Two diverse styles collide creating this amusing selection. Your students will love this original fiddle tune with a progressive percussion accompaniment. The beat drives it and the tune is great fun to play. This one has one foot in Detroit and the other in Nashville. Dont miss it! (2:25)

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A musical adventure through mysticism and magic. This unique setting offer wide variety of dynamics, textures and styles while remaining playable. Th momentum is quickly established and your students are part of the journey. is a super piece that will capture the imagination of your students and lis alike. (3:06)

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Keywords: back to the roots,, without bots,, with cojones.. dance with me baby!
Via: www.parisdjs.com
MySpace: www.myspace.com/parisdjs

Grant Phabao and Djouls - 21st Century Afro Vol.2
(MP3 Podcast on www.ParisDJs.com) T.I.M.E.C., 2008-08-28

[comment faire?/how to?]

Info :
The second volume of our ’21st Century Afro’ series begins its trip with a peaceful afro-ethio-cuban trip from Lightning Head (alias Glyn ‘Bigga’ Bush/UK), extracted from the 12 inch taster of his upcoming album (’13 faces of Lightning Head’), then heads directly into heavy afro-kraut-jazz from Nomo, a collective from Michigan developing quite an unique sound.

This ‘Last Beat’ is to be found on their powerful third album (’Ghost Rock’). After another instant afrosoul classic taken from The Budos Band’s masterpiece, ‘The Budos Band II’, the mix navigates into supafunky ethio-jazz from The Lions, a Los Angeles collective of musicians you may also find playing in Breakestra, Connie Price and the Keystones, Orgone, Madlib’s Sound Directions, Plant Life, Clutchy Hopkins, the Greyboy allstars… Their ‘Jungle Struttin’ album mixes reggae, ethiojazz, colombian and african grooves with soul, jazz, and funk!

Things then get more focused with a devastating pamphlet from Seun Kuti and Egypt 80, one of the many available on his booming ‘Many Things’ album. The Shawn Lee apparition in this selection whichcomes afterwards is quite a surprise, but since the multi-instrumentalist genius decided to go global on his latest album (’Miles of Styles’), there’s no reason to pass out on it.

The same goes for the closing track, the hard-hitting Afrobeat drum-powered ‘Platypus Strut’ by Ohmega Watts - with the help of members of the Breakestra/Connie Price/Antibalas… it’s a small world.

Tracklisting :
01. Lightning Head - Afro Spot
(from ‘Afrobeat EP’ 12 inhc, 2008 / Lion Heads Recordings) UK
» more info on djouls.com «
02. Nomo - Last Beat
(from ‘Ghost Rock’ album, 2008 / Ubiquity) USA
» more info on tru-thoughts.net «
03. Budos Band - Budos Rising
(from ‘The Budos Band II’ album, 2007 / Daptone) USA
» more info on djouls.com «
04. The Lions - Jungle Struttin’
(from ‘Jungle Struttin’ Album, 2007 / Ubiquity) USA
» more info on tru-thoughts.net «
05. Seun Kuti + Fela’s Egypt 80 - African Problems
(from ‘Many Things’ album, 2008 / Tôt ou Tard) NIGERIA
» more info on djouls.com «
06. Shawn Lee’s Ping Pong Orchestra - Lagos Calling
(from ‘Miles of Styles’ album, 2008 / Ubiquity) UK
» more info on tru-thoughts.net «
07. Ohmega Watts - Platypus Strut
(from ‘Watts Happenning’ album, 2007 / Ubiquity) USA
» more info on tru-thoughts.net «

Original record covers :

Credits :
Selected and mixed by Grant Phabao & Djouls(timec.net)
Artwork by Djouls (djouls.com), photo by hdptcar under a Creative Commons license
Audio mastering by Grant Phabao (grantphabao.com)

Download (right click, save as) (32MB, 128kBit/s)

MP3

Sezen Aksu is Turkey's premier pop diva who has sold over forty million albums. Her songs are more frequently covered than those of any other Turkish artist, and each of Aksu's releases over the past few years has turned into a huge media event, where she often performs with her famous 35-piece Oriental orchestra. Another legend, Müslüm Gürses is a landmark singer of arabesk, a Turkish style highly influenced by the sounds of Arabic music. His extensive discography, film appearances, emotive style and lyrical treatment of hard-hitting topics have turned him into a cult figure. His most die-hard fans have sometimes slashed themselves with blades during his concerts.

