<![CDATA[Rho-Xs]]>

<![CDATA[Rho-Xs]]> http://www.musicratty.com/feed/34d34956fb5bffaa9005cec41921fa26 Sat, 04 Oct 2008 02:37:00 +0000 iRatty Engine http://blogs.law.harvard.edu/tech/rss <![CDATA[Rhotation (50) Into BPM]]> http://www.musicratty.com/article/794a8a30ed47dbd2e1ed421de0974638 http://www.musicratty.com/article/794a8a30ed47dbd2e1ed421de0974638
I've been working towards this final and 50th Rhotation and today it's Into (the ultimate) BPM or Detroit Techno and how this uncompromising minimalist music inspired todays acts to different outcomes, whilst mainitaining the minimalist discipline....First up the godfathers as it where, Underground Resistance, their Revolution For Change compiles their pre 93 work after which the group split...Second up an artists that lived closeby but had a different background, i've posted several of his titles under divers monikers before (see Rhotation 34 and 46) but had kept his first and most minimalist Plastikman work, Sheet One, for last..at the last instant, as a festive bonus, i've added the Recycled Plastik EP aswell. Which btw compiles his earliest work under that moniker....I started with a compilation album and my final is one aswell. Basic Channel are Techno purists that took the deconstruction to the limit and with German precsion and discpline constructed a whole new world, one that came to the fore on vinyls they themselves pressed, the vinyl groove was sculpted as it where. After nine long 12" releases, the demand to create a cd to accomodate dj's and a wider audience had them compile this 80 min cd, BCD , of edited versions of their extended vinyl tracks. Btw earlier this year a BCD II saw the light, again compiled from their previous 12"

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Underground Resistance - Revolution For Change (92 ^ 164mb)

Begun in the late 1980s by Jeff Mills and "Mad" Mike Banks, UR related the aesthetics of early Detroit Techno to the complex social, political, and economic circumstances which followed on from Reagan-era inner-city economic recession, producing uncompromising music geared toward promoting awareness and facilitating political change. Later Robert "Noise" Hood joined the collective.The early UR catalog is defined by a typically Detroit combination of Motown and Chicago soul, and ruthless, at times caustic lo-fi techno, acid, and electro (Mills' background is in, among other things, Chicago industrial and EBM-style electro-techno, with Banks and Hood both coming from a solid house and techno base). Much of the label's early output was the product of various permutations of Banks, Mills, and Hood, both solo and in combination, before Mills and Hood left UR in 1992 to pursue (and achieve) international success. The Revolution For Change album compiled these early days of the trio.

Mike Banks continued to lead UR in the wake of the split, releasing EPs during the mid-1990s such as "Return of Acid Rain," "Message to the Majors," and "Galaxy to Galaxy" under the UR name, as well as 12-inches by increasingly renowned artists such as Drexciya.
UR tracks have occasionally been released on other labels (usually in what UR metaphorically describe as "reconnaissance" or "infiltration"). 1998's "Interstellar Fugitives", was the first full album credited to Underground Resistance, it saw Mike Banks redefining the collective's sound as "High-Tech Funk", reflecting a shift in emphasis from hard, minimal club Techno to breakbeats, Electro and even occasionally Drum and Bass and down-tempo Hip-Hop. In 1999, newcomer DJ Rolando released UR's most commercially successful EP, "The Knights of The Jaguar". In 2000, Kraftwerk released a remix single of their theme composed for the Expo 2000 in Hanover, featuring contributions from Rolando and Banks, making them two of only a handful of producers ever to be given the privilege of remixing Kraftwerk. From 2002 onwards, Kraftwerk's live shows featured the group performing UR's remixes compiled in the song now called "Planet of Visions".

01 - Riot (4:56)
02 - Punisher (5:37)
03 - Elimination (4:44)
04 - Adrenalin (4:59)
05 - Predator (6:18)
06 - Quadrasonic (6:57)
07 - Sonic Destroyer (5:00)
08 - Eye Of The Storm (6:43)
09 - Sometimes I Feel Like (6:25)
10 - The Theory (6:08)
11 - Beauty Of Decay (3:14)
12 - Killer Whale (5:16)
13 - Code Of Honor (4:02)

diet version
Underground Resistance - Revolution For Change (99* mb)

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Plastikman - Sheet One (93 ^ 145mb)

While original Detroit technocrats like Juan Atkins and Derrick May were changing the face of electronic music in the mid-'80s, Richie Hawtin was growing up across the river in Windsor, Ontario. A British native born in 1970, he moved to Canada with his family at the age of nine. Introduced to '70s electronic/minimalist pioneers Kraftwerk and Tangerine Dream by his father (who was a robotics engineer for General Motors), Hawtin began DJing at the age of 17 -- as DJ Richie Rich -- and soon landed gigs at Detroit hot-spots like the Shelter and the famed Music Institute, home to all-night club sessions by May and Kevin Saunderson.

Hawtin and +8's co-founder, John Acquaviva, began working together in 1989, originally to make a Derrick May megamix for use on the radio; they later emerged from Acquaviva's studio with several original recordings. The duo issued one single, "Elements of Tone" as the first release on +8 Records (credited to States of Mind), and sat back while many in the techno world puzzled over who was responsible. The label's later releases in addition to various Hawtin/Acquaviva projects -- made the label famous for laboratory-precise techno based on slowly evolving and shifting acid lines. The aggressive sound matched the work of the label/artist collective Underground Resistance as the best techno to come out of Detroit in the early '90s. Hawtin's style formed by a fusion of the barest acid house and straitjacket-tight Detroit techno, and he became one of the most influential artists in the world of techno during the 1990s, even while sticking to out-of-date synth dinosaurs like the Roland TB-303 and TR-808. Hawtin combined lean percussion and equally spare acid lines into haunting techno anthems that kicked with more than enough power for the dancefloor while diverting headphone listeners as well.

The Plastikman project debuted in 1993 with two releases for +8: the seminal "Spastik" single and an album, Sheet One, which was one of the first records to turn the 303 acid box upside down from glorious high to isolationist low, dis[laying laser-precise minimalist rhythms to drive a series of echo-box acid lines that gradually acquire power over the course of lengthy album tracks . Hawtin's first wide release Dimension Intrusion, however, came with the alter-ego F.U.S.E. (short for Further Underground Subsonic Experiments). A more varied and melodic project than Plastikman. the album was released by Warp Records in late 1993, as part of the label's Artificial Intelligence series, Dimension Intrusion was also licensed to Wax Trax!/TVT for release in America. (Hawtin joined such ambient-techno heroes as the Aphex Twin, Black Dog, Autechre and B12, all receiving their wide-issue debuts.) Later, NovaMute signed an agreement with +8 and another Hawtin-founded label, Probe; Sheet One was reissued in 1994, followed by the second Plastikman LP, Musik. Much more restrained than Sheet One, the album fit in well with the growing ambient-techno movement. All told, Hawtin was responsible for the release of three albums and a good-sized EP in the span of just one year.

In early 1998, he released his third Plastikman LP, Consumed, which proved to be just as brutally shadowed as the Concept 1 material. The continued experimentalist direction showed Hawtin coming full circle, back to his position on the leading edge of intelligent techno. In May 2000, Hawtin performed at the first Detroit Electronic Festival alongside Derrick May, Juan Atkins and other techno masterminds. More than 200,000 people attended from all over the world.

01 - Drp (1:45)
02 - Plasticity (11:00)
03 - Gak (5:38)
04 - Okx (0:34)
05 - Helikopter (6:30)
06 - Glob (8:20)
07 - Plasticine (11:19)
08 - Koma (4:10)
09 - Vokx (2:07)
10 - Smak (6:42)
11 - Ovokx (2:14)

diet version
Plastikman - Sheet One (* 99mb)

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Plastikman - Recycled Plastik (93/94 ^ 99)

This maxi EP compiling (recycling) previous singles turned out to become the seminal minimal acid album which introduced a huge amount of people to the underground techno phenomenon.

1 - Krakpot (11:13)
2 - Elektrostatik (9:59)
3 - Spaz (7:41)
4 - Gak (Remix) (6:52)
5 - Naturalistik (4:39)
6 - Spastik (9:19)

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Basic Channel - BCD I (95 ^ 153mb)

Basic Channel is a minimal techno production team and record label, composed of Moritz Von Oswald and Mark Ernestus, that originated in Berlin, Germany in 1993. They've become synonymous with a brand of stripped-down, ultra-minimal techno almost devoid of musical substance or intent. The duo set up a studio in Berlin on Paul-Lincke-Ufer, in a building which was eventually to house Mark Ernestus’ distributing company and shop Hard Wax, and the label's mastering studio Dubplates & Mastering, set up to ensure a desired dynamic quality for the vinyl.

The duo released a number of vinyl-only tracks under various aliases, each of which employed their signature brand of dissonant dub techno. The nine original releases were each primarily identified as Basic Channel productions by their catalogue numbers, as the Basic Channel logo on the label became more distorted and unreadable with each subsequent release. Basic Channel’s first nine releases total about 4,5 hours of music BC-01 Cyrus “Enforcement” , BC-02 Phylyps “Trak” , BC-03 Vainqueur, “Lyot (Reshape)” , BC-04 Quadrant “Q 1.1” , BC-05 Cyrus “Inversion” , BC-06 Quadrant “Dub” , BC-07 Basic Channel “Octagon / Octaedre” , BC-08 Radiance “I / II / III” , BC-09 Phylyps “Trak II” . The Basic Channel record label released only a single CD, BCD, a self-titled compilation of edited versions of their extended vinyl tracks. After which the Basic Channel imprint ceased business in 1995

However, Basic Channel is just one in a network of artists and labels also including Thomas Koner/Porter Ricks. Among the most important were Chain Reaction, which released non-Von Oswald/Ernestus productions and helped launch the careers of dub-influenced minimal techno producers such as Monolake and Porter Ricks; Basic Replay, which specialises in reggae and dancehall re-issues; Main Street, for house-related releases; and Burial Mix and Rhythm & Sound, which saw the duo's sound move away from the Detroit blueprint and closer to vocal-lead dub and reggae.

