ΦΩΤΙΕΣ 2009

Ευχαριστούμε Κυρ ' Αντώναρε , Κυρ Σουφλιά , Κυρ Μαρκογιαννάκη .
Ευχαριστούμε Κυβέρνηση , Ευχαριστούμε Αντιπολίτευση και λοιπά κόμματα γιά την άψογη αντιμετώπιση της φωτιάς .

Ευχαριστούμε !!!

Ευχαριστούμε για τις υποσχέσεις που μας δώσατε πριν σας ψηφίσουμε .

Ευχαριστούμε για τις υποσχέσεις που θα μας δώσετε για να σας ξαναψησίσουμε .

Δεν Ευχαριστούμε τα Πυροσβεστικά Σώματα , που με κίνδυνο τη ζωή τους μπήκαν μέσα στις φλόγες , για να σώσουν δασικές εκτάσεις από τους Οικοπεδοφάγους , τους Εμπρηστές , τους ανίκανους Πολιτικά υπεύθυνους , τους ανεύθυνους Μιζαρόρους της Πολεοδομίας .

Δεν ευχαριστούμε επίσης τους χειριστές των Καναντέρ και των Ελικοπτέρων , και τους Εθελοντές , οι οποίοι δίχως τον μίνιμουμ συντονισμό επί 4 ημέρες έπαιξαν τη ζωή τους κορώνα γράμματα !!!

Ευχαριστούμε Κρατικέ Μηχανισμέ που είσαι πάντα σ΄ ετοιμότητα , στο πλευρό του Ελληνα Πολίτη !!!

Ευχαριστούμε !!!

Θα χαρώ πολύ να σας ξαναψηφίσω !!! Ολους σας !

Marillion : Grendel FLAC

Hello my friends
( This photo was in Cefallonia )

I' m going for two weeks vacations , in the island of the other contributor of URBAN ASPIRINES , my brother friend George , ( Θείος ) , in Ionion Sea .
Maybe I' ll post some LPs from his PC , maybe not . Who knows ?
Otherways , see you again when I will return in Athens , after 14 September .
Before I leave you , I offer you the great song GRENDEL , from the first EP of MARILLION .

Keep on Rockin' in the free world .

GRENDEL is one of three antagonists, along with Grendel's mother and the dragon, in the Anglo-Saxon epic poem Beowulf (AD 700–1000). In the poem, Grendel is feared by all but Beowulf.

The poem Beowulf is contained in the Nowell Codex. As noted in lines 106–114 and lines 1260–1267 of Beowulf, Grendel's mother and Grendel are described as descendants of the Biblical Cain. Beowulf leaves Geatland in order to find and destroy Grendel, who has been attacking Heorot, killing and cannibalising anyone he finds there. Barring his lineage, all motives for his attacks are left up to the reader. Usually in most film or literature adaptions, Grendel attacks the hall after having been disturbed by the noise the drunken revelers have made. One cryptic scene in which Grendel sits in the abandoned hall unable to approach the throne hints that his motives may be greed or revenge. After a long battle, Beowulf mortally wounds Grendel by ripping his arm off. Grendel dies in his cave under the swamp. Beowulf later engages in a fierce battle with Grendel's mother, over whom he triumphs. Following her death, Beowulf finds Grendel's corpse and removes the head, which he keeps as a trophy. Beowulf then returns to the surface and to his men at the "ninth hour" (l. 1600, "nōn", about 3pm). He returns to Heorot, where he is given many gifts by an even more grateful Hroðgar.

( Wiki )

GRENDEL Lyrics

1. Heorots plea and grendels awakening

Midnight suns bid moors farewell, retreats from charging dusk
Mountain echo, curfews bell, signal ending tasks
They place their faith in oaken doors, cower in candlelight
The panic seeps through bloodstained floors as grendel stalks the night

Earth rim walker seeks his meals
Prepare the funeral pyres
The shapers songs no longer heal the fear
Within their eyes, [their eyes]

Wooden figures, pagan gods, stare blindly cross the sea
Appeal for help from ocean fogs, for saviour born of dreams
They know their lives are forfeit now, priestly head they bow in shame
They cannot face the trembling crowd that flinch in grendels name

Earth rim walker seeks his meals
Prepare the funeral pyres
The shapers songs no longer heal the fear
Within their eyes, [their eyes]



As grendel leaves his mossy home beneath the stagnant mere
Along the forest path he roams to hrothgars hall so clear
He knows that victory is secured, his charm will testify
His claws will drip with mortal blood as moonbeams haunt the sky

As grendel leaves his mossy home beneath the stagnant mere
Along the forest path he roams to hrothgars hall so clear
He knows that victory is secured, his charm will testify
His claws will drip with mortal blood, as moonbeams haunt the sky

Earth rim walker seeks his meals
Prepare the funeral pyres
The shapers songs no longer heal the fear
Within their eyes, [their eyes]



2. Grendels journey

Silken membranes span his path, fingerprints in dew
Denizens of twilight lands humbly beg him through
Mother natures bastard child shunned by leaf and stream
An alien in an alien land seeks solace within dreams
The shapers lies his poisoned tongue malign with mocking harp
Beguiling queen her innocence offends his icy heart



3. Lurker at the threshold

Hounds freeze in silence bewitched by the reptile spell
Sulphurous essence pervades round the grassy dell
Heorot awaits him like lamb to the butchers knife
Stellular heavens ignore even childrens cries