The clarinet has become a staple part of Turkish musical culture, loved for its adaptability to Oriental melodies and its ability to imitate the sound of the human voice. Roma clarinetist Hüsnü Şenlendirici was born to a musical dynasty and played with the famous Magnetic Band. Şenlendirici combines Anatolian melodies with jazz and funk. He has worked with local and international stars, including Athena, Mercan Dede and the Brooklyn Funk Essentials.

Selim Sesler is celebrated worldwide for his masterly clarinet improvisations, tremendous repertoire of dance melodies and original arrangements of classic Turkish folk songs. On his latest album, Anatolian Wedding, Sesler worked with producers Ben Mandelson and Rob Keyloch, and Brenna MacCrimmon, to rework classic wedding songs into a modern rendering of a centuries-old repertoire.

Canadian singer Brenna MacCrimmon has been performing and studying Balkan and Turkish music since the late 1980s. Aside from her ongoing work with Selim Sesler, she has also collaborated with Baba Zula & Mad Professor, and was featured in the 2005 music documentary Crossing the Bridge: The Sound of Istanbul. ‘Semsiyemin' offers a sneak-preview from Brenna's upcoming album Kulak Misafiri.

Aynur sings in both Kurdish and Turkish, and performs Kurdish folk songs in front of a giant image of a fire, symbolic of Kurdish culture. Her album Keçe Kurdan (‘Kurdish Girl') rose quickly to the top of the Kurdish music charts, and has received significant international attention. Soon after its release, the Sixth Criminal Court of the Diyarbakir province in Turkey issued a court decision to have the album removed from the shelves, under the pretext that it contained seditious messages. The decision was appealed, and overturned in September 2005.

Turkish born hip-hop artist Sultana has also resided in New York. At the turn of the millennium, she rocked Turkish audiences to the new beats and flavours of her unique fusion, lacing hip-hop beats with ethnic instrumentals, a hypnotic vibe and lyrics that range from humorous to political. Her debut album, Çerkez Kizi, was released in 2000 and Sultana became an overnight success when her video clip for ‘Kuşu Kalkmaz' — the song featured here — was censored because of its controversial content.

Also featuring on this compilation are Orhan Hakalmaz, Burhan Öçal, Gülay, Musa Eroğlu, Ahmet Kusgöz, Şevval Sam, Cengiz Özkan, Shimal, Knar and Türkmenlar.

Buy the CD:

• In North America: Rough Guide to Turkish Café
• In Europe: The Rough Guide to Turkish Cafe

Every song more or less features the same things; intense hardcore death metal passages, electro-pop breaks and choruses, and hip-hop verses all laced with lyrics that just don't fail to entertain. I broke out laughing at the intro to "Like Times Two", a clip from one of the hilarious GI Joe parodies you've probably seen floating around the webnet highway. There are tons of influences in this music, and you can tell that the guys want to show those off while at the same time having the upmost fun possible making their music click. And it really works, despite the break-neck speed and sudden jolts into almost totally different songs within the songs. Take a song like "Cheerio", that starts off sounding oddly of Blink 182 (eerily similar) before transforming into a death metal track you'd probably have enjoyed hearing back in 1986. They are doing some different stuff this time around; the synth-heavy trip-hop on "An Open End" is delicious, and the hilarious outro to "A Christmas Story" is all shits and giggles. 

A better time with a record might not be found by anyone this year. Like their EP, The Diaries Of Lord Xenu is a twisted masterpiece of several different styles scooped up and thrown violently together, but with some obvious skill and passion to make it all come together nicely. You'll laugh. You'll cry. You'll question the two dudes' sanity. But most of all, you should enjoy the hell out of it. I certainly am. Look for this one on my year-end list...it's that much fun...

The sheer excitement in the speed of these four tracks is enough of a selling point to just wrap this review up now for any extreme metal fan, but it's the ample amount of top-notch melodies in the riffs of Takafumi Matsubara. This guy has the kind of chops that should turn him into a name not quite on par with the sissified likes of Herman Li or whoever that dude is, but definitely more knowledgable of the sounds of heavy metal and how to turn a solo into more than a wankfest. The only distracting force, for me, is the intensity of Chang's vocals. After even four tracks, however surprisingly long for their genre they are, my senses are somewhat dulled by the constant cat-in-distress shrieks. I suppose this music demands it, and it's a pleasant change from the death-grunts and roars we're all so used to.

