Wednesday, July 28, 2010

Theatre Of Hate - He Who Dares Wins [1982]

Theatre Of Hate He Who Dares Wins [Live In Berlin] 1982 Label: Biber Records Catalog#:BI 6110, [SMB 40212 GR] Format: Vinyl, LP, Album Country: Greece Released:1982 Genre: Rock Style: New Wave, Post Punk Tracklist A1 The Original Sin 3:50 A2 Westworld 4:32 A3 The Klan 7:11 A4 Conquistador 2:54 A5 Poppies 3:20 B1 Incinarator 4:32 B2 Judgement Hymn 5:11 B3 63 3:02 B4 Rebel Without A Brain 3:34 B5 Legion 3:43 Credits Artwork By [Cover] - Schonbuch Studio Executive Producer - Friedemann Witecka Mixed By - Gibbs Platen , Terry Razor Producer - Christoph Wertz Written-By - Kirk Brandon , Theatre Of Hate Notes Recorded live during Rock Against Junk in the Tempodron, West Berlin, Sept. 12th 1981. with the Sinus Musik Recording Mobile. Mixed at Tonstudio Zuckerfabrik, Stuttgart. [discogs] Mp3@320 & scans 106MB Westworld
Theatre of Hate were a post-punk band formed in Britain in 1980. Led by singer-songwriter and ex-member of punk band The Pack, Kirk Brandon, the original group also consisted of: guitarist Steve Guthrie, bassist Stan Stammers (The Straps/Epileptics), saxophonist John Lennard and drummer Luke Rendle from Crisis/The Straps. In 1980, the Pack had evolved into Theatre of Hate, with Luke Rendle replacing Walker on drums, Stan Stammers joining on bass, Steve Guthrie on guitar and John 'Boy' Lennard on sax (the Werners joined the Straps, who Stammers had previously played for). The first Theatre of Hate release was the "Original Sin" single in November 1980, which reached #5 on the UK Indie Chart. Theatre of Hate garnered much early attention as a live act and made their album debut in 1981 with the concert LP He Who Dares Wins Live at the Warehouse Leeds. Shortly after the album's release however, Steve Guthrie left the band. Another concert recording, Live at the Lyceum followed, and in August 1981 Theatre of Hate entered the studio with producer Mick Jones of The Clash to record their first non-live album debut, Westworld, which was released on February 19 1982 and went on to reach the UK Top 20. Shortly after the album was recorded new guitarist Billy Duffy (formerly of The Nosebleeds) joined the band and a little later drummer Luke Rendle was replaced by Nigel Preston. The album reached #17 in the UK Albums Chart, and also spawned the Top 40 single "Do You Believe in the Westworld". In February 1982, Theatre of Hate released another live album entitled He Who Dares Wins: Live in Berlin recorded in September 1981, and in April 1982 Billy Duffy left the band to join Death Cult, the band continuing for a short time before splitting up later that year. Demos for the unreleased second studio album were released as Ten Years After in 1993. Brandon went on to front Spear of Destiny with bassist Stammers. A post break-up compilation album Revolution spent three weeks in the UK Albums Chart, peaking at #67. In 1991 Theatre of Hate reformed for the Return to 8 tour which included some of the original band members, these included Brandon, Stammers and Lennard, with the addition of Pete Barnacle on drums and Mark 'Gemini' Thwaite on guitar. In July/August 1994 Brandon, Stammers, John McNutt and Art Smith went into Mix-O. Lydian Studio, Boonton, New Jersey with Brad Morrision to record a new album under the Theatre of Hate banner. Retribution was not released until early 1996 in both the U.S. and UK. To coincide with Westworld's 25th anniversary, Theatre of Hate reformed for a week-long tour culminating at the Carling Academy Islington on 29 April 2007. Of the original line-up, only Stammers was unavailable, due to conflicting schedules and family commitments in the U.S. where he now lives. Replacing him was Craig Adams, former bassist with The Cult, The Sisters of Mercy and The Mission, joining Brandon, Guthrie, Lennard, and Rendle for the reunion. [wikipedia] * * * * * Λοιπόν , ο ήχος δεν είναι και τόσο καλός, άλλωστε όλοι οι δίσκοι της Music Box εκεί έπασχαν, οι εκτελέσεις δεν διαφέρουν και πολύ από τις studio εκτελέσεις του Westworld LP, παραμένει όμως ένας από τους καλύτερους δίσκους που έχω ακούσει ποτέ...