Screams are his music, lightning his guide
Raping the darkness, d-d-death by his side

Chants rise in terror, free round the oaken beams
Flickering firelight portraying the grisly scene
Warriors advance, prepare for the nightmare foe
Futile their sacrifice as even their hearts must know

Heroes delusion, with feet in the grave
Lurker at the threshold, he cares not for the brave, he cares not for the brave



4. Finale

So you thought that your bolts and your locks would keep me out
You should have known better after all this time
Youre gonna pay in blood for all your vicious slander
With your ugly pale skins and your putrid blue eyes
Why should I feel pity when you kill your own and feel no shame
Gods on my side, sure as hell
Im gonna take no blame
Im gonna take no blame
Im gonna take no blame

So you say you believe in all of mother natures laws
You lust for gold with your sharpened knives
Oh when your hoards are gathered and your enemies left to rot
You pray with your bloodstained hands at the feet of your pagan gods

Then you try to place the killers blade in my hand
You call for justice and distort the truth
Well Ive had enough of all your pretty pretty speeches
Receive your punishment
Expose your throats to my righteous claws
And let the blood flow, and [let the blood flow], flow, flow, flow.

Flac  Here

Klaus Schulze : Dig It ( originally released in 1980 ) - ( digital recording 2005 )

In 1969, Klaus Schulze was the drummer of one of the early incarnations of Tangerine Dream ( A German Ellectronic group ) for their debut album Electronic Meditation. In 1970 he left this group to form Ash Ra Tempel with Manuel Göttsching. In 1971, he chose again to leave a newly-formed group after only one album, this time to mount a solo career. In 1972, Schulze released his debut album Irrlicht with organ and a recording of an orchestra filtered almost beyond recognition. Despite the lack of synthesizers, this proto-ambient work is regarded as a milestone in electronic music. The follow up, Cyborg, was similar but added the EMS Synthi A synthesizer.


Since this point, Schulze's career has been most prolific, and he can now claim more than 40 original albums to his name since Irrlicht. Highlights of these include 1976's Moondawn (his first album to feature the Moog modular synthesizer), 1979's Dune, and 1995's double-album In Blue (which featured one long track with electric guitar contributions from his friend Manuel Göttsching of Ash Ra Tempel). Schulze often takes German events as a starting point for his compositions, a notable example being on his 1978 album "X" (the title signifying it was his tenth album), subtitled "Six Musical Biographies", a reference to such notables as Ludwig II of Bavaria, Friedrich Nietzsche, and Wilhelm Friedemann Bach. His use of the pseudonym Richard Wahnfried is indicative of his interest in Richard Wagner, a clear influence on other albums, such as Timewind.


Throughout the 1970s he followed closely in the footsteps of Tangerine Dream, albeit with far lighter sequencer lines and a more reflective, dreamy edge, not unlike the ambient music of his contemporary Brian Eno. It is to be noted that some of his lighter albums are appreciated by new age music fans, despite the fact that Schulze has always denied connections to this genre.

Klaus Schulze had a more organic sound than other electronic artists of the time. Often he would throw in decidedly non-electronic sounds such as acoustic guitar and a male operatic voice in Blackdance, or a cello in Dune and Trancefer. Schulze developed a Minimoog technique that sounds uncannily like an electric guitar, which is quite impressive in concert.



In the 1980s Schulze moved from analog to digital instruments, and his work accordingly became less experimental and more accessible. Although the switch to purely digital recording and instruments is evident in the style of Dig It (1980) It was not until the release of Trancefer (1981) that the shift in style became evident. Trancefer was far more obviously reliant on sequencers than previous recordings, and the resultant effect transformed Schulze's style from gentle melodic journeys to and ever growing crescendo of music consisting of multi layered rhythmical passages. This is particularly evident in the Trancefer's first track "A few moments after Trancefer", although the second track "Silent Running" is more reminiscent of Schulze's earlier works.

Dig It is the thirteenth album by Klaus Schulze. It was originally released in 1980, and in 2005 was the sixth Schulze album reissued by Revisited Records. It is Schulze's first fully digital recording.



Tracks

1. Death of an Analogue 12:24
2. Weird Caravan 5:15
3. The Looper isn't a Hooker 8:28
4. Synthasy 23:09
5. Esoteric Goody ( Bonus Track )

The official Website
http://www.klaus-schulze.com/

Recorded : May to September 1980 , Hambühren
First Release : 31 October 1980
Performed by : Klaus Schulze & Fred Severloh (drums)
Size : 181 MB
Bitrate : 320

This is the best Ellectronic Progressive Album I' ve ever heard !
It' s a Masterpiece !!!
An Atmosferic journey full of Psychedelic colours and angry soffocated clouds travelling on a purple sky !
The Percussions on track : Death of an Analogue , are Amazing !!!

