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Review:Procol Harum's self-titled, debut album bombed in England, appearing six months after "A Whiter Shade of Pale" and "Homburg" with neither hit song on it. The LP was successful in America, where albums sold more easily, but especially since it did include "A Whiter Shade of Pale" and was reissued with a sticker emphasizing the presence of the original "Conquistador," a re-recording which became a hit in 1972. The music is an engaging meld of psychedelic rock, blues, and classical influences, filled with phantasmagorical lyrics, bold (but not flashy) organ by Matthew Fisher, and Robin Trower's most tasteful and restrained guitar. "Conquistador," "Kaleidoscope," "A Christmas Camel," and the Bach-influenced "Repent Walpurgis" are superb tracks, and "Good Captain Clack" is great, almost Kinks-like fun. Not everything here works, but it holds up better than most psychedelic or progressive rock. (by Bruce Eder, All Music) Tracks Listing:A Whiter Shade of Pale 3:59 She Wandered Through the Garden Fence 3:29 Something Following Me 3:40 Mabel 1:55 Cerdes (Outside the Gates Of) 5:07 A Christmas Camel 4:54 Conquistador 2:42 Kaleidoscope 2:57 Salad Days (Are Here Again) 3:44 Repent Walpurgis 5:05 Line-up / Musicians:- Gary Brooker / lead vocals, piano - Matthew Fisher / organ - Dave Knights / bass - Keith Rei / words - Robin Trower / guitars - Barrie James Wilson / drums Artwork IncludedLINK |
 Ari "artz" Pulkkinen is a Finnish musician with a background in the tracker music demoscene. He won many music competetitions and made his first big public album to accompany a freeware game named "Starfight VI: Gatekeepers" in 1999. His production, for Frozenbyte, of the soundtrack for the computer game Shadowgrounds generated wide-ranging interest and was released separately as an unusual Finnish commercial soundtrack. Lordi's guitarist Jussi Sydanmaa worked with Ari to create guitar riffs for the Shadowgrounds soundtrack. ___________________________ Trine soundtrack captures the spirit of the twisted medieval fantasy adventure. Each score of the soundtrack is like a chapter from a story book, each one telling their own tales of marvels and legends. The lyrical elements are strenghtened by combining chamber music with different orchestral styles. Tracks:01 Astral Academy 4:04 02 Academy Hallways 4:15 03 Wolvercote Catacombs 5:00 04 Dragon Graveyard 4:01 05 Crystal Caverns 4:30 06 Crypt of The Damned 3:38 07 Forsaken Dungeons 4:05 08 Throne of The Lost King 4:36 09 Fangle Forest 4:19 10 Shadowthorn Thicket 4:12 11 Ruins of The Perished 4:08 12 Waltz of The Perished 4:15 13 Heartland Mines 4:30 14 Bramblestoke Village 4:00 15 Iron Forge 4:03 16 Tower of Sarek 2:54 17 Trine Main Theme 1:44 18 Trine Trailer Theme 1:24 19 Trine Main Theme (Trailer Version 2008) 1:38 20 Trine Main Theme (Original Version 2008) 2:43 Personel:Composed / Arranged by - Ari Pulkkinen Performed by - Daniel Shaul (oboe) Benjamin Hirschovits-Gerz (violin) Only Front CoverLINK |
 The Charles Bukowski Tapes are a collection of short-interviews with the American writer/poet Charles Bukowski, filmed and assembled by Barbet Schroeder and first published in 1987 in the USA. Today, the video documentary is considered a cult classic. Synopsis:The Charles Bukowski Tapes are an altogether more than four hours long collection of 52 short-interviews with the American cult author Charles Bukowski, sorted by topic and each between one and ten minutes long. Director Barbet Schroeder (Barfly) interviews Bukowski about such themes as alcohol, violence, and women, and Bukowski answers willingly, losing himself in sometimes minute-long monologues. Amongst other things, Bukowski leads the small camera team through his parents’ house and his former neighbourhood, but the largest part of the interviews takes place in Bukowski’s flat or backyard. The documentary includes a scene in which Bukowski reacts violently toward his wife Linda Lee. The documentary was assembled from about 64 hours of film footage, which accrued during the three-year lead time for Schroeder’s motion picture Barfly, for which Bukowski wrote the autobiographical script. (http://en.wikipedia.org/wiki/The_Charles_Bukowski_Tapes) Fifty-two clips of Charles Bukowski ranting and musing comprise Barbet Shroeder’s Charles Bukowski Tapes. It was, until now, a rarity that circulated