses. At times, Prima Materia mightdraw upon
recognisable North Indian and Tibetan vocal techniques, but a
concentrated monastic minimalism ratherthan florid ornamentation
characterises their approach.Resonance becomes key to the interest of
the music, as the sedimented voices conspire to produce gorgeous
overtone clusters that float lazily across the still surface of the
drone like threads of lightning over a midnight prairie.
I can
never get enough of this stuff. Like T Conrad's violin pieces, this
album achieves a transcendent sound through apparent physicality; on
this album it's all voices, layered on top of one another, seemingly
from different people, but maybe not. The voices most resemble the
sound of a hurdy gurdy; they drone and end without stark punctuation.
http://mutant-sounds.blogspot.com/2007/02/prima-materia-tail-of-tigerlp1977italy.html
LAHôDKA NA ZAVER!!!!pre fajnsmekrov, nie nie, ani ja som netusil :)
Bruce Willis - The Return Of Bruno
Bruce Willis - The Return Of BrunoA1. Comin' Right Up
A2. Respect Yourself
A3. Down In Hollywood
A4. Young Blood
A5. Under The Boardwalk
B1. Secret Agent Man _ James Bond Is Back
B2. Jackpot (Bruno's Bop)
B3. Fun Time
B4. Lose Myself
B5. Flirting With Disaster
320 kbps
pw=ylow.blogspot.com
http://rapidshare.com/files/12699764/BW-TROBvr.rar