Thursday, July 22, 2010

The Godz : The Godz 1978

Hard rock

Hard rock (or heavy rock) is a loosely defined genre of rock music which has its earliest roots in mid-1960s garage, blues rock and psychedelic rock. It is typified by a heavy use of distorted electric guitars, bass guitar, drums, pianos, and keyboards. It developed into a major form of popular music in the 1970s, with bands like Led Zeppelin , Deep Purple , Aerosmith , AC/DC , Van Halen , Nazareth and Bad Company .

Not to be confused with the 1960s/early-'70s psychedelic band that was also called the Godz, this foursome was an obscure hard rock/arena rock outfit of the late '70s and '80s.

This band was formed in the Midwest in 1976, when bassist/ producer Eric Moore got together with lead guitarist Mark Chatfield , rhythm guitarist/ keyboardist Bob Hill , and drummer Glen Cataline.

All four of them contributed lead vocals.

The Godz signed with Casablanca in 1977 , which was also the year in which they had an ope
ning spot on Kiss' Love Gun Tour . (Cheap Trick was the other opening act on that tour.)

The Midwesterners recorded two little-known albums for Casablanca : 1978's "The Godz " and 1979's " Nothing Is Sacred " , both of which received very little attention.

Some more albums followed in the 1980s, including 1985's "I'll Get You Rockin'" on Heavy Metal America and 1987's " Mongolians " on Grudge.

The Godz are rock'n'roll junkies . Gotta keep a runnin' .


1978 The Godz

1979 Nothing Is Sacred

1985 I'll Get You Rockin' Heavy Metal America

1987 Mongolians

Essentially a biker band, the Godz put out a hard rock type of music that was fun-loving and rough around the edges.
They made no apologies and put on no airs. The result was a good fun-time, hard-rocking album in the vein of such groups as Grand Funk Railroad and Starz. The extended cut "Gotta Keep A Runnin'" is the highlight of the disc. It got a decent amount of airplay on AOR stations and includes a great extended spoken word section.

If you like your rock hard-edged and with no pretenses, this is a good, fun album to pick up.


1 Go Away
2 Baby I Love You
3 Guaranteed
4 Gotta Keep a Runnin'
5 Under the Table
6 Cross Country
7 Candy's Going Bad

Label : RCA
Original label : Millenium Records
Format: Vinyl.LP
Country: USA
Released: 1978
Genre:Hard Rock
Bitrate : 320

Take it HERE

Thursday, July 15, 2010

Jeff Healey : Cover to Cover 1995

Norman Jeffrey "Jeff" Healey (March 25, 1966 - March 2, 2008) was a blind Canadian jazz and blues-rock vocalist and guitarist

Born in Toronto, Jeff Healey was raised in the city's west end. He was adopted . His adoptive father was a firefighter. When he was eight months old, Healey lost his sight to retinoblastoma, a rare cancer of the eyes. The eyes had to be surgically removed, and he was given artificial replacements.

Healey began playing guitar when he was three, developing his unique style of playing the instrument flat on his lap. When he was 17, he formed the band Blue Direction, a four-piece band which primarily played bar-band cover tunes. Among the other musicians were bassist Jeremy Littler, drummer Graydon Chapman, and a schoolmate, Rob Quail on second guitar (Littler was later replaced by bassist Ian McIntyre). This band played various local clubs in Toronto, including the Colonial Tavern.

For many years, Healey performed at his club, "Healey's" on Bathurst Street in Toronto, where he played with "The Healey's House Band" on Thursday nights and with his jazz group on Saturday afternoons. The club moved to a bigger location at 56 Blue Jays Way and it was rechristened "Jeff Healey's Roadhouse". Though he had lent his name to the club and often played there, Jeff Healey did not own or manage the bar. Healey also starred in the 1989 movie Road House alongside Patrick Swayze.

Over the years, Healey toured and sat-in with many legendary performers, including Dire Straits, Stevie Ray Vaughan, Buddy Guy, BB King, ZZ Top, Steve Lukather, Eric Clapton and many more. In 2006, Healey appeared on Deep Purple vocalist Ian Gillan's CD/DVD Gillan's Inn.

Healey discovered and helped develop the careers of other artists, including Terra Hazelton and Amanda Marshall.