I can't see much of anything wrong with this release. While not re-inventing the wheel, it deftly combines a few different styles of songwriting into a fast-paced juggernaut of an EP. Hopefully this is the sign of more to come from both Hayaino Daisuki and the metal-morphed mind of Jon Chang. 

Time+Space has announced four new Big Fish Audio products which are now available to download: Jazz Hedz, Junk Box Percussion Vol 1 & 2 and Mosaic: Synthetic Groove Pak Vol 1.

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Mosaic: Synthetic Groove Pak Vol 1 contains synthetic grooves created to fit a wide variety of musical styles and settings. Whether it´s electronica, hip hop, industrial, or a film score, MOSAIC has you covered. These grooves have been organized into nine folders within which are loops that were specifically created to work perfectly in sync with each other, but they will also mix well with other loops in the Pak, or from elsewhere.

All these Big Fish Audio download titles are available for £14.95 each.

Visit Time+Space for more information.

The music on Waka/ Jawaka is when it comes the two long pieces Big Swifty ( 17:23 minutes) and the title track (11:18) jazz rock with occasional big band tendencies. It´s in those two songs were treated with Sal Marquez great trumpet playing. Jazzy but often bordering avant garde. His solo in Big Swifty is actually a transcribed Frank Zappa guitar solo played on trumpet. It sounds great. Big Swifty is of a jam like nature even though there is a structure in the song while Waka/ Jawaka is the most orchestrated affair on the album. There is some really menacing dark moods in that song. Great moog solo from Don Preston.

The two short songs called Your Mouth and It Just Might be a One-Shot Deal are more like avant garde rock that we´re used to from Frank Zappa. Lots of different styles and sections in each song. Your Mouth is great and for the first time we hear female background singing in a Zappa song but it´s with It Just Might Be a One-Shot Deal that we´re treated with a Frank Zappa masterpiece. We have everything from avant garde to country pedal steel solos to blues and jazz rock in 4:16 minutes. I´m sold. Note that this is the songs where we for the first time hear Frank Zappa´s new lower voice. His Larynx was damaged during his fall from stage and after his recovery his voice had dropped a third.

The musicianship is excellent and again I have to point out how great a musician Sal Marquez is. He contributes so many intriguing features to this album. But Zappa´s guitar playing is also worth mentioning as it´s unpredictable as always. He supports the music with some really challenging tricks here and there. A great performance.

The production is astonishing and I really enjoy the mix with all the layers in the music hearable.

I think Waka/ Jawaka was a groundbreaking release from Frank Zappa. He was obviously venturing into unknown territory with this one and as usual got away with it in style. Zappa would soon assemble a much bigger big band with which he would also tour and release an album called The Grand Wazoo which is much in the same vein as Waka/ Jawaka just a bit more elaborate. Personally I have always enjoyed Waka/ Jawaka more than The Grand Wazoo. I don´t nesseccarely think that Waka/ Jawaka is essential for all prog heads but for Zappa fans this is a must and I´ll rate Waka/ Jawaka 4 stars. For fans of jazz rock this one will probably ( at least partially) please you too.

by UMUR


ZAPPA, FRANK Music Online:
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San Francisco Bay Guardian: How'd you get hooked up with the other bands for the Metal Masters bill?

KK Downing: As luck would have it, you know. This time, we really wanted to just go out and have some compatability between the bands. We came up with the idea of an all-British onslaught, and calling it the Masters of Metal. So we did our best to find, obviously bands that are into touring -- that didn't have tours booked, or were in the studio, or songwriting, or their wives were having babies, you know. It was kind of tough to put together. But as luck would have it, the bands -- all apart from Testament -- are obviously British, but we still think it's gonna be a great day out for people who really like some good old metal. I was gonna say "old-fashioned," but we're not that old-fashioned!

SFBG: No way, I mean, when we saw the line-up we were so excited. Testament did play a show here earlier this year, but they're from here.

KKD: Yeah, well, they've got a new, good record out, so everything's worked out great. They actually toured with us in 1990 on the Painkiller tour so it'll be fun to have those guys on board again.

SFBG: I saw that the new Judas Priest album, Nostradamus (Sony), marked the highest-ever chart debut for a Priest record in the US. Were you guys excited?

KKD: Sure, yeah! It's good, but obviously, with the record, I think records have to stand the test of time. Some of our most successful albums didn't even make it into the top 15, but they had long legs and seemed to run forever, and that's the important thing, really. But yeah, it's always nice!

SFBG: What do you think is the enduring power of metal? Obviously you guys have been around for awhile, and it seems like you're still attracting new fans. What about the genre keeps people loyal, yet continues to attract newcomers?