01 - Q Loop (5:28)
02 - e2e4 Basic Reshape (6:08)
03 - Mutism (5:57)
04 - Quadrant Dub I (Edit) (6:57)
05 - Radiance II (Edit) (9:21)
06 - Lyot Remix (Edit) (6:28)
07 - Presence (Edit) (8:17)
08 - Q1.1 (Edit) (1:03)
09 - Q1.2 (4:58)
10 - Radiance I (7:57)
11 - Radiance III (Edit) (3:48)

diet version
Basic Channel - BCD I (* 99mb)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !]]> Sat, 11 Oct 2008 02:01:00 +0000 detroit detroit techno techno minimal club techno dissonant dub techno spare acid lines acid lines techno purists style Rhotation (50) Into BPM <![CDATA[Eight-X (49) reposte]]> http://www.musicratty.com/article/da60897b02f317cb176b926311dff6fe http://www.musicratty.com/article/da60897b02f317cb176b926311dff6fe
Hello, Eight-X time again and today we have two acts showing why they were so popular in the early eighties. First up Soft Cell, i had the pleasure of owning their first 12 "memorabilia once..gone awol now , read it fetches a nice price these days ($ 80). Anyway, i was a fan back then, and even when they scored big with Tainted Love and all the other great singles, specially the 12 "'s they released..as such they really were trendsetters as with releasing a video album-with their debut album. Here is the remastered Non-Stop Erotic Cabaret i picked up cheap somewhere as my vinyl was trashed by beer...They followed it up with a remix album..bit of a XTC trip that one was, bit short too, so i added some 12 " work of the time...Talk of XTC thats the name of the second band of today..i had planned to post drums and wires but decided digitising my Wax works double album, which btw will be split as i post part 2 , BeesWax tomorrow, seeing as Alphabet Soup has reached X...as a bonus i've digitised a rarety..Mr Partidge radical dub deconstructions of his work...

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Soft Cell formed in 1980 in Leeds. Their initial efforts at recording resulted in an EP called Mutant Moments that year, funded by Dave Ball's mother, made with a simple 2-track recorder. This was released independently with only 2000 vinyl copies pressed and has since become a highly valued collector's item among Soft Cell fans. Their early shows and EP caught the interest of certain record labels, such as Mute Records and Some Bizzare Records, both of which pioneered the new wave of synthesizer bands. Soft Cell's next recording, "The Girl with the Patent Leather Face," appeared as a contribution to the Some Bizzare Album, which featured other (then unknown) bands such as Depeche Mode, The The, and Blancmange. Their first singles, A Man Can Get Lost 7" and Memorabilia 12" were produced by Daniel Miller, the founder of Mute Records. While the Memorabilia single was a club hit but didn't chart, Soft Cell remained essentially unknown.

Phonogram Records allowed Soft Cell to record a second and final single in an attempt to score a chart hit. The band opted to record a radically reworked cover version of "Tainted Love", an obscure 1964 northern soul track originally sung by Gloria Jones. Released in 1981, Soft Cell's "Tainted Love" was a number-one hit in seventeen countries, including the United Kingdom, as well as a number eight single in the United States and stayed on the U.S. Billboard Hot 100 chart for a record 43 weeks. Unfortunately for them,as both tracks on the single were covers..they never made much money from it. Their first album, Non-Stop Erotic Cabaret, further explored the trademark Soft Cell themes of squalor and sleaze. A companion video entitled Non-Stop Exotic Video Show was released alongside the album and featured videos directed by Tim Pope, who later found fame as director of music videos by The Cure. The video generated controversy in Britain in fact the police confiscated it. In 1982, the duo spent most of their time recording and relaxing in New York City, where they met a woman named Cindy Ecstasy. It was Cindy Ecstasy who introduced them to the new club drug of the same name. By their own admission, most of Non-stop Ecstatic Dancing was recorded and mixed under the influence of ecstasy.

By 1983, the shadow of "Tainted Love" was beginning to haunt the band, and the pressures of stardom, not to mention the constant drug use, were taking their toll. Marc Almond also formed the group Marc and the Mambas, featuring collaborations with The The's Matt Johnson and future Almond collaborator Annie Hogan, as an offshoot in order to experiment out of the glare of the Soft Cell spotlight. Soft Cell followed their remix album with a full length album appropriately titled The Art of Falling Apart. The singles were modest successes in Britain. By 1984, they had decided amicably to dissolve the band and released one final album called This Last Night in Sodom, a critical success but a commercial failure. The album departed from its predecessors by having a much grittier feel, featuring more live drums and guitars than previous albums.

During Almond's solo years, he and Ball continued to keep in touch. Dave Ball's ex-wife played cello in Marc Almond's solo band. Almond and David Ball did not work again together until the nineties, when Ball arranged some music for Almond's "Tenement Symphony." David Ball formed The Grid in 1990 with Richard Norris. The Grid split up in 1996, but reformed in 2005 and released an album in 2008 on the Some Bizzare label called Doppelgänger. Almond and Ball's reunion as Soft Cell became official with well-received initial concerts - they performed at the opening of the Ocean nightclub in London in March 2001 to strong reviews, and a mini tour followed later in the year. The track "God Shaped Hole" featured on the Some Bizzare compilation released in 2001.

The album Cruelty Without Beauty was released in late 2002, followed by a European tour and a partial US tour in early 2003. The new album featured their first new songs together in almost twenty years, and the two are together in full force. Almond's lyrics are among the best he has ever written. It all comes together with brilliant writing and Ball's atmospheric and swelling arrangement of the eerie music. Almond's voice is strong and emotive, living and breathing his stories and observations. And the music has grown in short a more mature Soft Cell.

In August 2007 the band announced they have started a remix album, "Heat - The Remixes". The remix album is expected to be released in May 2008 and will include classic Soft Cell tracks remixed by such acts as Paul Dakeyne, The Grid, Manhattan Clique, Cicada, Richard X, Ladytron, MHC, Atomizer, Mark Moore, Kinky Roland, Spektrum, George Demure, Yer Man and many more

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Soft Cell - Non-Stop Erotic Cabaret (rem) (81 ^ 178mb)

Despite the reputation of many new wave bands as being on the cutting edge of technology, the album was created on a very low budget
The insistent beats taken at steady dance tempos and the chilling electronic sounds conjured by Ball emphasized Almond's fascination with deviance. British listeners saw through Almond's pretense or were amused by him, or both; more puritanical Americans tended to disapprove, which probably limited the group's long-term success stateside.

01 - Frustration (4:11)
02 - Tainted Love (2:33)
03 - Seedy Films (5:04)
04 - Youth (3:14)
05 - Sex Dwarf (5:16)
06 - Entertain Me (3:34)
07 - Chips On My Shoulder (4:06)
08 - Bedsitter (3:35)
09 - Secret Life (3:38)
10 - Say Hello, Wave Goodbye (5:23)

11 - Where Did Our Love Go? (3:13)
12 - Memorabilia (4:48)
13 - Facility Girls (2:21)
14 - Fun City (7:44)
15 - Torch (4:08)
16 - Insecure Me (4:38)
17 - What? (2:50)
18 - ....So (3:49)

diet version
Soft Cell - Non-Stop Erotic Cabaret (rem) (* 99mb)

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Soft Cell - Non Stop Ecstatic Dancing (82 ^ 153mb)

Considered to be the first ever remix album, Non-stop Ecstatic Dancing is also widely recognized as being one of the first house records in the UK, as well as the first record in the UK to feature turntable scratches. However, it is notable that the scratch sounds heard on the record were not created on actual turntables but, rather, on producer Mike Thorne's modular Serge synthesizer.

As the name implies, Non-stop Ecstatic Dancing was conceived, by the band's own admission, under the influence of MDMA (commonly referred to as ecstasy). The album and its inspiration, Non-stop Erotic Cabaret, were both recorded almost simultaneously in New York City at a time when its gay club scene was just beginning to emerge. The album is much more dance-oriented than Non-stop Erotic Cabaret, with extended versions and instrumental cuts of various songs from Erotic Cabaret as well as several new tracks. I've added some more vinyl 12" to the original 28 min. minialbum,,turns out the rematered 97 version has the same set up.