In early 2009, Healey's 'Mess of Blues' won in The 8th Annual Independent Music Awards for Best Blues Album.

On January 11, 2007, Healey underwent surgery to remove metastatic tissue from both lungs. In the previous eighteen months, he had two sarcomas removed from his legs.

On March 2, 2008, Healey died of cancer at St. Joseph's Health Centre in his home town of Toronto.
His death came a month before the release of his album, Mess of Blues, which was his first rock/blues album in eight years.


1 . Shapes Of Things 4:35
Electric Guitar [Additional] - Pat Rush
Written-By - Keith Relf , Paul Samwell-Smith
2 . Freedom 3:33
Mixed By - Tom Stephen
Written-By - Jimi Hendrix
3 . Yer Blues 4:31
Written-By - John Lennon, Paul McCartney*
4 . Stop Breakin' Down 4:20
Electric Guitar [Additional] - Pat Rush
Keyboards - Paul Shaffer
Written-By - Robert Johnson
5 . Angel 4:28
Backing Vocals - Amanda Marshall , Mischke , Stevie Vain
Keyboards - Paul Shaffer
Percussion - Art Avalos
Written-By - Jimi Hendrix
6 . Evil 3:47
Electric Guitar [Additional] - Pat Rush
Harp - Jerome Godboo
Written-By - Willie Dixon
7 . Stuck In The Middle With You 4:04
Electric Guitar [Additional] - Pat Rush
Keyboards - Denis Keldi
Written-By - Gerry Rafferty , Joe Egan
8 . I Got A Line On You 3:11
Backing Vocals - Kipp Lennon , Mark Lennon , Michael Lennon
Harp - Jerome Godboo
Keyboards - Roy Bittan
Percussion - Art Avalos , Rick Lazar
Written-By - Randy California
9 . Run Through The Jungle 4:23
Backing Vocals - Stevie Vain
Electric Guitar [Additional] - Pat Rush
Keyboards - Paul Shaffer
Percussion - Art Avalos
Written-By - J.C. Fogerty
10 . As The Years Go Passing By 6:46
Keyboards - Roy Bittan
Written-By - Malone
11 . I'm Ready 3:33
Electric Guitar [Additional] - Pat Rush
Keyboards - Roy Bittan
Written-By - Willie Dixon
12 . Badge 3:56
Keyboards - Paul Shaffer
Written-By - Eric Clapton , George Harrison
13. Communication Breakdown 3:14
Electric Guitar [Additional] - Pat Rush
Harmonica - John Popper
Written-By - Jimmy Page , John Bonham , John Paul Jones
14 . Me And My Crazy Self 2:50
Written-By - Henry Glover , Syd Nathan

Size : 142 MB
Bitrate : 320

Take it HERE

Monday, July 12, 2010

Nuggets Vol. 11: Pop, Pt. 4

RNLP/RNC 70035
Nuggets Vol. 11:
Pop, Part 4
Various Artists

Solid collection of slightly psychedelic-influenced, progressive '60s pop. Fine hits by The Left Banke, Fever Tree, and the Grass Roots, neat tracks by The Blues Project, Lee Michaels, and Gene Clark, worthy obscurities by The Magicians, Montage (a Left Banke spinoff), The Critters, and Keith.
Review by Richie Unterberger [allmusic]

Label : Rhino Rec.
Catalog#: RNLP 70035
Format: Vinyl, 12",
Country: USA
Released: 1986
Genre: Rock
Style:Psychedelic , Progressive, Pop , 60's
Mp3@320 & Scans
Filesize: 96.83 MB

Let's Live Take it Here


Side A'

Let's Live For Today - The Grass Roots
Pretty Ballerina - The Left Banke
I Shall Call Her Mary - Montage
Echoes - Gene Clark
Happy - The Sunshine Company
Invitation To Cry - The Magicians
San Francisco Girls (Return Of The Native) - Fever Tree

Side B'

Hello - Lee Michaels
Run Run Run - The Third Rail
Mr. Dieingly Sad - The Critters
I Can Hear The Grass Grow - The Blues Magoos
No Time Like The Right Time - The Blues Project
Step Out Of Your Mind - The American Breed
Ain't Gonna Lie - Keith