                                                                MP3 HERE

Flac HERE

The Sisters Of Mercy : The Reptile House E.P 1983

Side 1

1. Kiss the carpet
2. Lights

Side 2

1. Valentine
2. Fix
3. Burn

Biography and The Sisters Of Mercy : ( Alice 12" EP ) HERE

Size : 59 MB
Format : Vinyl EP
Label : A Mercyful Release MR 023
Made : In Holland
Bitrate 320

Take it HERE

Gotlib

Gotlib (born Marcel Gotlieb July 14, 1934, in Paris) is a French comics artist/writer and publisher. Through his own work and the magazines he co-founded, L' Écho des Savanes and Fluide Glacial, Gotlib was one of the key figures in the switch in French-language comics from their children's entertainment roots to an adult tone and readership. His series include La Rubrique-à-Brac, Gai-Luron, Superdupont, and Hamster Jovial. His trademark style fuses English-style nonsense, Jewish-American humour and French ribaldry, with a penchant for exaggeration of movements and sound effects.


Official Site
http://www.marcelgotlib.com/

http://lambiek.net/artists/g/gotlib.htm

Johnny Thunders : Bootlegging The Bootleggers 1990

This is the original Vinyl LP cover

This is a legitimate release of a collection of bootleg recordings. Most of this is very good material and the sound is generally good. Johnny introduces most of the songs and you're bound to find something here that you like. If you're looking for bootleg recordings then you should start here because Johnny's estate gets some royalties off this.

Side 1

1. M.I.A
2. In Cold Blood/I' m Not Your Stepping Stone/Hit The Road Jack
3. Personality Crisis
4. Joey Joey
5. Sad Vacation
6. Jittle Queenie

Side 2

1. Pipeline
2. Just Another Girl
3. You Can' t Put Your Arms Around A Memory
4. As Tears Go By
5. I Can Tell
6. Wipe Out


Recorded Live around the world between 1985 and 1989 .


Size : 98 MB
Year : 1990
Label : Jungle Records
Format : Vinyl LP
Made in England
Bitrate 320

Take it HERE

Many thanx to my friend Tasos

The Aggrolites : The Aggrolites 2007

The Aggrolites are an amalgamation of two previous Los Angeles reggae and ska bands, the Vessels and the Rhythm Doctors. They formed in 2002 as a live backing band for reggae icon Derrick Morgan, and were asked to record music for a new Morgan album. The project was never released but the recording sessions inspired the Aggrolites to become a permanent band. They have served as the backing band for Phyllis Dillon, Scotty, Joseph Hill of Culture, Prince Buster, and Tim Armstrong.

The Aggrolites is their self-tilted album , released in 2006 - 2007 . It is their second album overall and first on Hellcat Records .

The Aggrolites are something more than a band . As Sublime once were , at this point in time , it is the Aggrolites who are leading a musical movement in their own right . They have developed their own musical identity playing dirty reggae , a mix of reggae , soul , rocksteady and ska that creates an atmosphere of "feel good music" to be enjoyed now in Athens .

They will be appearing live on 26 August at the AN Club , Athens , Greece .

The ticket costs only 16 Euro !!!

Ελάτε ρε Ρεμάλια να δείτε μιά μπάντα που γαμάει !!!
Eγώ κι ο κολλητός μου ο " Τάσος Rancid " από την Hyena θα' μαστε μέσα !!!

Tracks

1. Funky Fire 4:10
2. Mr. Misery 3:34
3. Time to Get Tough 2:23
4. Thunder Fist 2:50
5. Countryman Fiddle 3:49
6. Work to Do 3:02
7. Death at Ten Paces 2:53
8. Someday 4:15
9. The Volcano 3:03
10. Heavier Than Lead 3:27
11. Sound of a Bomshell 2:57
12. Fury Now 3:10
13. 5 Deadly Venoms 3:15
14. Grave Digger 3:49
15. Prisoner Song 3:52
16. Love Isn't Love 3:49
17. Sound By The Pound 3:48
18. Lightning & Thunder 3:39
19. A.G.G.R.O. 4:24


Jesse Wagner - vocals, guitar
Brian Dixon - rhythm guitar
J Bonner - bass
Roger Rivas - organ, keyboards
Scott Abels - drums
Tom Cook - trombone
Ethan Avineri - trumpet
Jeff Roffredo - backing vocals

The Aggrolites : Reggae Hit LA ( Album ) Take it HERE

Size : 154 MB
Bitrate 320
Label : HellCat Records

The Aggrolites : The Aggrolites Take it HERE

MANDRAGORA : A Comic by CAZA 1980

CAZA

Caza began to publish work in the magazine Pilote, starting with his series Quand les costumes avaient des dents (When Costumes had Teeth) in 1971 , followed by other short work . The series of stories Scènes de la vie de banlieue (Scenes of Suburban Life) was published in 1975 , followed by the L'Âge d'Ombre stories , Les Habitants du crépuscule and Les Remparts de la nuit.

With the emergence of the magazine Métal Hurlant in 1975 , Caza began to supply work within the science-fiction genre , with titles such as Sanguine , L’oiseau poussière , initially working with an exhaustive black and white dot technique . This was later abandoned for a style of colour use which would become a trademark , as seen in later work such as Arkhê , Chimères and Laïlah .

From 1985 to 1987 , he worked closely with Rene Laloux on the animated film Gandahar , based on the novel by Jean-Pierre Andrevon .