01 - Memorabilia (5:22)
02 - Where Did Our Love Go (4:23)
03 - What (4:32)

04 - A Man Could Get Lost (3:59)
05 - Chips On My Shoulder (4:30)
06 - Sex Dwarf (5:17)

07 - Tainted Love/Where Did Our Love Go.(9:00)
08 - Memorabilia (original) (7:50)
09 - What (6:05)
10 - So (8:50)
11 - Torch (4:05)
12 - Insecure Me (4:40)

diet version
Soft Cell - Non Stop Ecstatic Dancing (* 99mb)

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XTC - Wax Works(82 ^ 99mb)

Before the band finally settled on a name: XTC, the core duo of Andy Partridge (guitars & vocals) and Colin Moulding (bass & vocals) went through many band names in the previous 5 years, Terry Chambers (drums) joined in 1973 and keyboard player Barry Andrews followed in 1976. By this time (77), the punk rock movement was in full swing, and XTC had found their style, a unique brand of hyperactive pop mixed with funk, punk, ska, reggae, and art rock. That year they signed with Virgin and released their debut LP White Music in January 1978. White Music received favorable reviews and entered the British top 40, but lead single "Statue of Liberty" was banned by the BBC for making allegedly lewd references to the famous statue ("in my fantasy I sail beneath your skirt")...yes 30 years ago those censorists assumed getting a hard on from a copper statue, or maybe it was to prevent young men getting the wrong idea and emigrate to the States..outrageous either way...
Their second effort, Go 2, came 8 months later, it had a limited edition bonus disc Go + (dub mixes of songs from the album). The title was inspired by the Japanese strategy game GO and the fact that it was their second album. The US versionhad a single, added here, "Are You Receiving Me? " In 1980 Andrews left to become one of Fripps League of gentlemen and afterwards went on to form Shriekback. He was replaced by guitarist and keyboardist Dave Gregory. With his arrival, the band scored their first charting single, Moulding's "Life Begins at the Hop". The loss of Andrews' distinctive keyboard playing started the band on a path towards a more traditional rock sound. The resulting album, Drums and Wires, contained the band's first big hit, "Making Plans for Nigel", the album found the band branching out into more overtly political topics, culminating in the unhinged ranting of "Complicated Game", which became one of the band's most well-known non-hits. During this period, Partridge also further indulged his love of dub, releasing a solo LP in 1980 under the name 'Mr Partridge'. The album, Take Away/The Lure of Salvage featured radical dub deconstructions of music from the preceding XTC albums.

Mr. Partridge - Take Away - The Lure Of Salvage (80 ^ 85mb),

Side A is titled "Take Away" and side B "The Lure of Salvage." Partridge made Take Away... totally royalty-free for a cost of 2,000 pounds, and asked Virgin to set the price low. Virgin sold the album with the maximum price of 3.99 pounds. The cover pictures on the album's back and front are taken from a post card of Jayne Mansfield in a swimming pool. The figures floating on the water are hot water bottles shaped like her, on the back cover some of which Partridge scribbled out. Citations from the back cover:
"This used to be some XTC records. It is now a collection of tracks that have been electronically processed/shatterded and layered with other songs or lyrical pieces." "If you liked 'Go+' then this record weighs approximately the same amount"

Take Away

01 - Commerciality (Signal AD) (3:09)
Source - "Refrigeration Blues" (White Music outtake; the lyrics were a poem called "Signal Ad (Saleable Futurity").
02 - The Day They Pulled The North Pole Down (3:53)
Source - "Heatwave" (using the backing tracks and slowing them down).
03 - The Forgotten Language Of Light (4:22)
Source - "Millions" (using the percussion tracks and adding guitar and ad-libbed vocals).
04 - Steam Fist Futurist (3:12)
Source - "Real by Reel" (using the backing tracks and adding various sounds).
05 - Shore Leave Ornithology (Another 1950) (5:34)
Source - "Pulsing Pulsing" (using the backing tracks and adding various things with poetry inspired by Charlie Parker's "Ornithology").
06 - Cairo (1:53)
Source - "Homo Safari" (sped up backing tracks adding keyboards, vocals and handclaps).

The Lure Of Salvage

07 - The Rotary (3:20)
Source - "Helicopter" (improvised guitar/singing/yelling over drums, bass and percussion tracks).
08 - Madhattan (3:19)
Source - "That Is The Way" (backing track with new sounds added).
09 - I Sit In The Snow (3:13)
Source - "Roads Girdle the Globe" (slowed-down backing track of the bridge with poem and sounds added).
10 - Work Away Tokyo Day (4:06)
Source - "Red / Day In Day Out" (original beginning, then all nine of Barry Andrews' sax parts from "Red" played simultaneously, and "Day In Day Out" sped up with a new bass line).
11 - New Broom (5:28)
Source - "Making Plans For Nigel" (new lyrics and sounds to the backing tracks).

Their 1980 LP, Black Sea spawned the hit singles "Sgt. Rock (Is Going to Help Me)" and "Generals and Majors". The last major hit of XTC's touring phase was "Senses Working Overtime", the first single from their double album English Settlement and a top 10 hit in 1982. At the peak of their popularity, the band embarked on a major tour, but Partridge suffered a mental breakdown on stage during one of the first concerts of the tour in Paris on March 18, 1982. Andy Partridge's breakdown, caused by the loss of his valium supply on which he become dependant since his teenager years, manifested itself as uncontrollable stage fright. the european and US tours were cancelled and since then, XTC have been exclusively a studio band, although they have given occasional live-to-air performances from radio stations, and a handful of TV appearances. Drummer Chambers was more or less forced to leave, left without the performances income and was never replaced as from then on this role would be taken on by hired session hands.

Mummer (83) saw Partridge cooling his heels with pastoral songs like "Love on a Farmboy's Wages", the band's next album took a noisy left turn. 1984's The Big Express, surprised both their record company and fans alike with its abrasive sound and became XTC's poorest seller to date (maybe it was that crazy cover !) . XTC responded with a project that was intended as a homage to 1960s pop and psychedelic music by groups such as the Beatles, The Byrds, The Kinks, The Beach Boys, Pink Floyd and the Pretty Things and released 25'o clock a mini album under the name of The Dukes of Stratosphear, 2 years later they had another go and released a full album "Psonic Psunspot".

In 1986, the band travelled to Todd Rundgren's studio-in-the-woods in Woodstock, New York to record Skylarking. Although the pairing of XTC and Rundgren was highly anticipated by fans, the sessions were less than enjoyable for the band. Rundgren had insisted that the band send him, in advance, demos of all the songs that they thought they might tackle for the record. When the band got to Woodstock, Rundgren had already worked out a running order for both the recording and sequence of the album itself. Rundgren insisted that everyone adhere to his scheme, obviously this did not sit well with the band, Partridge in particular. The two egos of Rundgren and Partridge clashed frequently during the recording of Skylarking . Yet the album earned critical accolades and sold well. The band's follow up, Oranges and Lemons, produced by Paul Fox, was their biggest seller yet, with thanks to the singles getting heavy airplay on MTV.

Their 1992 album, Nonsuch (named after Henry VIII's fabled palace), united them with famed UK producer Gus Dudgeon and drummer Dave Mattacks. In spite of the LP's success, soon after it was released a contractual dispute with their label, Virgin Records, saw XTC go "on strike" from 1992 through 1998, finally resulting in the termination of their contract. After leaving Virgin, Partridge had their accounts audited and it was discovered that the company had withheld substantial royalty payments from them(surprise ). The settlement of the accounts provided the group with much-needed cash flow, allowing Partridge and Moulding to install fully-equipped studios and work comfortably at home. They are now able to record the majority of their work themselves, they formed their own label, Idea Records, and embarked on the recording of the ambitious "Apple Venus" project, a collection of the best material written during the band's dispute with Virgin. This didnt go down as smoothly as expected as long time member, Dave Gregory, left, again because of loosing out financially, it caused some upheavel. The band's next record, Wasp Star (Apple Venus Volume 2) was the guitar-heavy collection Gregory would have preferred. In October 2005, the two albums were reissued together in the 4-CD Apple Box collection.

I n November 2006, Partridge told several interviewers that Moulding no longer had any interest in writing, performing or even listening to music. Partridge has said he would not continue XTC without Moulding, and that therefore he has been forced to regard XTC "in the past tense," with no likelihood of a new project unless Moulding should have a change of heart. Partridge meanwhile jammed with Martin Barker and Barry Andrews (both Shriekback) and released a double CD under the name of Monstrance this year.

XTC - Wax Works(82 ^ 99mb)

Though it has been since supplanted by more comprehensive XTC collections -- the most notable being Fossil Fuel, which repeats all of the Waxworks tracks plus the later singles -- Waxworks: Some Singles 1977-1982 remains the classic compilation of the band's first, pre-studio-bound period. Originally, the album was packaged with a second record, Beeswax: Some B-Sides 1977-1982, later made available separately as is the case here today as it will come up at Alphabet Soup II (X) tomorrow.

01 - Science Fiction (3:12)
02 - Statue Of Liberty (2:25)
03 - This Is Pop (2:40)
04 - Are You Receiving Me (3:04)
05 - Life Begins At The Hop (3:46)
06 - Making Plans For Nigel (3:53)
07 - Wait Till Your Boat Goes Down (4:33)

08 - Generals & Majors (3:40)
09 - Towers Of London (4:39)
10 - Sgt. Rock (Is Going To Help Me) (3:36)
11 - Senses Working Overtime (4:33)
12 - Ball & Chain (4:30)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !]]> Fri, 10 Oct 2008 22:55:00 +0000 album mini album final album video album-with debut debut album length album appropriately bizzare album soft cell Eight-X (49) reposte <![CDATA[Into The Groove (49)]]> http://www.musicratty.com/article/00ba3f103de5e902ad32bd889d4df39c http://www.musicratty.com/article/00ba3f103de5e902ad32bd889d4df39c
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Flash was born Joseph Saddler in Barbados on January 1, 1958, his family immigrated to the United States from the West Indies, and he grew up in the Bronx. He became involved in the earliest New York DJ scene, attending parties set up by early luminaries, he began spinning records, performing live at area dances and block parties. By age 19, while attending technical school courses in electronics during the day, he was also spinning on the local disco circuit; over time, he developed a series of groundbreaking techniques including "cutting" (moving between tracks exactly on the beat), "back-spinning" (manually turning records to repeat brief snippets of sound), and "phasing" (manipulating turntable speeds) -- in short, creating the basic vocabulary which DJs continue to follow even today.