Pop music was a wide-open territory from 1966 to 1968, a dayglo Land of Oz with a surprise around every turn of the radio dial. It was an especially fertile period that found the standard formulas governing song composition bending in the wake of an emergent experimentalism, a charge led by the Beatles and by hallucinogenic drugs. (Let's not play coy here; Spiro Agnew was right all along, and you and I know it.) During this two-year blip on the pop-culture time line, a torrent of great music-too much to be properly absorbed, appreciated or even catalogued, as it turns out-was released. Listen closely and you'll hear a dialogue being worked out between discipline and excess, short songs and long songs, screaming and crooning, guitars and violins, Utopia and apocalypse, druggy liberation and old-fashioned hand-holding in the park. Fortunately, compromise worked all to the good in the halfway house of AM radio.
 Keith, he of the Top Ten hit "98.6," is as normal sounding a singer as you'll find on this (or any) Sixties pop collection. "Ain't Gonna Lie" was the first single from the warm-voiced Philadelphian (James Barry Keefer to his mom and dad), who enlisted the Tokens to sing back up. It hit #39 for one week in late '66, a couple of months before "98.6" went Top Ten, and would have gone higher had hundreds of thousands of records not been pressed off-center. The low-key jazz-pop sound of Keith's records owes much to Jerry Ross, who mined a similarly brassy groove as producer of Bobby Hebb's classic "Sunny." "He has star quality!" radio-tipsheet king Kal Rudman raved of Keith on the sleeve notes to his first LP. "His will be a big career?' The U.S. Army deemed other¬
wise, spiriting him from the concert stage to the oblivion of a New Jersey barracks at the height of his popularity.
 The loveliest singles of the Sixties were recorded by The Left Banke, who proved that a pop ballad could incorporate aspects of classicism without sounding effete, and that a rock band could sing and play sensitively without sounding effeminate. "Pretty Ballerina" was well-nigh perfect in its well-tempered execution, owing to the compositional genius of Michael Brown and the mannerly vocal delivery of Steve Martin, who sang it as if he were reciting an Elizabethan love sonnet "Pretty Ballerina" sounds as sweet and disciplined as a Bach piano etude, and the public applauded it all the way to #15 in early 1967.
 In some quarters, The Blues Project were regarded as "the Jewish Beatles," but their incipient blues and jazz leanings ultimately denied them broad exposure or even so much as a Top Forty single. Al Kooper was the closest thing they had to a pop messiah, and every now and then he would come up with a gem like "No Time Like the Right Time." It has the sound of '67 all over it, in the urgency of Kooper's vocal and the galloping beat, the psychedelic organ stabs and, of course, a tambourine, shaken for all it's worth on the chorus. Oh, and not forgetting Kooper's mind-bending solo on the "ondioline-a keyboard that made a high-pitched Middle Eastern whine every bit as mysterious as Kooper's up-and-down career.
 Another set of "blues" musicians, The Blues Magoos, were no mere acid-rock dilettantes; they were full-tilt, falling-off-the-face-of-the-earth psychedelic. They wore electric suits that lit up onstage, called their first album Psychedelic Lollipop (lick at your own peril) and even marketed a Blues Magoos lava lamp. The Blues Magoos' brand of acid had a lot of speed mixed in with it; led by the garage vocals of Emil "Peppy" Thielhelm, they made a trio of albums that remain classics of the genre. "I Can Hear the Grass Grow'-written by Englishman Roy Wood, leader of the Move-appeared on Basic Blues Magoos. "My head is attracted to a magnetic wave of sound," sang Peppy, and, hearing this, you couldn't doubt him.
 More down to earth (pardon the pun) were The Grass Roots. The group was blest with a steady stream of pop/protest songs from the talented team of PR Sloan (author of "Eve of Destruction") and Steve Barri. Rob Grill sang the Sloan/Barri songbook with the air of troubled earnestness that they demanded, and the Grass Roots—L.A. natives all, and originally the "13th Floor-racked up hits all the way into the Seventies. "Let's Live for Today" is a late Sixties' milestone, with Grill's cathartic vocal betraying the uncertainties of a generation grappling with drugs, the draft and dropping out.
 The Critters represented the flip side of the pop coin. They were all sweetness and light and mellow vibes-New Jersey's answer to the Lovin Spoonful, without benefit of a summer in the city. "Blue be your eyes, blonde your hair," they sang to a comely inamorata on "Mr. Dieingly Sad." their #19 hit from the fall of 1966. The quasi-jazzy arrangement, complete with vibes, wistful vocals and a samba-like lilt, was reminiscent of Keith's several singles Both the Critters and Keith, if truth be told, seemed to derive no small inspiration from Chris Montez, the jazzy pop singer (and Ritchie Valens protege) of "Call Me" and "The More I See You."