KKD: From a very young age, you get put into a certain lifestyle category. You seem to take interest in a style of music that's meaningful to you. I think for a lot of the metal fans, life hasn't always been perfect for everybody, and we have to endure. And I think we like a lot more depth, a lot more energy -- just something more out of music than just something to tap your foot to. Therefore, we become a sect, I don't know, a body of people. It's something that probably somebody could write a book on -- how people start to like different styles of music. But for my own part, we all came from a very industrial area in the UK, and we tend to like something like this style of music. And once that's what you're into, it's not something you can really turn away from.

SFBG:Are there any newer metal bands that you like?

KKD:I don't want to sound like a stickler, but when you're so involved in what you do yourself [pauses]. It's very difficult for new bands to come up with something that's very new and exciting. We just played with a young band from Australia called Airbourne. Lots of people say they're obviously a sort of AC/DC mimic type band. But then again, you know, there's room in the world for more than one AC/DC and I'm sure there's room for more than one Judas Priest, so why not, you know? And they rock out while they play, that's for sure.

SFBG:Nostradamus is a departure for Judas Priest -- it's a double album and a concept album. How did you come up with the idea, and how did you go about putting it together?

KKD: We've done many records, you know, in a traditional style for so many decades. A concept album is obviously different, and this is like a double CD, triple vinyl, 48-page book package about a real person, which allows us to give the record a lot more deepness and more emotion. When we finished the last record, people were saying, "What can Priest do next?" As if to say, we've done it all. So we went and produced this and we had a great time making it. I think we've continued to evolve as a band. Judas Priest, we've around a long time and to bring something new to the table, like Nostradamus, maybe bands and musicians around the world will think, it's OK to be melodic as well.

SFBG: It's also pretty bold to release an album like this in a time when all people seem to care about is the single -- this is a true, full album with a story that runs throughout the songs.

KKD: When we were making the album, people said "Oh, aren't you worried about people's attention span?" Like you said, it's so short these days. They'll cherrypick a few songs, and that. But I think I really disagree with that. I know for a fact that people will still sit down and read a good back, or people will still sit down and watch a good movie. So why shouldn't they sit down and listen to a good album? We advocate listening to this record obviously in its entirely if you possibly can -- on a long car journey, or on the plane, and just dissolve yourself into the mystical world of Nostradamus, and really try to follow the plot from beginning to end. That's how I used to listen to records back in the 1970s. I used to enjoy doing that. I rushed out and bought Jimi Hendrix's Electric Ladyland, which might not be a concept album, but it made you want to close the curtains, lock the door, put on your headphones, and just disappear into the world that the artist wanted you to be in for that amount of time. I do think a lot of music fans out there will know exactly what I'm saying.

SFBG: What was it about Nostradamus that made you want to tell his story?

KKD: We didn't know too much about him [at first]. But when the idea came up, we thought he was so intriguing, and the fact that he was a real person, and even 500 years on, he's still a bit controversial. There's a lot of stuff to get your teeth into about his life -- he was an alchemist, a metallurgist, a doctor, lost his wife in the plague, predicted the death of a king at the time, and ended up getting in trouble and persecuted by the church, sent out into exile. Later in life, he found love again and married and lived to a good age. But the end he still requested to be buried standing up -- he was some kind of character, really!

SFBG: What's the set list like for the Metal Masters tour?

KKD:We'd like to think we could play and perform Nostradamus in its entirely at some point, you know. Our manager managed the Who his whole life, and he was involved with Tommy. It would be great, I think. Judas Priest, we've been around for quite a few decades. We're moving into our fifth decade. If anybody can take us into the future, then it's certainly gonna be Nostradamus. But everybody knows, for Metal Masters, Judas Priest will bring all the bells and whistles. We'll play some [crowd-pleasers], but we'll also play some stuff that people have been wanting us to play for years but haven't played, and obviously some stuff off the new record. We'll continue to hopefully add more songs as the record becomes more known, and change the set around a bit -- the internet is such a great vehicle, but sometimes it can spoil the party! To be honest, from the stuff I've seen on YouTube, the sound is not that great and the visuals are not that clear. It certainly adds to the excitement to see the show in real life.

Judas Priest with Heaven and Hell, Motorhead, Testament
Sun/31, 5:30 p.m., $31-131
Shoreline Amphitheater
One Amphitheater Pkwy, Mtn View
(415) 421-TIXS