Flash did not begin collaborating with rappers until around 1977, first teaming with the legendary Kurtis Blow. He then began working with the Furious Five -- rappers Melle Mel (Melvin Glover), Cowboy (Keith Wiggins), Kid Creole (Nathaniel Glover), Mr. Ness aka Scorpio (Eddie Morris), and Rahiem (Guy Williams); the group quickly became legendary throughout New York City, attracting notice not only for Flash's unrivalled skills as a DJ but also for the Five's masterful rapping, most notable for their signature trading and blending of lyrics.

Grandmaster Flash and The Furious Five were signed to Bobby Robinson's Enjoy Records and in 1979 released the classic "Superrappin'". They later signed to Sugar Hill Records and released numerous singles, gaining a gold disc for "Freedom," and also toured. The classic "The Adventures of Grandmaster Flash on the Wheels of Steel," released in 1981 was the best display of Flash's skills (combining elements of Blondie's "Rapture," Michael Viner's Incredible Bongo Band's "Apache," Queen's "Another One Bites the Dust" and Chic's "Good Times." It also marked the first time that record scratching had been actually recorded on a record.

Flash and the Five's next effort, 1982's "The Message," was even more revelatory -- for the first time, hip-hop became a vehicle not merely for bragging and boasting but for trenchant social commentary, with Melle Mel delivering a blistering rap detailing the grim realities of life in the ghetto. The record was a major critical hit, and it was an enormous step in solidifying rap as an important and enduring form of musical expression. Other than Melle Mel, no members of the group actually appear on the record. "The Message" went platinum in less than a month. In 1982, Flash appeared in the movie "Wild Style" and sued Sugar Hill over the non-payment of royalties.

The group split between Flash and Mel before disintegrating entirely. Flash, Kid Creole and Rahiem signed to Elektra Records and continued on as simply "Grandmaster Flash" while Mel and the others continued on as "Grandmaster Melle Mel & the Furious Five. In 1984, Mel released a 12" single, "White Lines (Don't Don't Do It)" which went on to become one of his signature songs. Although frequently credited on the records, Flash doesn't actually appear on "The Message", "White Lines (Don't Do It)", or many of the other Furious Five songs (if you don't hear scratching on a track, then Flash isn't on it). Mel notably appeared on Chaka Khan's "I Feel for You" becoming the first rapper ever to win a Grammy award for "Record of the Year". He also appeared in the film "Beat Street" performing "Beat Street Breakdown" in the grand finale.

After a series of Grandmaster Flash solo albums including 1985's They Said It Couldn't Be Done, 1986's The Source, and 1987's Da Bop Boom Bang, he reformed the original Furious Five lineup for a charity concert at Madison Square Garden; soon after, the reconstituted group recorded a new LP, 1988's On the Strength, which earned a lukewarm reception from fans and critics alike. Melle Mel closed out the decade by winning two more Grammy awards for his work with Quincy Jones. There was another reunion, of a kind, in 1994, although Cowboy died in 1989. A year later, Flash and Melle Mel also appeared on Duran Duran's cover of "White Lines." Except for a few compilations during the late '90s, Flash was relatively quiet until 2002, when a pair of mix albums appeared: The Official Adventures of Grandmaster Flash on Strut and Essential Mix: Classic Edition on ffrr. Melle Mel released his first ever solo album "Muscles" on January 30, 2007. The first single and music video is "M3 (The New Message)", released on the 25th anniversary of "The Message". March 2007 Grandmaster Flash and the Furious Five became the first hip-hop/rap group ever inducted into the Rock & Roll Hall of Fame.

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Grandmasters Flash , Melle Mel & The Furious Five - The Twelves (Greatests) ( ^ 140mb)

Seeing as the other grandmaster album here lacks some of the famous twelves, i compiled what i had chronologically and taken together you can start your own blockparty.

01 - Grandmaster Flash And The Furious Five - It's Nasty (Genius of Love)
02 - Grandmaster Flash And The Furious Five - The Message
03 - Grandmaster Flash And Melle Mel - White Lines (Don't Don't Do It)
04 - Grandmaster Flash And Melle Mel - Jesse
05 - Grandmaster Melle Mel And The Furious Five - Message II (Survival)
06 - Grandmaster Melle Mel And The Furious Five - Pump Me Up (4:51)
07 - Grandmaster Melle Mel And The Furious Five - Beat Street (6:54)
08 - Grandmaster Melle Mel And The Furious Five - Internationally Known 1 & 2 (10:13)
09 - Grandmaster Flash And The Furious Five - You Know What Time It Is (3:48)
10 - Grandmaster Flash And The Furious Five - Bust This (Wooo) (3:04)

diet version
Grandmasters Flash , Melle Mel & The Furious Five - The Twelves (Greatests) (* 99mb)

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Grandmaster Flash & The Furious Five - The Greatest Mixes (97 ^ 167mb)

Greatest Mixes adds a new wrinkle in the tried-and-true greatest-hits sets by including some new mixes of Grandmaster Flash favorites, rare original extended mixes, and some unreleased tracks. Despite all of the offerings, not surprisingly the best songs here are the original extended mixes released in the early to mid-'80s. The brilliant "The Adventures of Grandmaster Flash on the Wheels of Steel" more than sustains its lasting properties and introduces the first instances of sampling and scratching. The overdone "New York New York" from 1983 seems to gain strength from the better stuff before and after it.. Remaining true to its title, Greatest Mixes has new mixes from DJs and in doing so makes this careen toward sacrilege. While Grandmaster Flash certainly has enough tracks to "tamper" with, the album also has 3 unreleased tracks, most notably 1989's great, testy, and spare "Freestyle."

01 - White Lines (Don't Don't Do It) (Cutrmaster Swift & Pogo Mix) (4:11)
02 - Stepp Off (Original 12 inch) (7:36)
03 - Drug Wars (Previously Unreleased) (4:46)
04 - Pump Me Up (Original 12 inch) (4:42)
05 - Message II (Survival) (Richie Rich Mix) (6:18)
06 - Freestyle (Previously Unreleased) (4:46)
07 - New York New York (Original 12 inch) (7:20)
08 - Beat Street Breakown (Original 12 inch) (5:10)
09 - The Message (Cutting Edge's Old School Mix) (9:02)
10 - The Adventures Of Grandmaster Flash On The Wheels Of Steel (Original 12 inch) (7:06)
11 - Black Man (Previously Unreleased) (3:59)
12 - White Lines (Don't Don't Do It) (Davidson Ospina Club Mix) (7:08)

diet version
Grandmaster Flash & The Furious Five - The Greatest Mixes (* 99mb)

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Lime - Your love, II (81/82 ^ 153mb)

Contrary to much information out and about...Lime was Denis and Denyse LePage...not the cutesy Joy Dorris and Chris March. Yes Chris and Joy toured the world as Lime, but the real voices and talent behind Lime were the Canadian husband and wife team of Denis, a longtime arranger and producer, and his songwriting wife Denyse. Their unlikely career began in 1980. Denis, already known in the Canadian music circles for his incredible horn and string arrangements on hits by Kat Mandu and France Joli, to name a few, decided it was time to branch out into a full fledged production.

By the summerl of 1980 Denis had compiled, with Denyse's help, a list of songs for them to record. With fellow studio wizards Joe La Greca (Carol Jiani's mentor and producer) and George Cucuzzella they entered Montreal Sound Studios for work on what would be the first of many albums. The first 12" single released was the now classic "Your Love." A snappy uptempo number that immediately started charting on it's original Matra Records pressing. After a strong showing it was remixed and re-released furthering it's chart life. The album, "Your Love," followed and eventually between Matra and Prism all the tracks were released on 12" singles. Garnering them hits with "You're My Magician," "(Baby) I'll Be Yours," "It's You" and "Agent 406." This album was also unique in that it was the only album to feature Denyse on the cover. All subsequent albums contained paintings or drawings.

After riding the crest of their first album to it's maximum, their second album "Lime 2" debuted in July of 1982. Once again on Matra Records, the formula was the same for writing, producing and mixing duties. And once again all the tracks appeared on 12" singles as either A or B sides. The 12" singles of "Babe We're Gonna Love Tonight," "Wake Dream" and "Come And Get Your Love" were all consumed by a ravenous high energy dance audience and immediately went top ten. This album also was the first to feature the artwork (cover) of Studio Graffiti, whom would do all of their remaining covers. The unusal paintings became one of the groups trademarks.

By 1983 Lime was at the pinnacle of their worldwide success. "Lime 3" released that spring would prove to be their most universal album. The success began with the first 12" single. "Guilty" with its somber and dark overtones, was a different release from their previous bubbly bouncy numbers. The album was their first to be completely recorded with Roland, Juno and Jupiter synthesizers, all programmed and played by Denis, he also assumed full producer status .

Sometime around 1982 or 1983 Lime had become so successful that demands for personal appearances was enormous. Denis and Denyse chose not to tour for several reasons. Their age was one factor, neither cared to schlep around the globe doing one-night stands. Another was that though both are attractive for their age group, their looks weren't exactly in-sync with their audiences. After lengthy auditions two attractive blondes with similar vocal ranges were recruited to tour as Lime. Joy Dorris and Chris Marsh fit the bill. The group toured the world during 1983 and 1984, receiving numerous awards. American fans were delighted by their personal club appearances. While appearing live the duo did sing live to prerecorded tracks and so many believed that they were in fact the original singers. Despite worldwide touring the groups 1984 album "Sensual Sensation" produced no blockbuster hits.