 The Chicago-bred American Breed hit the charts in 1967 with a timely invitation to "Step Out of Your Mind." Never as psychedelic as they pretended to be, for currency's sake, the American Breed were really a white soul band trapped in paisley boutique clothing. A couple latter-day members wound up co-founding the Seventies soul-funk group Rufus. In their heyday, the .American Breed sounded something like Britain's Amen Corner. Amen. who. you ask? Ah, that's another story. Suffice to say that both groups had a large-scale hit, in their respective countries, with "Bend Me. Shape Me" (available on Pop. Part III of the Nuggets series).
 There has never been a burst of feedback to rival that which closes Fever Tree's ode to ''San Francisco Girls''-it sounds like an amplified swarm of killer bees, capable of turning healthy minds to head cheese at twenty paces This stentorian footnote to the psychedelic era comes from a guitarist known only as Michael. He, along with producers Scott and Vivian Holtzman. wrote "San Francisco Girls," Fever Tree's brilliant burst of neon-rainbow psychedelia. It's quite a different ode to the city by the sea than the one Tony Bennett popularized. Almost suite-like in its movements, it passes from pastoral rhapsody to ear-splintering rave-up in the time it takes to say "Hey Joe," which it resembles.
 Lee Michaels arrived on the recording scene with his heavy organ, and ex-Paul Revere and the Raiders guitarist Drake Levin, in 1968. "Hello" was just that: an electrified hail-fellow-well-met from a formidable L.A. keyboardist who followed the Jefferson Airplanes siren call north to the psychedelic ballrooms of San Francisco. His first album, Carnival of life, was a nine-song smorgasboard of pithy meditations on the human condition. In addition to "Hello," there was "Love," "Tomorrow" and "Why." Michaels' second album, Recital, remains his most virtuosic work-and one of the quintessential albums-as-albums of the Sixites.
  Montage was one of Michael Brown's infrequent projects, formed in the wake of his one-album stint with the Left Banke. He wasn't even a bonafide member of Montage, (Is this a guy with a commitment problem, or what?) On Montage's lone album, he was given "special thanks... for all keyboard instruments and vocal arrangements." He also, incidentally, co-wrote nine of the ten songs, and they are all wonderful, per usual. In a sense, The Montage can be regarded as The Great Lost Bank Album, insofar as Brown's prowess and participation are concerned. "I Shall Call You Mary" bears the thrilling orchestral-pop hallmarks of the Left Banke's classic "Desiree."
  The Sunshine Company cast themselves in the mold of Peter, Paul & Mary, Spanky and Our Gang, and the Mamas and the Papas: folk-rock groups with girl/guy harmonies whose mission was to sling lovey-dovey good vibes 'round this here planet (or at least the West Coast). Mary Nance's hearty alto meshed nicely with Maury Manseau's gentle tenor on "Happy," a Summer of Love single whose cup runneth over with happiness. Taking a good thing one step further, they titled their first album Happy Is the Sunshine Company and filled it with such Aquarian Age love polemics as "Children Could Help Us Find the Way" and "Love Is a Happy Thing." Groovy stuff, but where's they go? Up, up and away?
  Disciplines of late Sixties pop frequently find themselves chasing obscure, scratchy 45s through the dustbins of time and trying to answer such zen koans as, "Who are The Third Rail?" The Wizards of Id behind The Third Rail were Artie Resnick and Joey Levine, a pair of songwriters in the employ of the Kasenetz/Katz bubblegum hitmaking machine; the Ohio Express and the 1910 Fruitgum Company were among their beneficiaries. "Run Run Run" is a whimsical bit of social commentary. As a putdown of the nine-to-five rat race, its judgments are harsher than the bubblegum vocals, complete with Jan and Dean-style falsetto swoops, might otherwise suggest.
  There's no mistaking the heart-on-the-sleeve emotions of The Magicians' "Invitation to Cry." This waltz-time weeper, a failed 45, fairly bleeds romantic duress. For a brief while in 1966, the Magicians, who had solid musical credentials and a strong following around New York City, seemed poised to make it. "Invitation to Cry" was the strongest of their three singles. The Magicians welded the Long Island R&B sound of the Young Rascals and the Vagrants with the surging power of Massachusetts garage bands like the Remains and the Barbarians. In hindsight, the Magicians' greatest trick, however, was their vanishing act. Guitarist Allan "Jake" Jacobs later re-surfaced as the leader of Jake and the Family Jewels, and drummer Alan Gordon and guitarist Gary Bonner teamed as songwriters to amass a trunkload of late-Sixties pop gems like "Happy Together" and "Celebrate."
  After Gene Clark quit the Byrds, he cut a little-heard album with a pair of country singers, Vern and Rex Gosdin, and such stellar L.A. sidemen as Leon Russell and Glen Campbell (just back from his half-year as a Beach Boy). Clark also got his solo flight off the ground with the help of a few Byrds: Chris Hillman, Mike Clarke and Bryd-to-be Clarence White. "My inspirations, as I remember, were Rubber Soul and early Mamas and Papas," Clark reflected years later. "Echoes" seems to pay homage to Bob Dylan as well, in the elusive symbolism of its lyrics. One of the first solo albums as such, Gene Clark with the Gosdin Brothers was here and gone, like a mist, in 1967; it appeared again, remixed and annotated, in 1972, only to drop from sight just as quickly.
Parke Puterbaugh.