Mahdragora - Mandrake


Mandrake is the common name for members of the plant genus Mandragora belonging to the nightshades family (Solanaceae) . Because mandrake contains deliriant hallucinogenic tropane alkaloids such as hyoscyamine and the roots sometimes contain bifurcations causing them to resemble human figures , their roots have long been used in magic rituals , today also in neopagan religions such as Wicca and Germanic revivalism religions such as Odinism . (It is alleged[who?] that magicians would form this root into a crude resemblance to the human figure , by pinching a constriction a little below the top , so as to make a kind of head and neck , and twisting off the upper branches except two , which they leave as arms , and the lower , except two , which they leave as legs.)



O Μανδραγόρας είναι
ποώδεις φυτό που το βρίσκουμε στις μεσογειακές χώρες με μεγάλα φύλλα και με ρίζα διχαλωτή που μοιάζει με ανοιχτά πόδια ανθρώπου που στέκεται όρθιος.
Ο θρύλος μιλάει για αυτοτιμωρία κάποιου άντρα που ερωτεύτηκε μια νεράιδα και όταν αυτή έχασε την ζωή της θέλησε να την ακολουθήσει και ζήτησε να τον θάψουν όρθιο δίπλα της και όταν κάποιος πάει να τον ξεριζώσει από δίπλα της αυτός βγάζει μια φωνή-στριγκλιά που σκότωνε ή τρέλαινε όποιον δεν είχε προφυλαγμένα τα αυτιά του εκείνη την ώρα.


Aυτόν που βρήκαμε στην Ανάφη το 2002 , τους " Καλούς " μας πήγε καλά , τους " Κακούς " τους έστειλε κατά διαόλου !!!

 http://www.bdebookcaza.com

Graham Bond - Solid Bond [1970 / 2004]

Not merely nostalgic, these sides are both historic and a fascinating musical document from a trail blazing period in British musical history, when pop was rock, jazz was bop and never the twain should meet.
Today, Blood, Sweat and Tears and Chicago are hailed as innovators and revolutionaries. They are really the logical development of a movement which took place on both sides of the Atlantic when young musicians who like jazz, but were brought up in a pop environment, began making the first tentative attempts to bridge the gap. Graham Bond was an established jazz saxophonist when in 1963 he began to involve himself in the then burgeoning British R&B revival, spearheaded by the Rolling Stones. The group heard on the 1963 recordings made at London's now sadly defunct Klooks Kleek are a long way from Chuck Berry and Mick Jagger however. They are blowing sounds which could be more indentified with Charles Mingus, with an intensity that was not exactly common among the British jazzmen of the day.
The palying of Graham on alto, Jack Bruce on double bass, John McLaughlin on guitar and Ginger Baker on drums will come as a shock to Cream fans, and will even surprise those who remember the Graham Bond Organisation which developed from these early sessions.
Later they moved away from the loose rhythmic pulse of jazz into the more unyielding rock pulse which dominates current thinking.
Here one can listen to burgeoning talents steaming into the three four groove of "The Grass Is Greener" with a determination and vitality which makes one feel they might have lost more than was gained by the jazz-rock entente.
Mixed feelings are aroused by listening to performances like "Doxy" and "Ho Ho Country Kicking Blues", and unfortunately there is not space to discuss all the implications. But one wonders what would have been achieved if their combined efforts had been allowed to progress in this direction without commercial pressures. Equally interesting are the sessions with brilliant drummer Jon Hiseman who replaced Ginger Baker when he left Graham to form Cream. These were produced in '66 and were never issued.
By this time Graham has switched to organ, and throaty vocals on his own compositions. A remarkable musical catalyst, he alway inspires effort and dedication from his musicians. Graham brought forth the talents of Hiseman and Dick Heckstall-Smith who later formed their own band - the remarkable Colosseum.
Much credit is due to Warner/Reprise for issuing this Important early work by some of Britain's most exciting and creative musicians. CHRIS WELCH - Melody Maker, 1970

Track Listings
1. Green Onions
2. Springtime in the City
3. Can't Stand It
4. Only Sixteen
5. Last Night
6. Long Legged Baby
7. Walking In The Park
8. It's Not Goodbye
9. Neighbour Neighbour
10. Ho Ho Country Kicking Blues
11. The Grass Is Greener
12. Doxy
13. Waltz For The Pig
14. Wade In The Water