1985 was a year for the husband and wife team to reflect and and while putting new material together Matra hired New York whiz kids Morales and Munzibai (M & M) to remix the back catalogue of material for an album release, "Lime-The Greatest Hits."
The "Greatest Hits" album shot to the top of the charts and renewed interest in the group. 1985 brought a new album with a slightly new sound and a very different feel. "Unexpected Lovers" was the albums title and also it's first 12" single. The music did well on the club scene and helped the album go Gold. By 1986 the group was ready for their seventh release, "Take The Love" , it received mixed reaction

By 1989's release "Brand New Day" the husband and wife team had created an empire that had a life of it's own. Denis and Denyse did contribute to the album but had already distanced themselves from the whole scene and turned the production over to Richard Buck. Vocals were also split with Joy and Chris for the actual recordings. This was about to be the end of the road for Joy and Chris as well as Lime as hitmakers. Perhaps it was the lack of total commitment from LePage or the uneveness of the material and singers but in any event it slid into the cut-out bins quickly.

Denis and Denyse returned wholeheartedly in 1991 to write, perform and produce the groups nineth album "Caroline." This would be their last hit of any note. The oddley sounding "Caroline" was done in the current New-Jack sound and despite several versions it failed to capture the glory of their heyday. The album had other strong material as well, however tastes and styles had changed and Lime was no longer the group de jour. As of 2002 they have released a new album "Love Fury." Meanwhile Unidisc, has re-released their entire catalogue on compact disc. Denis still continues to arrange and work with other artists most notably Los Del Mar and Ouba.

01 - You're My Magician (7:32)
02 - Agent 406 (7:00)
03 - It's You (7:49)
04 - I'll Be Yours (7:19)
05 - Your Love (Remix) (7:14)
06 - Come And Get Your Love (8:07)
07 - Help Yourself (6:07)
08 - A Man And A Woman (6:45)
09 - Wake Dream (7:05)
10 - No Reply (5:20)
11 - Babe, We're Gonna Love Tonite (6:51)

diet verson
Lime - Your love, II (* 99mb)

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Lil Louis & The World - From The Mind Of Lil Louis ( 89 ^ 171mb)

Lil Louis is the stage name used by Chicago-born house music producer and DJ Louis Burns. He was the son of guitarist Bobby Sims, who recorded for Chess and appeared with the psychedelic-soul unit Rotary Connection. Louis grew up with nine siblings and played both drums and bass as a child, then began DJing in the mid-'70s (he earned his nickname after appearances at the club River's Edge while still in middle school). By the end of the decade he had his own club, the Future, where he began working on his editing techniques, thanks to a cassette deck and later a reel-to-reel recorder.

By the mideeifhties, Lil' Louis was hosting the biggest house parties in Chicago, and he began recording his productions around that time as well. His first single "How I Feel" appeared on his own label, and he began collaborating with Marshall Jefferson on several tracks. In 1987, his new single "French Kiss" became a local hit, then a platinum-selling international classic after being licensed to CBS and FFRR. The success triggered a major-label contract through Epic, and the release of his debut album From the Mind of Lil' Louis in 1989. Charting a course across jazz-fusion and R&B as well as house, the LP was one of the best produced by any of the Chicago figures. Pushing the album into another sphere however, are the great collaborations which occur. Larry Heard's input on tracks like "Blackout," "Tuch Me" and "6 A.M." is stellar, and uptown Wax Trax! industrialists Die Warzau even appear on production and mixing. From the album, the moody single "I Called U" became another club hit.

His follow-up LP, the more stylistically unified Journey with the Lonely, didn't fare as well and Lil' Louis retired from recording for over four years, preferring instead to set up his own studio in New York and work on production with Babyface and Me'Shell NdegeOcello. He returned by collaborating with "Little" Louie Vega of Masters at Work and also worked on production for Black Magic.

01 - I Called U (Original Mix) (6:24)
02 - Blackout - Original Mix (6:06)
03 - Tuch Me (5:09)
04 - French Kiss (6:03)
05 - Wargames (3:05)
06 - It's The Only Thing (5:18)
07 - 6 A.M. (3:48)
08 - Nyce & Slow (5:33)
09 - Insecure (6:24)
10 - The Luv U Wanted (4:38)
11 - Brittany (2:33)
12 - Lil Tanya (2:36)
13 - 6 A.M. (Reprise) (3:39)
14 - I Called U (Reprise) (2:59)
--Xs
15 - French Kiss (12 " mix) (9:55)

diet version without Xs
Lil Louis & The World - From The Mind Of Lil Louis ( * 99 mb)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !]]> Fri, 10 Oct 2008 02:01:00 +0000 rappers melle mel rappers melle mel grandmaster flash flash matra records records grandmaster melle mel grandmaster flash favorites Into The Groove (49) <![CDATA[Alphabet Soup II (X/Y)]]> http://www.musicratty.com/article/b8fbef5cd44948a615adca48ff65d974 http://www.musicratty.com/article/b8fbef5cd44948a615adca48ff65d974
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XTC - BeesWax(82 ^ 93mb)

A nice companion to Waxworks, Beeswax does a fine job of collecting the B-sides to the singles up to 1982. While these songs were often as engaging as the A-sides, meanwhile most have found their way on later CDs as bonus tracks.Some surprising strong tracks here like Smokefree Zone

13 - She's So Square (3:07)
14 - Dance Band (2:41)
15 - Hang On To The Night (2:12)
16 - Heatwave (2:09)
17 - Instant Tunes (2:32)
18 - Pulsing Pulsing (1:37)
19 - Don't Lose Your Temper (2:32)
20 - Smokeless Zone (3:51)

21 - The Somnambulist (4:27)
22 - Blame The Weather (3:39)
23 - Tissue Tiger (The Arguers) (3:57)
24 - Punch And Judy (2:44)
25 - Heaven Is Paved With Broken Glass (4:21)

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Xiu Xiu - La Foret (05 ^ 98mb)

Taking their name from the 1998 Chinese film Xiu Xiu (Shu-Shu): The Sent Down Girl, Xiu Xiu is the brainchild of singer-songwriter Jamie Stewart, who has been its only constant member since its inception. His current bandmates are cousin, Caralee McElroy and percussionist Ches Smith. Xiu Xiu are also, on occasion, joined by Cory McCulloch, who has also produced several of their albums. Past members include Lauren Andrews, Yvonne Chen, Sam Mickens and Jherek Bischoff. Prior to the 2002 release of their first full-length album, Knife Play, the band made appearances on numerous compilations. Vocalist Stewart has earned comparisons to the Cure's Robert Smith, while the band itself has been likened to just about any angular guitar band from the late '70s and early '80s without any blindingly obvious sources of inspiration. In 2002, the band issued the Chapel of the Chimes EP. Nearing the end of 2002, several losses occurred for the group, Yvonne Chen left, Cory McCulloch too decided to refrain from touring, concerning himself primarily with the production of future Xiu Xiu recordings. The second loss was a personal one, as Jamie Stewart's father committed suicide.

While coping with these losses, Stewart created the follow-up to Knife Play, 2003's A Promise. The album formed an almost conceptualized record of internal despair, social torment and emotional longing. Consisting of ten tracks, the record was oriented towards a more or less acoustic presentation, rather than relying on the booming brass and percussion which had worked to make Knife Play. In the spring of 2004, Stewart and McCulloch released what is to date the group's most successful critical effort, Fabulous Muscles. More accessible and pop-friendly in its sound than previous releases, Fabulous Muscles boosted Xiu Xiu to new heights in terms of popularity. Seen as a return to Stewart's more dark and irate musical demeanor, La Forêt, through songs such as 'Pox', 'Saturn' and 'Rose of Sharon (Grey Ghost Version)', alluded to a frustration which Stewart had felt throughout the process of recording. Focusing on subject matter such as self-hatred, apathy, and his frustration with U.S. President George W. Bush, La Forêt shifted towards a new format of instrumentation with the introduction of the autoharp, as well as 'Croatian' bells.

Xiu Xiu broke from tradition in 2006 when their fifth LP, The Air Force, was produced not by McCulloch, but Deerhoof drummer Greg Saunier who is noted for creating a more minimalist sound, a stark contrast from that of McCulloch's wall of sound. The Air Force would be supported throughout 2006 by a three piece, as Stewart and McElroy were joined by drummer/percussionist Ches Smith, the album contained the first Xiu Xiu song with vocals entirely by Caralee, on 'Hello From Eau Claire'., an EP of covers, Tu Mi Piaci, was also released that year. 2008's Women as Lovers managed to be some of Xiu Xiu's catchiest and most abrasive work, and featured Michael Gira on a cover of "Under Pressure." The album showed a rough richness that sets it apart from La Foret's fractured electronics or The Air Force's spaciousness: percussion and voice are the album's main motifs, augmented by strings, super-saturated synths, and caustic guitar.

01 - Clover (5:11)
02 - Muppet Face (3:23)
03 - Mouse Toy (3:28)
04 - Pox (4:08)
05 - Baby Captain (3:41)
06 - Saturn (3:20)
07 - Rose Of Sharon (5:04)
08 - Ale (5:39)
09 - Bog People (3:19)
10 - Dangerous You Shouldn't Be Here (3:51)
11 - Yellow Raspberry (3:07)

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Yes - The Yes Album (rem) (71 ^ 126mb)

Yes was formed in 1968 by vocalist Jon Anderson and bassist Chris Squire, they met in a Soho nightclub, La Chasse, where Anderson was working. The two had a common interest in vocal harmony and began working together soon afterwards. Squire was in a band called Mabel Greer's Toyshop with Clive Bailey, and Anderson also started singing with the group. Drummer Bill Bruford was recruited from an ad he had placed in Melody Maker. The group also included guitarist Peter Banks, with the addition of organist/pianist Tony Kaye, the band became Yes.Banks came up with the three letter name, with the rationale that it would stand out on posters.