Nuggets is a series of releases dedicated to preserving the hits
and undiscovered gems of the first psychedelic era...

Vol. 01 Vol. 02 Vol. 03 Vol. 04
Vol. 05 Vol. 06 Vol. 07 Vol. 08
Vol. 09 Vol. 10             Vol. 12

ΜΜΕ και Οικονομική Κρίση

4 Video, περίπου 35 λεπτά από τον χρόνο σας για τον ρόλο και την προπαγάνδα των ΜΜΕ την περίοδο της "οικονομικής κρίσης".
Video βασισμένο στην εκπομπή του Άρη Χατζηστεφάνου (ΙINFOWAR) στο Σκάι στις 11-4-2010 και σε έρευνα του Παντείου για το ρόλο των ΜΜΕ στην οικονομική κρίση.
Τα ψαρέψαμε από εδώ

Saturday, July 10, 2010

Echo Tattoo - Room Of Toys [cd single]

Echo Tattoo

Room Of Toys

[cd single]


Label: FM Records
Catalog#: FM 2200
Format: Cd single
Country: Greece
Released: 1997
Genre: Rock
Style: Alternative Rock

Songs :
Room Of Toys
Room Of Toys [Harlan Ellison Mix]

Mp3@320 & scans 34 MB
Take it  HERE

Σχετικά με τους Echo Tattoo, δες από κάτω το προηγούμενο ποστ.
[ εδώ είναι βρε ! ]
Το Room Of Toys είναι από το ομώνυμο Cd [FM Records 1997] και το Over το κομμάτι που τους χάρισε την 1η θέση στο 2nd European Song Contest στην Κοπεγχάγη το 1996.

Friday, July 09, 2010

Ernest Ranglin : In search of the lost riddim 2000

Ernest Ranglin O.D. (born June 19, 1932 in Manchester, Jamaica) is a Jamaican guitarist and composer. Best known for his session work at the famed Studio One, Ranglin helped give birth to the ska genre in the late 1950s. Some credit Ranglin with the invention of the core style of guitar play (sometimes known as "scratching") found in nearly all ska music.

Ernest Ranglin grew up in the small town of Robin's Hall in the Parish of Manchester, a rural community In the middle of Jamaica. Music has always claimed a special place In the Island's culture, and Ranglin's destiny was set from an early age when two of his uncles showed him the rudiments of playing the guitar. When they discovered just how good the young boy was, they bought him a ukulele.

Ranglin learned how to play by imitating his uncles, but he was soon to be influenced by the recordings of the great American jazz guitarist Charlie Christian. Living in rural Jamaica, however, inhibited the boy's ambitions, which, even at the age of fourteen, were focused on music. He then moved to Kingston - the country's capital - ostensibly to finish his studies at Bodmin College. Very high on Ranglin's agenda was to seriously study the guitar; something not on the school's priorities.

Ranglin played on many classic Jamaican recordings, and he performed with artists such as Jimmy Cliff, Monty Alexander, Prince Buster, The Skatalites and the Eric Deans Orchestra. He has also explored other styles of music, notably blending jazz and reggae.