Cd , 2004 , Sunrise Records
Mp3 @ 320 & scans 180MB
Take me here

Μια προσφορά του φίλου μας Κωνσταντίνου










wikipedia
www.grahambond.net

LINER NOTES FOR GRAHAM BOND'S SOLID BOND

By Richie Unterberger

When Solid Bond was issued in 1970, it was no surprise that its cover prominently billed Jack Bruce, Ginger Baker, John McLaughlin, Jon Hiseman, and Dick Heckstall-Smith in addition to the man who actually led the band who recorded the material. For the leader of the Graham Bond Organisation was, in 1970, less celebrated than any of the aforementioned musicians, particularly in the United States, where Bruce and Baker (as part of Cream), Hiseman and Heckstall-Smith (as part of Colosseum), and McLaughlin were all far more widely known than keyboardist-singer Bond himself.
Yet as serious fans of 1960s British rock know, Bond made a hugely underrated contribution to blues-rock as leader of the group in which these musicians played before moving on to more commercially successful projects. And while Solid Bond might have at first glance seemed to be a collection of leftovers issued to exploit the fame of Bond's one-time sidemen, in fact the recordings—some from 1963, when Bond was still playing jazz, and some from 1966, when he'd fully delved into an idiosyncratic mixture of blues, rock, jazz, and soul—were not just of considerable historical interest, but also of substantial musical merit.
The three tracks on Solid Bond from 1963 were likely the most hotly anticipated by 1970 rock fans owing to the presence of Bruce, Baker, and McLaughlin, yet at the same time probably not at all like what most such listeners were expecting. Recorded live at London's Klooks Kleek club, these present the Graham Bond Quartet, as the band were then known, as a rather straightforward modern jazz outfit. Bond at this point was concentrating on alto sax rather than keyboards; there were no vocals; and, despite the inclusion of a Jack Bruce number titled "Ho Ho Country Kicking Blues," there was barely a hint of the blues and R&B that would by the following year supersede jazz as the band's main influences. Bond and McLaughlin split the composing credits for "The Grass Is Greener," while the third number, "Doxy," was a cover of an oft-interpreted tune by jazz sax great Sonny Rollins.
Still, it's a valuable document of the musicians' little-known (in 1970, at any rate) straightahead jazz roots, though Bond and his group left these behind soon after McLaughlin left and saxophonist Heckstall-Smith joined in late 1963. Over the next couple years the Graham Bond Organisation, as they billed themselves, would record a couple LPs and a few singles that saw them embrace the British R&B boom wholeheartedly, albeit with a jazzier spin than most of the bands on that scene, emphasizing Bond's demonic organ and growling vocals.
The bulk of Solid Bond, however, comes from a 1966 session recorded not long after Bruce and Baker had teamed with Eric Clapton to form Cream. With Baker replaced by young jazz veteran Jon Hiseman, the group entered the studio to cut nine tracks as a keyboards-sax-drums trio. Just as much as the mid-'60s recordings by the Bruce-Baker lineup, these reveal Bond as an originator of a highly original and invigorating blues-rock-R&B-jazz fusion, though owing to unusual circumstances they wouldn't see the light of day for several years.
As Harry Shapiro reports in his 1992 biography Graham Bond: The Mighty Shadow, the material was recorded after the group were given 500 pounds to make a record by Polydor, the session for all nine tracks taking place at London's famed Olympic Studios between midnight and 6am. "Graham and Dick were both in worlds of their own," remembers Hiseman today. "I negotiated the deal and chose the studio with Eddie Kramer. An engineer most famed for working extensively with Jimi Hendrix shortly afterward, Kramer had already worked with Jon when Hiseman drummed on British jazz pianist Peter Lemer's album Local Colour.
At the time the trio entered the studio, continues Jon, "Graham was incensed at what he saw as a betrayal when Ginger forced Jack from the band and then a few months later left it to form Cream with Jack. Partly out of pique and partly because the band was always in such financial trouble, he decided to play the bass with his left hand. This gave everybody a lot of freedom and I was able to develop my two bass drum playing without muddying up the bass parts. As I remember my goal was not to make any concessions to recording (which was very usual then) and to capture the live sound of the band; to that extent I think these tracks were very representative of the live show. I was most pleased with the sound at the time and it was a magical experience for me, and was the start of my real interest in recording and producing that led to me building my own studio in the 1982."
Oddly, three of the songs ("Neighbour Neighbour," "Walkin' in the Park," and "Last Night") were re-recordings of tunes Bond had already done with the Bruce-Baker lineup on the Organisation's two mid-'60s LPs, while a fourth, "Long Legged Baby," had been cut by that band on their 1964 debut single. A fifth, "Only Sixteen" (a Bond original, not the famous Sam Cooke hit), had been in Graham's repertoire for some time, as he'd performed it on the BBC in 1965. "Contrary to popular belief there was always a shortage of material," Hiseman explains. "Graham, deep into a serious drug habit, was not very productive. Having talked up the chance to record for months he then had very little material, hence the repeats. Actually he never wrote enough to be able to weed out poor material or to give others a chance to express views. Graham was not critical at all of his own work. If he had managed to write it, it was GREAT!"
But Bond did come up with some quality new compositions that he recorded for the first time on this night. "Springtime in the City," "Can't Stand It," and especially "It's Not Goodbye" have the menacing quality unique to Graham in the British R&B/rock world, while "Green Onions" is a liberally jazzy interpretation of the classic Booker T. & the MG's instrumental. "I don't think 'copying' was part of Graham's vocabulary," observes Hiseman. "He considered himself a creative genius and tried always to surround himself with 'originals.' He was bright enough to realize that copies didn't count."
Yet while the nine tracks would have provided the foundation for a solid LP, they would stay in the vault for some time. As for the 500 pounds they'd been given by Polydor to make the record, says Hiseman, "at the time both Dick and I were convinced [Bond] spent the money on heroin. It was the band's money—not just his—and we never saw a penny from those recordings. The personnel changed at Polydor at that time, and the chap who commissioned the recording was replaced. His successor hated the whole idea of Graham's music and his flamboyant outfits. His job was to get hits for the company and Graham's was not hit music—something Graham never came to terms with."
Indeed, the Graham Bond Organisation would not release an LP while Hiseman was in the band from around mid-1966 to late 1967, when he and Heckstall-Smith departed. After playing together briefly in John Mayall's Bluesbreakers, the pair soon formed a formidable blues-jazz-rock group of their own, Colosseum. Fittingly, the first track of Colosseum's debut album was a cover of Bond's "Walkin' in the Park," which Hiseman feels is Graham's best song, "his classic contribution. Colosseum nearly got it away as a single hit—nearly."
According to Harry Shapiro's biography, Solid Bond was assembled in 1970 when the 1966 tapes, together with the 1963 live recordings, were sold to Warner Brothers for 5000 pounds. "Considering they were recorded in six hours the tapes must have been raw," says Hiseman in retrospect. "But I 'produced' the sound in that I spoke to Eddie Kramer about how I wanted it to sound—very upfront—and he agreed. When we were having trouble getting an upfront sound out of Lansdowne Studios with Colosseum I remember playing these tapes to [Colosseum manager] Gerry Bron as an example of what I was looking for and he was impressed."
Sadly, Bond never found the success his celebrated sidemen enjoyed in his own post-Organisation career, ending his life by throwing himself in front of a London tube train in 1974. But Hiseman retains fond memories of his one-time bandleader, summarizing, "I had a wonderful adventure with Graham and his madness has always had a place in my heart. It was an honor that he saw something in an amateur drummer and encouraged it by persuading me to turn professional in his band. If nothing else Graham taught me how not to run a band and I've tried not to live up to his example!" – Richie Unterberger