Yes played their first show at East Mersea Youth Camp in England on August 4, 1968. Soon after this, they opened for Cream at their 1968 Farewell Concert from Royal Albert Hall. They earned a reputation for taking other people's songs and drastically changing them into expanded, progressive compositions. In September, they gained a residency at The Marquee club, soon after, they made their first radio appearance on John Peel's programme and, when Melody Maker columnist Tony Wilson selected them and Led Zeppelin as the two bands "Most Likely To Succeed" , it appeared that their future was assured.

Their eponymous debut album was released on July 25, 1969. The harmony vocals of Anderson and Squire were an immediate trademark of the Yes sound. The band's optimistic, vaguely futuristic outlook on the world was delivered with a combination of melody and virtuosity.In 1970 the band released their second album, this time accompanied by a 30-piece orchestra. Time and a Word featured mostly original compositions and two cover songs, Richie Havens's "No Opportunity Necessary, No Experience Needed", and "Everydays" by Stephen Stills, originally recorded by Buffalo Springfield. Although musically exceptional in terms of melody delivery, the orchestra (and keyboardist Tony Kaye) overpowered Banks and much of the vocal work, leaving Time and a Word somewhat uneven. Before the album's release, guitarist Peter Banks was fired and ex-Tomorrow guitarist Steve Howe was hired.

The 1970s Yes recordings are still considered the classic Yes sound by many fans. These albums feature complex classically influenced arrangements, unusual time signatures, virtuoso musicianship, dramatic dynamic and metrical changes and oblique, stream-of-consciousness lyrics. Songs often exceeded the standard three-minute pop-song structure with lengthy multi-part suites sometimes lasting 20 minutes or more, making the band a leading 1970s progressive rock combo. The group's emerging style coalesced on their next LP, the critically acclaimed The Yes Album, which for the first time consisted entirely of original compositions by the band. It was also the record that united them with long-serving producer and engineer Eddie Offord, whose studio expertise was a key factor in creating the Yes sound. In 1971, original organ/piano player Tony Kaye left the band, he, arguably, could not match Howe's guitar improvisation. He was replaced by the classically trained Rick Wakeman, who had just left The Strawbs and was already a noted studio musician with credits including David Bowie and Lou Reed. Wakeman brought the keyboards up to a level of improvisational skill comparable with that of Howe's guitar, Wakeman proved to be the perfect foil for Steve Howe. He also brought two vital additions to the group's instrumentation: the Mellotron (which Kaye had been unwilling to employ) and the Minimoog synthesizer.

With Wakeman on board, Yes entered what some consider their most fertile and successful period, cutting two highly acclaimed LPs. Fragile (1971) went Top Ten in America, as did Close to the Edge (1972). Yes enjoyed enormous commercial and critical success around the world and became one of the most popular concert attractions of the day.Fragile also marked the beginning of a long collaboration with artist Roger Dean, who designed the group's logo and their album covers, as well as their stage sets. Some consider the album Close to the Edge to be the high point of the whole progressive rock genre. Some fans of this era describe themselves as "Troopers", after the 3-part track "Starship Trooper" from The Yes Album. Before the release of Close To The Edge, and at the height of the band's success, Bill Bruford announced that he was quitting to join King Crimson. .....

A few years later ths soap started with people leaving ,c oming back and leaving again, currently the band exists but is on hiatus, the weak health of Anderson seems likely he will bow out definetly leaving Chris Squire the keys to where to go and who to hire....

01 - Yours In No Disgrace (9:36)
02 - The Clap (3:07)
03 - Starship Trooper (9:23)
03.1 - Life Seeker
03.2 - Disillusion
03.3 - Würm
04 - I've Seen All Good People (6:47)
04.1 - Your Move
04.2 - All Good People
05 - A Venture (3:13)
06 - Perpetual Change (8:50)
07 - Your Move (Single Version) (2:59)
08 - Starship Trooper: Life Seeker (Single Version) (3:27)
09 - The Clap (Studio Version) (4:01)

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Yeah Yeah Yeahs - Fever To Tell (03 ^ 098mb)

Karen O and Brian Chase first met as students at Oberlin College in Ohio in the late '90s, where Chase was a jazz student at the conservatory. Karen then transferred to New York University, and while in New York met Zinner in a local bar, where they formed an 'instant connection'. The two formed an acoustic duo, before deciding to form a punk band similar to the 'trashy, punky, grimy' art student groups that Karen had left behind in Ohio. After the drummer they recruited initially bowed out, Chase ,who O had met before at Ohio's Oberlin College, joined the lineup.Yeah Yeah Yeahs' debut release was a self-titled EP, released in 2001. They followed it with another EP, Machine, in 2002.

In 2003, the band released their first complete album, Fever to Tell, which received several strong critical reviews and sold more than 750,000 copies worldwide.Fever to Tell is a confident, thunderous, piece of raw rock 'n' roll that steers the listeners in one direction, only to pull the rug out from under them two thirds of the way through, and take things in a completely different direction. Each member of the trio ups the ante on this album: Karen O's singing proves to be much more versatile than the early releases indicate, guitarist Nick Zinner incorporates myriad influences into a sound that now borders on virtuosic, and drummer Brian Chase gives us some of the most powerful sounding garage rock drumming we've heard in a long time. Fever to Tell was nominated for a Grammy for Best Alternative Music Album. The New York Times chose Fever To Tell as the best album of the year. In June 2005, the album was ranked number 89 on Spin magazine's list of the 100 Greatest Albums, 1985–2005.

Their second album, Show Your Bones, was released on March 27–28, 2006. The album's producer, Sam "Squeak E. Clean" Spiegel The band toured throughout Europe and the United States during much of 2006, and also band helped to curate an edition of the British All Tomorrow's Parties festival. The Yeah Yeah Yeahs' most recent EP, titled Is Is, was released on July 24, 2007. It includes 5 previously unreleased songs and a short film, recorded and filmed at the GlassLands Gallery in Brooklyn, NY. The songs were written in 2004, during the Fever To Tell tour, and performed live often. The band is currently in the countryside working on their third LP, which is said, once again, to be inspired by cats, a theme of the band. Simultaneously, Karen O. has just created a side-project under the name Native Korean Rock & The Fishnets. She has only released the music via streaming tracks on the band's Myspace.

01 - Rich (3:36)
02 - Date With The Night (2:35)
03 - Man (1:49)
04 - Tick (1:49)
05 - Black Tongue (2:59)
06 - Pin (2:00)
07 - Cold Light (2:16)
08 - No No No (5:14)
09 - Maps (3:39)
10 - Y Control (4:00)
11 - Modern Romance (7:28)
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12 - Miles Away (2:20)
13 - Machine (3:18)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !]]> Thu, 09 Oct 2008 02:21:00 +0000 album eponymous debut album band chinese pop band album close close angular guitar band alternative music album music Alphabet Soup II (X/Y) <![CDATA[Eight-X (49)]]> http://www.musicratty.com/article/8f17fe6e0816175b45ef05d3dbfec230 http://www.musicratty.com/article/8f17fe6e0816175b45ef05d3dbfec230
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Soft Cell formed in 1980 in Leeds. Their initial efforts at recording resulted in an EP called Mutant Moments that year, funded by Dave Ball's mother, made with a simple 2-track recorder. This was released independently with only 2000 vinyl copies pressed and has since become a highly valued collector's item among Soft Cell fans. Their early shows and EP caught the interest of certain record labels, such as Mute Records and Some Bizzare Records, both of which pioneered the new wave of synthesizer bands. Soft Cell's next recording, "The Girl with the Patent Leather Face," appeared as a contribution to the Some Bizzare Album, which featured other (then unknown) bands such as Depeche Mode, The The, and Blancmange. Their first singles, A Man Can Get Lost 7" and Memorabilia 12" were produced by Daniel Miller, the founder of Mute Records. While the Memorabilia single was a club hit but didn't chart, Soft Cell remained essentially unknown.

Phonogram Records allowed Soft Cell to record a second and final single in an attempt to score a chart hit. The band opted to record a radically reworked cover version of "Tainted Love", an obscure 1964 northern soul track originally sung by Gloria Jones. Released in 1981, Soft Cell's "Tainted Love" was a number-one hit in seventeen countries, including the United Kingdom, as well as a number eight single in the United States and stayed on the U.S. Billboard Hot 100 chart for a record 43 weeks. Unfortunately for them,as both tracks on the single were covers..they never made much money from it. Their first album, Non-Stop Erotic Cabaret, further explored the trademark Soft Cell themes of squalor and sleaze. A companion video entitled Non-Stop Exotic Video Show was released alongside the album and featured videos directed by Tim Pope, who later found fame as director of music videos by The Cure. The video generated controversy in Britain in fact the police confiscated it. In 1982, the duo spent most of their time recording and relaxing in New York City, where they met a woman named Cindy Ecstasy. It was Cindy Ecstasy who introduced them to the new club drug of the same name. By their own admission, most of Non-stop Ecstatic Dancing was recorded and mixed under the influence of ecstasy.

By 1983, the shadow of "Tainted Love" was beginning to haunt the band, and the pressures of stardom, not to mention the constant drug use, were taking their toll. Marc Almond also formed the group Marc and the Mambas, featuring collaborations with The The's Matt Johnson and future Almond collaborator Annie Hogan, as an offshoot in order to experiment out of the glare of the Soft Cell spotlight. Soft Cell followed their remix album with a full length album appropriately titled The Art of Falling Apart. The singles were modest successes in Britain. By 1984, they had decided amicably to dissolve the band and released one final album called This Last Night in Sodom, a critical success but a commercial failure. The album departed from its predecessors by having a much grittier feel, featuring more live drums and guitars than previous albums.