Ranglin's fluent and versatile guitar style, coupled with his arrangement skills, meant he was in constant demand right through the ska era. In addition to his work with Prince Buster and Baba Brooks, Ranglin was also remembered by Chris Blackwell who, in 1962, had launched Island Records in Britain. Blackwell had a song he thought could be a pop smash. He also had a young Jamaican singer called Millie, who'd previously recorded some sides for Coxsone Dodd. In 1964 Blackwell brought both Millie and Ranglin to London; they recorded My Boy Lollipop which, in the spring of that year, reached number two in the UK chart. It went on to become a worldwide hit, the first time ska had infiltrated into the vocabulary of pop music.

In recent years, Ernest Ranglin has gone back to his roots and has made various cross cultural collaborations and concept albums. On Below the Bassline he covers some of the greatest songs of the rock and roll era. Memories of Barber Mack is Ernest Ranglin's tribute to the late Jamaican saxophonist Barber Mack. The Search of the Lost Riddim album took Ernest Ranglin to Senegal for his first visit since the mid 1970's when he toured as part of the Jimmy Cliff band. These recording sessions represent the accomplishment of a dream he had cherished for over 20 years: returning to Africa to record with African musicians. Modern Answers to Old Problems is an adventuresome mix of jazz sophistication and Afro-pop syncopation, and finaly his last album Gotcha! shows what a perfect instrumentalist Ernest realy is.

Ernest Ranglin: Guitar
Ira Coleman: Contrabass
Dion Parson: Trap Drums
Assane Diop: Tama (Talking Drum)
Bada Seck: Sabar Drums
Bahkane Seck: Djembe/Sabar Drums
Babacar Seck: Sabar Drums
Kawding Cissokho: Kora
Barou Sall: Hoddu
Adama Cissokho: Balafon
Mansour Seck: Guitar + Vocals
Baaba Maal: Guitar + Vocals
Alioune M'Baye Nder: Vocals
El Hadji Malick Aw: Calabash
Cisse Diamba Kanoute: Vocals

1 D'accord Dakar
2 Up On The Downstroke
3 Minuit
4 Ala Walee
5 Cherie
6 Haayo
7 Anna
8 Nuh True
9 Wouly
10 Pili Pili
11 Midagny

Produced by Ira Coleman, Ernest Ranglin
+ Bart Fermie
Recorded at Pyramide Culturelle Studio 2000
in Dakar, Senegal
Executive Producer: Trevor Wyatt
Mixed by Danny Dipaoula, Ira Coleman
+ John Tendy
Engineer: Ousseynou Ndoye
Assistant Engineers: Lamine Ba,
Abdull Lahad Wonde, Aidara Djibi Fall
Mastered at Soundmasters by Kevin Metcalfe

Official site :

Size : 404 MB
Label : Palm Records

Take it HERE   FLAC

Tuesday, July 06, 2010

F . DE . FELIPE - VICTOR HUGO : The Man Who Laughs


Fernando De Felipe Allué was born in Zaragoza and worked for the magazines Totem and Zona 84, and the publishing house Zinco. Using the penname F. De Felipe for his comics output , he has mainly drawn science-fiction stories . His adaptation of Victor Hugo's 'El Hombre Que Ríe' was published in Zona 84 and in album by Glénat Spain (1991).

He worked with scriptwriters like Oscaraibar ('Nacido Salvaje', 1989, and 'ADN', 1990) and J. Vane ('SOUL', 1991). Other albums by De Felipe include 'Marketing & utopía' (1993) and 'Black Deker' (1995). His work is also published in France by Soleil Productions.

Victor-Marie Hugo (26 February 1802 – 22 May 1885) was a French poet , playwright , novelist , essayist , visual artist , statesman , human rights activist and exponent of the Romantic movement in France.

In France , Hugo's literary fame comes first from his poetry but also rests upon his novels and his dramatic achievements . Among many volumes of poetry , Les Contemplations and La Légende des siècles stand particularly high in critical esteem , and Hugo is sometimes identified as the greatest French poet . Outside France , his best-known works are the novels Les Misérables and Notre-Dame de Paris (known in English also as The Hunchback of Notre-Dame).

Though a committed conservative royalist when he was young , Hugo grew more liberal as the decades passed ; he became a passionate supporter of republicanism , and his work touches upon most of the political and social issues and artistic trends of his time . He is buried in the Panthéon .