Steve Jones : Fire and Gasoline : 1989

Steve Jones was born in Shepherds Bush , London .
In 1975, Jones went on to co-found the Sex Pistols with Paul Cook , Glen Matlock , and later , Johnny Rotten . Although they only released one album , the Sex Pistols went on to become one of the most influential bands of the 20th century .

Jones is a self-taught guitar player , primarily playing Gibson Les Paul electric guitars in his early years . His usual guitar was a cream colored Gibson Les Paul custom which (according to Filth and the Fury) he had stolen from Mick Ronson at a David Bowie concert when he and his fellow Sex Pistols members posed as road crew members , stealing amps and other equipment .

Jones became well known among fans for his "hanky on the head" , and his permanent perm . He also shared Johnny Rotten's extreme dislike of Sid Vicious' girlfriend , Nancy Spungen . In an interview for The Filth and the Fury , refers to her as "that fucking horrible bird" .

After the Sex Pistols broke up in 1978, Jones and drummer Paul Cook co-founded The Professionals. They released one album, but disbanded after a serious car crash while on tour in the U.S. in 1981. The Professionals' debut album was I Didn't See It Coming. Jones was also a member of Chequered Past (led by Michael Des Barres) from 1982 to 1985. They released a self-titled album in 1984.

Fire and Gasoline

Originally released in America in 1989 , it features 12 tracks of pure power. "Freedom Fighter" is a hot spot, as is "We're not Saints" , co-written with Nikki Sixx . Nikki isn't the only artist who helped out as Axl Rose and Ian Atsbury of the Cult sing on the new version of "I Did U No Wrong". The album ends on a good note, with his cover of "Suffragette City" , which I even dig more than Bowie's original .

Tracks :

1. Freedom Fighter
2. We're Not Saints
3. God in Louisiana
4. Fire and Gasoline
5. Hold On
6. Trouble Maker
7. I Did U No Wrong
8. Get Ready
9. Gimme Love
10. Wild Wheels
11. Leave Your Shoes On
12. Suffragette City

This is not a Punk Rock Album .
This is pure Hard Rock !!! Great Hard Rock !!!


Size : 105 MB
Format : Vinyl LP
Genre : Hard Rock
Label : MCA Records
Made in : California - USA
Year : 1989

Featuring Ian Astury and Billy Duffy ( The CULT )

Bitrate 320

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Nekromantix : Return Of The Loving Dead : 2002

The story of the Nekromantix began back in 1989 ; the band
was founded by Kim Nekroman , who just had left the Royal
Danish Navy after 8 years in the submarines . After two
local danish shows, the band appeared on a big festival in
Hamburg, Germany, only six month after their first
rehearsal session . This resulted in a record deal for the
first Nekromantix release Hellbound .

The Nekromantix is a Danish-American Psychobilly - Punk band formed in 1989 in Copenhagen , Denmark and currently recording for Hellcat Records . Their music is generally structured around monster and horror themes which are reflected in their album and song titles , lyrics, artwork , and stage show . A central icon of the band's image is bassist/vocalist Kim Nekroman's "coffinbass" , a custom-built , very deep double bass with a body in the shape of a coffin and a headstock the shape of a cross .

The band has had changing lineups throughout its career , with founder Kim Nekroman as the sole constant member . The current line-up consists of Nekroman , guitarist Franc , and drummer Lux . Throughout the band's first 11 years they released five albums on various European record labels , which were only available in the US as imports . The group crossed over to American audiences in the early 2000s by signing to the Los Angeles-based Hellcat Records label , through which they have released three albums since 2002 . The Nekromantix' eighth album , Life Is a Grave & I Dig It! , was released in April 2007.

EPITAPH RECORDS


Return of the Loving Dead is the fifth studio album , released in 2002 by Hellcat Records . It was the band's first release on the American record label and their first to be widely distributed in the United States , and a music video was filmed for the single "Gargoyles Over Copenhagen." After this release band leader Kim Nekroman relocated to Los Angeles , California while the remaining members , brothers Peter and Kristian Sandorff , remained in Denmark .

Hellcat Records is an independent record label based in Los Angeles , California . The label , an off-shoot of Epitaph Records .