During Almond's solo years, he and Ball continued to keep in touch. Dave Ball's ex-wife played cello in Marc Almond's solo band. Almond and David Ball did not work again together until the nineties, when Ball arranged some music for Almond's "Tenement Symphony." David Ball formed The Grid in 1990 with Richard Norris. The Grid split up in 1996, but reformed in 2005 and released an album in 2008 on the Some Bizzare label called Doppelgänger. Almond and Ball's reunion as Soft Cell became official with well-received initial concerts - they performed at the opening of the Ocean nightclub in London in March 2001 to strong reviews, and a mini tour followed later in the year. The track "God Shaped Hole" featured on the Some Bizzare compilation released in 2001.

The album Cruelty Without Beauty was released in late 2002, followed by a European tour and a partial US tour in early 2003. The new album featured their first new songs together in almost twenty years, and the two are together in full force. Almond's lyrics are among the best he has ever written. It all comes together with brilliant writing and Ball's atmospheric and swelling arrangement of the eerie music. Almond's voice is strong and emotive, living and breathing his stories and observations. And the music has grown in short a more mature Soft Cell.

In August 2007 the band announced they have started a remix album, "Heat - The Remixes". The remix album is expected to be released in May 2008 and will include classic Soft Cell tracks remixed by such acts as Paul Dakeyne, The Grid, Manhattan Clique, Cicada, Richard X, Ladytron, MHC, Atomizer, Mark Moore, Kinky Roland, Spektrum, George Demure, Yer Man and many more

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Soft Cell - Non-Stop Erotic Cabaret (rem) (81 ^ 178mb)

Despite the reputation of many new wave bands as being on the cutting edge of technology, the album was created on a very low budget
The insistent beats taken at steady dance tempos and the chilling electronic sounds conjured by Ball emphasized Almond's fascination with deviance. British listeners saw through Almond's pretense or were amused by him, or both; more puritanical Americans tended to disapprove, which probably limited the group's long-term success stateside.

01 - Värttinä - Äijö (4:22)
02 - Kerstin Blodig / Valivann - Vallevan (4:13)
03 - Kimmo Pohjonen - Ohimo (4:22)
04 - Wimme - Texas (3:48)
05 - Hoven Droven - Malört (3:34)
06 - Plommon - Emma (5:49)
07 - Kalabra - Ymnig Mossa (3:41)
08 - Hulu Project - Osuokhai (Yakutian Dance) (4:31)
09 - Väsen - Ploska (5:01)
10 - Amanda - Mercy Street (Någonting Värmer) (4:42)
11 - Två Fisk Och En Fläsk - Jungfrun I Buren (3:42)
12 - Anders Hagberg - The Herd (4:36)
13 - Triakel - Innan Gryningen (3:29)

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Triakel - Vintervisor (01 ^ 99mb)

Triakel is a Swedish folk band. They mostly perform old Swedish folk songs, particularly those from the Jämtland area , a very thinly populated area the (3 people per square km !) , but also include songs by contemporary folk artists. Triakel was founded in 1995 by Emma Härdelin (Garmarna), Kjell-Erik Eriksson (Hoven Droven) and Janne Strömstedt (former Hoven Droven member); Eriksson and Strömstedt had to perform together using only the fiddle and harmonium at New Year's Eve 1994 following a lost bet, and the performance was so successful that they decided to continue with the project. Härdelin later on joined the newly-formed band as the singer, and the name "Triakel" (a kind of sweet, black liquorice in the Swedish dialect of Jämtland) was chosen after a long discussion

Triakel play songs. The group's repertoire covers everything from old music.hall numbers to hymns. Often the songs are rooted in the provinces of Jämtland and Hälsingland where the group's members grew up. The music is quiet but emotionally charged, and arrangements are built up around Emma's singing, which is the heart of the group's sound. It is an expression of its members' yearning to make simple, acoustic music, in contrast to the louder, amplified sounds they otherwise work with.

Shortly after the release of Triakel's epynomous debut in May 1998 it was decided that the follow-up should be a Christmas record - not of the usual Jingle Bells kind, but an alternative, nonetheless rich with the unmistakable flavour of a Swedish Christmas. The result was not just a Christmas record but a record of winter songs. .From traditional songs to Evert Taube, Dan Andersson and former ABBA member Benny Andersson. The line-up of vocals, harmonium and fiddle is ideal for this material, and those who have already heard and appreciated the group's simple, low-key music will not be disappointed. Whether serious or cheerful, these are stories delivered with straightforward clarity.

In 2004 they released Sånger från 63° N (Songs from the 63rd Latitude) and a year later Ten Years of Triakel. During the past few years the group has toured throughout Sweden and also played in about fifteen different European countries. They have also appeared in Japan and several times in the Unites States and Canada.

01 - Julvisa från Älvdalen (Christmas Carol from Älvdalen) (3:01)
02 - Bergslagsjul (Christmas In The Mining District) (2:13)
03 - Er framtid blive lyckelig (Good Fortune And Joy) (3:18)
04 - Staffansvisa från Orust (St Stephen’s Day Carol from Orust)" – 1:47
05 - Innan gryningen (Before Dawn) ( 3:28)
06 - Torspar-julaftas-våggvisa (The Crofter’s Christmas Eve Lullaby) (4:12)
07 - God morgon här kär fader vår (Good Morning To You, Master Dear) (2:19)
08 - Det blir en julhelg glad (A Joyful Christmas It Will Be) (3:52)
09 - Julvisa i Finnmarken/Isfärden (3:39)
10 - Staffansvisa från Jämtland (St Stephen’s Day Carol from Jämtland) (2:36)
11 - Adventspsalm (Advent Hymn) (3:17)
12 - Mormors julstjärna (Grandma’s Christmas Star) (2:35)
13 - Knalle Juls vals (The Christmas Tree Waltz) (2:32)
14 - Julgranspolska (The Christmas Tree Polska) (2:15)
15 - Tackvisan (4:16)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !]]> Tue, 07 Oct 2008 00:48:00 +0000 music scandinavian traditional music include songs songs christmas scandinavian roots music traditional songs swedish christmas swedish folk songs Around The World (49) <![CDATA[Canadia 2056 (8)]]> http://www.musicratty.com/article/5a22964e4b06e707dfb70011cbc928cb http://www.musicratty.com/article/5a22964e4b06e707dfb70011cbc928cb

Hello, well the last re-updates are done ...sigh..as mentioned last week there now two pages with over 600 direct links HERE at my mirror blog..but then i would think just surfing this blog gives you much more to Njoy and discover...

but first.. the saga continues and i hope the number of fans will increase as the story unfolds more hilarious reasonings ..the coming 27 minutes

In the year 2056 the US has declared war on the Ipampilashians and has sent the American armada to destroy their planet. Canada has sent its only ship, The Canadia, in support of the American mission but the Canadia is not a warship. It's a maintenance ship (they change light bulbs and plunge toilets). Max Anderson is the first American ever to be stationed on the Canadia. He was put there by the American admiral (his mother) to toughen him up but keep him out of any real danger. The only thing that Max and the crew of the Canadia agree on is that no one wants him there..

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Episode 8:

Romance is in the air on the Canadia. Lewis finds something big in a pile of trash. The Captain invites the Captain of the USS Pickens over to the Canadia in order to present him with a gift. Anderson discovers a hidden talent and the computer explores her jealous side.

Canadia 2056 - 08 (020mb)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !]]> Mon, 06 Oct 2008 00:34:00 +0000 canadia canadia agree american american armada american mission captain invites max nifty ogg encoderdecoder change light bulbs Canadia 2056 (8) <![CDATA[Re Updates]]> http://www.musicratty.com/article/862f2e4ffb3707198efe9ba59244a1fc http://www.musicratty.com/article/862f2e4ffb3707198efe9ba59244a1fc

18 VA - Mutant Disco vol 1
19 New Musik - Anywhere
22 Goldie - Timeless *
25 Daft Punk - Homework
25 Marvin Gaye - I Want You
26 Au Pairs - Playing With A Different Sex *
26 O.S.T. - Shaft ( Isaac Hayes) *
28 Wendy Carlos - Clockwork Original Score
31 Orb - Orbus Terrarum
33 VA - Ambient House
33 Godspeed You Black Emperor - Yanqui
34 Väth & Hawtin - Sound Of 3rd Season
34 Billy Idol - Greatest Hits *
34 Steve Harley, Cockney Rebel - Best of *
35 LCD Sound Systems - LCD Sound System
36 Dave Angel - Classics
37 Darren Emerson mix Psychotrance 2
37 Level 42 - Level Best
38 Felix da Housecat - Kittenz & Thee Glitz
38 Laibach - Anthems
38 Lamb - Lamb
38 Laswell & Namlook - Psychonavigation
38 Smiths - Hatful Of Hollow
39 Blondie - Beautiful - The Remix Album
39 Sarah McLachlan - Remixed
39 Mecano - Snake Tales For Dragon
39 Material - Temporary Music (1979-1981)
40 Juno Reactor - Transmissions
40 Terence McKenna - Seeking The Stone
40 Scientist - Dub From The Ghetto
40 Ben Neill - Tryptical
40 Nada Surf - Let Go
40 Afrika Bambaataa & Family - The Light
40 Time Zone - Warlocks And Witches
41 Chemical Brothers, The - Surrender
41 Rhythm & Sound & Tikiman - Showcase
41 Altered Images - Happy Birthday..plus
41 Whodini - Whodini
42 VA - MSX00.1 10th Anniversary S E
42 Porcupine Tree - In Absentia
43 Meat Beat Manifesto - Storm The Studio
43 Meat Beat Manifesto - RUOK
43 Twine - Recorder
43 Jello - Voile
44 Dopplereffekt - Linear accelerator
44 Blondie - Greatest Hits, Sound
44 Smashing Pumpkins - Siamese Dream]]> Sun, 05 Oct 2008 17:03:00 +0000 sound lcd sound systems lcd sound system clockwork original score mutant disco vol emerson mix psychotrance happy birthday marvin gaye afrika bambaataa Re Updates <![CDATA[Sundaze (49)]]> http://www.musicratty.com/article/ef739eb42d288102217fa8deab70f699 http://www.musicratty.com/article/ef739eb42d288102217fa8deab70f699
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Born July 24, 1958, Mick Karn emigrated to London as a Greek Cypriot when he was 3 years old and from an early age was looking for ways to express himself. He began with the chromatic mouth organ at the age of 7 and then the violin when 11, both lasted just 3 years before he was offered the chance to take up the bassoon with the school orchestra and later chosen as a member of the London School Symphony Orchestra. After a big concert, which was broadcast on Radio 4, the bassoon was stolen from him on the way home. His school refused to buy him another, and in anger at their decision, he bought a bass guitar for £5 from a school friend.. And so ended Mick's career in classical music.