Les Misérables
(literally "The Miserable Ones" ; translated variously from the French as The Miserable Ones , The Wretched , The Poor Ones , The Wretched Poor , or The Victims , is a 1862 novel by French author Victor Hugo and is widely considered one of the greatest novels of the 19th century.

The Man Who Laughs is a novel by Victor Hugo , originally published in April 1869 under the French title L'Homme qui rit. Also published under the title "By Order of the King" . Although among Hugo's most obscure works , it was adapted into a popular 1928 film , directed by Paul Leni and starring Conrad Veidt , Mary Philbin and Olga Baclanova .


1.) In May 1950, the Gilberton publishing company produced a comic-book adaptation of The Man Who Laughs as part of their prestigious Classics Illustrated series. This adaptation featured artwork by Alex A. Blum, much of it closely resembling the 1928 film (including the anachronistic Ferris wheel). The character of Gwynplaine is drawn as a handsome young man, quite normal except for two prominent creases at the sides of his mouth. As this comic book was intended for juvenile readers, there may have been an intentional editorial decision to minimise the appearance of Gwynplaine's disfigurement. A revised Classics Illustrated edition, with a more faithful script by Al Sundel, and a painted cover and new interior art by Norman Nodel, was issued in the spring of 1962. Nodel's artwork showed a Gwynplaine far more disfigured than the character's appearance in either the 1928 film or the 1950 Classics edition.

2.) A second comic book version was produced by artist Fernando de Felipe, published by S. I. ARTISTS and republished by Heavy Metal Magazine in 1994. This adaptation was intended for a mature audience and places more emphasis on the horrific elements of the story. De Felipe has simplified and taken some liberties with Hugo's storyline. His rendering emphasizes the grotesque in Hugo and excludes the elements of the sublime that are equally important in the original.

The Man Who Laughs was
Pyblished in Greece by " Para Pente Comics " 1995 , in Limited Edition Comic Album .

Friday, July 02, 2010

Crime and The City Solution : Shine 1998

Despite roots dating back as far as 1978, Crime & the City Solution did not truly emerge until 1984, coming to life in the wake of the dissolution of the seminal Birthday Party. The group was led by the evocative singer/songwriter Simon Bonney, a Melbourne, Australia native who led a series of bands under the verbose Crime name throughout the late '70s and early '80s; a longtime friend of the Birthday Party, he contacted former members Mick Harvey and Rowland S. Howard after the group's breakup, and following the addition of Howard's brother, bassist Harry Rowland, the most successful and famed lineup of Crime & the City Solution was born.

In 1985, the quartet debuted with The Dangling Man, a self-produced EP quickly establishing the band's moody, atmospheric blues-based aesthetic. Former Swell Maps drummer Epic Soundtracks joined Crime after the EP's release, freeing Harvey to alternate among a variety of instruments for the haunting follow-up, Just South of Heaven. Their full-length bow, Room of Lights, appeared in 1986 and featured the remarkable "Six Bells Chime," which so impressed the acclaimed filmmaker Wim Wenders that he invited the band to perform the song live in his 1988 masterpiece Wings of Desire.

By the time the film appeared, however, the incarnation of Crime & the City Solution presented onscreen was no more; after Room of Lights, the Howard brothers and Soundtracks exited to form These Immortal Souls, leaving Bonney, Harvey, and violinist Bronwyn Adams (also Bonney's wife and songwriting partner) to relocate to Berlin, where they recruited a number of local musicians, including Einsturzende Neubauten guitarist Alexander Hacke, to cut 1988's ornate, intoxicating Shine. Even more Baroque was the follow-up, 1989's The Bride Ship.

In 1990, Crime returned to the studio one final time to record Paradise Discotheque, a record built around Bonney's ambitious four-part suite "The Last Dictator," a song cycle inspired by the downfall of Romanian warlord Nicolae Ceaucescu. After contributing "The Adversary" to the soundtrack of Wenders' Until the End of the World, Crime & the City Solution disbanded; while Harvey rejoined former Birthday Party mate Nick Cave in the Bad Seeds, Bonney began work on his 1992 solo debut, Forever. ( all


1. All Must Be Love
2. Fray So Slow
3. Angel
4. On Every Train (Grain Will Bear Grain)
5. Hunter
6. Steal To The Sea
7. Home Is Far From Here
8. On Every Train (Grain Will Bear Grain) 12" Version
9. All Must Be Love (early version)

MP3 @320 Here