Trax

1.Nice Day For A Resurrection
2.Who Killed The Cheerleader
3.Nekronauts
4.Subcultural Girl
5.Gargoyles Over Copenhagen
6.Trick Or Treat
7.Murder For Breakfast
8.Rubbermonks & Leathernuns
9.Generation 666
10.Return Of The Loving Dead
11.I'm a Hellcat
12.Haunted Cathouse
13.Nekronomicon


NEKRONOMICON
Lyrics

Left all alone in these fields of dust & death
stones bricks & bones here
can only here my breathe
black fields of death not a soul is left around
cradle of death is the place where i am bound

now - i only hear the dead...

Desert of death,
skulls and bones are all around
meet with the dead,
tombs are coming off the ground
trapped in this world
ruled by demons from beyond
true lurking fear, for the nekronomicon

now - i only see dead...

now - i am living with the dead

where have you gone
nekronomicon

lost within my head
now i only see dead...




MEMBERS OF THE BAND :

Kim Nekroman - double bass, vocals
Peter Sandorff - guitar, backing vocals
Kristian Sandorff - drums

Size : 137 MB
Released 2002
Genre Psychobilly , Punk
Label Hellcat Records
Bitrate : 320

Links

Hellcat Records http://www.hell-cat.com/


Take it HERE

Nekromantix : ( Dead Girls don' t Cry ) Take it HERE

Dee Dee Ramone : Born to lose 2002 45 rpm Single

Side 1

Born to lose

Side 2

b/w Hop Around



BORN TO LOSE
( Original by Johnny Thunders )

Well, that's just the way it goes
This city is so cold
And I'm ... I'm so-so
That's why I know (I say hey)

Born to lose
Born to lose
Born to lose
Baby I was born to lose

Nothing to do
And nothing to say
Only one thing that I know
It's the only way ... I said hit it!

Born to lose (I say hey)
Born to lose (I say hey)
Born to lose
Baby I was born to lose

Baby I was born to lose

Living in a jungle
It ain't so hard
But living in the city
It'll eat out ... eat out your heart (I said hey)

Born to lose (I say hey)
Born to lose (I say hey)
Born to lose
Baby I was born to lose

Baby I was born to lose

Baby I was born to lose

Baby I was born to…

Born to lose
Born to lose
Born to lose
Baby I'm born too lose

Baby I’m born to lose

Size 11 MB
Format : 45 rpm White Vinyl Single
Label : Corazong Records
Made : in Germany
Recorded in Signal To Noise , Toronto
Produced by Chris Spedding

Dee Dee : Guitar , Vocals
Barbara : Bass , Vocals
Billy Rogers : Drums
Chris Spedding : Guitar
Gordie Lewis : Guitar on " Born To Lose "

Αφιερωμένο στον Slartibartfast
Mέσα Σεπτέμβρη που θα γυρίσω από τις διακοπάρες μου
θα σε ενημερώσω σε ποιό μαγαζί θα παίζω το χειμώνα
για να τα πούμε και απο κοντώθεν


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Stereophonics : Language . Sex . Violence . Other ? 2005

Stereophonics are a Welsh rock band consisting of Kelly Jones, Richard Jones (no relation), Javier Weyler, and Adam Zindani. Since their début album Word Gets Around which peaked at #6 in the album charts they have had five consecutive albums reach #1 in the UK. Described as 'classic UK rock with whiskey vocals'[1][2] the band have enjoyed considerable success in the UK with 25 singles reaching the top 40 of the UK Singles chart. In 2005 their single Dakota became the band's biggest hit, reaching #1 on both the UK Singles chart and the UK Downloads chart and becoming the band's first release to chart in the US, reaching #34 on Billboard's Modern Rock Tracks chart. They have sold about 9 million records worldwide.




Language. Sex. Violence. Other? is the fifth studio album by Stereophonics, released March 14, 2005 (22 March 2005 in the U.S.). It received critical acclaim in the British music press, who had been hostile to the band in recent years, and notably the NME, whose reviews of the band's previous two albums had been harsh. The album reached number one in the UK, selling over 100,000 copies in its first week of release. It debuted at thirty-five on the U.S. Billboard Heatseekers chart.
(Wiki)

Trax

1. Superman 5:07
2. Doorman 3:49
3. Brother 4:04
4. Devil 4:40
5. Dakota 4:57
6. Rewind 4:46
7. Pedalpusher 3:18
8. Girl 1:59
9. Lolita 3:26
10. Deadhead 3:34
11. Feel 3:44

"Devil"

Ever dance with the devil baby? Oh no
Make my day
Do you feel lucky? Oh no
Tomorrow's another day
Can you walk on water maybe? Oh no
Turn water into wine?
Can I buy you a drink there lady? Oh no
Can you tell me another lie?

So be my Devil Angel
Be my shooting star
Be my Devil Angel
Be my shooting star

Have I seen you somewhere baby? Oh no
I need another line
Are you living the dream there lady? Oh no
Can I tell you what's inside?