By this time, he had already made friends with like-minded teenagers David Sylvian and younger brother, Steve Jansen who were coincidentally both learning their own instruments, David an acoustic guitar and Steve, bongos. It seemed a natural progression that David move on to an electric guitar, and if Steve were then to progress to drums, they could form a band together and escape the confines of south London. That was the plan and a month later they performed for the first time as Japan on June 1st 1974 when Mick was 15. Over the next two years, they each concentrated on developing their own styles, rehearsing their own music together every day.

MK: "I wanted to be able to slide and bend notes as I'd learnt to do with the violin and so decided to take all the frets off the bass guitar. I also began playing bass directly after the bassoon which, although a bass instrument, often plays lead melodies, both of these factors were major influences in shaping the way I play.

Mick bumped into Richard Barbieri one morning (another school friend) who he invited to one of their daily rehearsals. Richard instantly wanted to join the band. They needed a keyboard player and weren't too worried that Richard had no experience with music because more importantly, he had a steady job working at a bank, and so became our main source of income for the band's equipment. Japan were now a four piece and ready to advertise for another guitarist (Rob Dean) and management, which led on to their first record contract with Ariola/Hansa in 1977 and subsequently, their first album release.

Punk rock was at it's peak and as a reaction to it, Japan decided to not be seen as part of the fashion and so went in the opposite direction, creating their own look with long dyed hair and make up. Tours in Europe and the U.S. saw them playing to hostile audience, they were not well received, with the exception of one territory, Japan, where they instantly became the number one foreign act and remain to this day a lasting influence, both musically and visually. By the time of their third album release Quiet Life in 1979, punk was no longer dominant and Japan's sound had altered drastically. Mick brought saxophones and clarinets into the arrangements, and there seemed to be a string of lookalike/soundalike bands emerging in the U.K. Japan were heralded as innovators of a new sound and era in music, the New Romantics. For Japan, this simply meant it was time to, once again, move on leaving the others behind. No-one could have foreseen the direction they would take with their fifth album Tin Drum in 1981, a blend of Chinese pop music with their own distinctive mood making it a truly outstanding and original work. Nor could anyone have predicted it would be Japan's last studio album.

By now, Mick Karn had most certainly been heard and released his first solo album Titles on Virgin in 1982. His unique style had musicians from all types of genres wanting his contribution to their own work, from Jeff Beck to Gary Numan. That same year, he was chosen by Pete Townshend to be part of a supergroup to perform for Prince Charles and Lady Diana in celebration of their engagement. Mick left a marked impression at the event, which later led onto collaborative work with Midge Ure and recordings with Kate Bush and Joan Armatrading.

Karn had also surprised the art world by holding his first sculpture exhibition in 1981 to outstanding critical acclaim, with many reviews and features in columns and magazines not usually frequented by musicians. Proving himself as an accomplished artist with his often disturbing works of art, he has held 5 exhibitions in London, Japan and Italy. The next project was to be a trio with vocalist Pete Murphy (Bauhaus) and drummer Paul Lawford. Dali's Car released The Waking Hour in 1984, with all instrumentation written and played by Mick, an experiment in stripping music down to it's bare minimum, whilst retaining a strong mood and Middle Eastern flavour. A taste from which he'd picked up from his mother who used to listen to it.

1987 saw Karn's 2nd solo release Dreams of Reason Produce Monsters. Relying heavily on his classical beginnings, using woodwind and brass more extensively as well as harmonica, accordion and even choirs to complete it's haunting themes, as well as Steve Jansen on drums and in the producer's chair. Truly a step away from the expected rock genre and into a field of it's own. By now, Mick's bass guitar had reached the world of Jazz and the next few years saw him working with some remarkable players. An experimental project, Polytown, saw Karn work with David Torn and drummer Terry Bozzio. There then came another surprise decision and a sojourn from solo work as Japan reformed for a one off album under the new name of Rain Tree Crow in 1991. The recording held no reference at all to where Japan had left off, but rather showed a distinct maturity amongst the members. Mick decided to play an unfamiliar five string bass to differentiate his playing from the style listeners had become accustomed to, and in some cases left the bass out altogether, concentrating on bass clarinet as the lead instrument.

Through the associations he'd made within the Jazz world, Karn recorded his next album Bestial Cluster in 1993 for German Jazz label CMP . Co-produced with David Torn, who also played the guitars, Steve Jansen on drums and Richard Barbieri on Keyboards, a Bestial Cluster tour with the same line-up of Europe and dates in Japan followed. CMP also signed Polytown to their label. The album Polytown was written recorded and mixed in three weeks and released in 1994. A staggering feat for any group of musicians, improvised, heavy and far from Jazz. Karn recorded another album for CMP in 1995 - The Tooth Mother, with Natasha Atlas on Middle Eastern vocals. This was to be Karn's most ethnic CD to date and, curiously, also his most funky, drawing on both of those early influences to enhance the ever present dark moods.

Mick's work with Steve Jansen and Richard Barbieri decided to form their own record label Medium Productions as an outlet for collaborative work independent of limitations set by major labels. Forming their own unit JBK, they recorded several CDs together (Beginning To Melt, Seed, _ism ) including a live recording "Playing in a Room With People" taken from some rare shows in Tokyo and London . Included on Mick"s discography for Medium is a collaboration with Japanese Drum and Bass artist Yoshihiro Hanno, Liquid Glass released in 1998. Mick's next solo recording was to be for the Medium Productions label in 2000 and took a distinct step away from the last two CMP albums. Eye a Path was to be Karn's most introspective and personal of albums, drawing on troubled past experiences as it's source of inspiration. However, he was delighted to see the response from fellow musicians lead to an eventual remix album in 2002 entitled: Each Path a Remix, the contributors being Ryuichi Sakamoto, David Torn, Richard Barbieri, Paul Wong and Claudio Chianuro.

Mick then shifted gear again, this time towards what can only be described as instrumental pop. More Better Different was released in 2004 by Invisible Hands Music and reviews certainly agree with the sentiments in the title. 2005 Karn released a EP called Love's Glove and released his 7th solo studio recording, Three Part Species as well as going on an own extensive tour later that year. In 2007 he released Selected a compilation from his own hand.

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Mick Karn - Titles (82 ^ 79mb)

Multi-instrumentalist Mick Karn's first album as a solo artist reveals the significant degree to which Japan's sound was shaped by his bass playing. The presence of Japan drummer Steve Jansen and keyboardist Richard Barbieri, combined with Karn's own singing style (which owes a heavy debt to former bandmate David Sylvian), only strengthens the impression that this is a Japan album in all but name. While Karn plays various woodwinds and keyboards as well as bass on Titles, it is his amazingly agile and creative fretless bass playing that holds center stage, even when he is singing.. Some tracks offer hints of reggae, North African modalism, and ambient experimentalism.

1 - Tribal Dawn (4:13)
2 - Lost Affections In A Room (4:18)
3 - Passion In Moisture (4:13)
4 - Weather The Windmill (3:53)

5 - Savior, Are You With Me? (4:06)
6 - Trust Me (4:58)
7 - Sensitive (4:34)
8 - Piper Blue (4:18)

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Dalis Car - The Waking Hour (84 ^ 85mb)

Dali's Car was doomed almost from the start. A seemingly good idea when it was first suggested to former Bauhaus vocalist/lyricist Pete Murphy that he collaborate with ex-Japan bassist/composer Mick Karn, the group nearly self-destructed before it was disbanded. Their sole album, The Waking Hour, released in 1984, came in more than 50% over the sixty thousand dollar (40,000 pounds) budget given them by Virgin and Beggars Banquet. While on the one hand Waking Hour is pretty much the sum of its parts -- Murphy's dramatic, edgy singing style and Karn's fluid, immediately recognizable fretless bass and other instruments, plus percussion from Paul Lawford -- there was enough variety going on to set it apart enough from the legacies of both Bauhaus and Japan. Murphy avoids the more torturous roars and screams of his most extreme work in Bauhaus, everything feels a touch gentler and more meditative. If nothing else, points for credit for the cover art: a lovely reproduction of the famed Maxfield Parrish painting that provided the title for the album.

1 - Dalis Car (5:15)
2 - His Box (4:44)
3 - Cornwall Stone (5:19)
4 - Artemis (4:37)

5 - Create And Melt (5:34)
6 - Moonlife (4:48)
7 - The Judgement Is The Mirror (4:35)