So be my Devil Angel
Be my shooting star
Be my Devil Angel
Be my shooting star

Stop the car there baby! Oh no
You can't handle the truth
So what's the point then lady? Oh no
If ya can't stand to play and lose

So be my Devil Angel
Be my shooting star
So be my Devil Angel
Be my shooting star
Be my Devil Angel
Be my shooting star
Be my Devil Angel
Be my shooting star
Bye bye Angel
Be my Devil

Size 102 MB
Bitrate 320

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Fuzztones : Monster A Go Go ! 1992

The Fuzztones have achieved legendary status as cult faves during their 29 year career. Their fiery brand of Garage-Psych-Punk pre-dated the entire "Garage Revival" of the 1980's and has influenced hundreds of groups, from the Hives to the Horrors.

Born in the summer of 1980 in the bowels of NYC's Lower East Side, The Fuzztones were soon regulars at legendary NYC hotspots such as CBGB, and the Mudd Club. By utilizing the fuzzbox (an antiquated effects pedal used by many 60's groups to achieve overly distorted "psychedelic" guitar sounds), the band created a raunchy sound they referred to as "Grunge"...(On their 1984 debut single, "Bad News Travels Fast", lead guitarist Elan Portnoy is credited as playing "lead grunge", at least a decade before the Seattle Grunge Invasion), hence the band’s moniker! Complete with paisley and leather attire, genuine human bone necklaces, The Fuzztones influenced the fashions of bands as diverse as the Hoodoo Gurus (who also modified the Fuzztones infamous skull and crossed Vox Phantom guitars logo for use on one of their album covers) to Marc Almond (who aped The Fuzztones by wearing black turtlenecks with bone necklaces) to the X-rated Dwarves logo, which was stolen from the Fuzztones "Lysergic Ejaculations" cover.

The band's classic video for "Ward 81" even inspired the legendary Ramones, whose "Psychotherapy" video copies several scenes directly from the Fuzztones' masterpiece, as did the glitter-rock docu-film "Velvet Goldmine"! The Fuzztones' first European tour in 1985, a 3 month onslaught of England, Wales, Scotland, Germany and Italy, firmly established the band with a dedicated, and avid following that continues to this day! Their 1985 debut studio LP, "Lysergic Emanations" has achieved major cult status, and has been released by 4 different labels over the last 23 years, the combined sales of which has assured gold record status!

The Fuzztones have toured Europe fervently since 1985, and have headlined major venues in Italy, Spain, Greece, France, Norway, Sweden, Belgium, Wales, Scotland, Austria, Germany, Czech Republic, Denmark, and Finland, as well as Croatia, Slovenia, Canada, Israel, and Mexico.
During their illustrious 29 year career they have appeared on over 70 vinyl and CD releases, including at least 15 albums, countless singles, and compilations, not to mention 5 videos, several television and radio appearances, and countless major press articles (NME, Sounds, Melody Maker, Rockerilla, Hit Parade, US,Rolling Stone, Mojo, and more).

They were the ONLY band involved in the 80's "Garage Revival" to obtain a major label record deal (RCA). In 2003, The Fuzztones received co-headliner billing at Little Steven’s Underground Garage Festival, a 42 band extravaganza that included Rock luminaries The Stooges, New York Dolls, Pretty Things, Nancy Sinatra and Bo Diddley. Recently, Rolling Stone magazine featured a Fuzztones track on a giveaway CD (entitled “Fuzz-Tones”!) and Rhino included a track on their compilation, “Children of Nuggets.” Italy’s Get Back label re-issued 4 classic Fuzztones albums and a “Best of” CD/DVD set, all within a few months time! Their classic recording, “1-2-5” is featured in the new German film, “Fur Den Unbekannten Hund (The Unknown Dog)” and an Italian documentary on Coney Island.

The band’s newest album, “Horny As Hell” (on Unique Records sub-label, Electrique Mud), has been receiving rave reviews, and coincides with their upcoming European tour (Feb/March 2009). The Fuzztones are currently writing material for their upcoming studio album. Release date will be fall 2010. This album will also mark their 30th anniversary and lead into a 2 month tour across Europe!

LINKS

http://www.fuzztones.net/discography.htm

Trax

1. Jack the Ripper
2. All Black and Hairy
3. Charlotte's Remains
4. Dinner With Drac
5. Night of the Phantom
6. Witch
7. Happy Halloween
8. D.O.A.
9. Cellar Dweller
10. I'm the Wolfman
11. She's My Witch
12. Goin' to a Graveyard
13. Night of the Vampire

CELLAR DWELLAR

(Monster A Go Go Version) Lyrics By R. Protrudi, music by E. Portnoy

In the dark you hear a sound
from my basement underground
Can't see it but you know it's there
Why can't it be just a nightmare?
It crawls, it drools, it breathes right down your neck
It oozes evil, eats things that are dead
You'd better never close your eyes
Or I'll be there to take your life
Cause I'm the ugly cellar dwellar

Fingers crawlin' up your spine
Voices callin' from behind
You're much too scared to leave your bed
It won't be long until you're dead

You watch the clock tick your life away
The only thing that you can do is pray
Your remaining days are few
Destiny is calling you
I'm the ugly cellar dwellar

Every night you lay in fear
Knowing that the end is near
The sound you hear is hunger pains
And all they'll find is your remains
Your heart will start beating much too fast
The next sound you hear will be your last
Now it's time for you to die
Don't forget to say goodbye
I'm the ugly cellar dwellar

Chomp Chomp!

Size : 106 MB
Format : Red Coloured Vinyl LP
Made in Canada
Label : Skreamin' Skull Records
Bitrate 320

Take it HERE