amongst die-hard Bukowski fans, since the release of Shroeder’s Bukowski-scripted feature, Barfly. This collection of monologues, ranging in topic from Bukowski’s beef with God, to biographical tales of his life as an abused child, to his views on writing as a disciplinary craft, cover the gamut of Bukowski-typical topics, which can also be glimpsed in other Bukowski documentaries, such as Born Into This. But The Charles Bukowski Tapes are set apart by their sheer volume of candid author footage, in which Bukowski has drunkenly abandoned all camera-shyness to reveal, and revel in, his damage. In one chilling segment, Hank and Linda Lee sit on the couch and seriously discuss divorce, leaving the viewer feeling as if they’ve eavesdropped on a therapy session. In another, Hank takes us to his childhood home, to show us the bathroom, nicknamed "The Torture Chamber," where he was repeatedly whipped. The rawness of the tapes is refreshing but painful. This DVD package includes several segments in which Bukowski recites poems, as well as a booklet containing writing by Shroeder, an essay by Bukowski biographer, Neeli Cherkovsky, and a 1987 interview with Hank about the making of Barfly that is, of course, hilariously bitter. The Charles Bukowski Tapes allow for intimacy, making them charmed and disturbing. --Trinie Dalton  Product Description:When Barbet Schroeder (More, General Idi Amin Dada, Single White Female) began work on the movie Barfly, he had no idea that it would be such a struggle. During the seven years it took him to complete the film, he turned his cameras on its screenwriter, poet and novelist Charles Bukowski. "I couldn’t stand the thought of not being able to share the extraordinary evenings we spent together," said Schroeder. "I finally brought in a small crew, friends of mine, with a high quality video set up. Whoever was the least drunk took control of the camera." Bukowski, legendary for his drunken excess and frank observations on life, love, and survival, took no exception with Schroeder. Barbet Schroeder recalls, "I had no idea of what I might do with the material, but I didn’t want those evenings to be lost. As I don’t like formal interviews, I tried to get him started on a topic and then keep from interrupting him. The result was often a monologue of three minutes or longer." Schroeder eventually completed The Charles Bukowski Tapes, a four-hour long study of the man and the music of his words. "The ideal way to show this material was in short video-clips—a new style of film. Once I had screened it this way, it seemed twice as powerful." Available for the first time in the world on DVD, Barrel Entertainment is proud to present this exceptional portrait of one of America’s most vital voices. (http://www.amazon.com/)
 Cast:Charles Bukowski (Himself) Linda Lee Bukowski (Herself) Barbet Schroeder (Himself, voice) Volume 1Volume 2 |
 Red Octopus is a 1975 album by Jefferson Starship. It was the best-selling album by any incarnation of Jefferson Airplane and its spin-off groups, and the single "Miracles" hit #3 on the Billboard charts, being the biggest hit single the band had until that point. The album itself hit #1. Track listing:Side one:1. "Fast Buck Freddie" 2. "Miracles" 3. "Git Fiddler" (instrumental) 4. "Ai Garimasu (There Is Love)" 5. "Sweeter Than Honey" Side two:1. "Play On Love" 2. "Tumblin'" 3. "I Want To See Another World" 4. "Sandalphon" (instrumental) 5. "There Will Be Love" 2005 CD bonus tracks:1. "Miracles" (single version) 2. "Band Introduction" (live, November 7, 1975 at Winterland) 3. "Fast Buck Freddie" (live, November 7, 1975 at Winterland) 4. "There Will Be Love" (live, November 7, 1975 at Winterland 5. "You're Driving Me Crazy" (live, November 7, 1975 at Winterland)  Personnel: Grace Slick – vocals, piano on "Ai Garimasu" Paul Kantner – vocals, rhythm guitar Marty Balin – vocals John Barbata – drums, percussion, vocals Craig Chaquico – lead guitar, vocals Papa John Creach – electric violin Pete Sears – bass on all tracks except "Git Fiddler", "Play On Love", and "Sandalphon", electric piano on "Miracles", keyboards on "Git Fiddler" and "Sweeter Than Honey", piano on "Play On Love", "I Want to See Another World", "Sandalphon", and "There Will Be Love", organ on "Play On Love", "I Want to See Another World", and "Sandalphon", clavinet on "Play On Love", Arp on "Sandalphon", vocals David Freiberg – vocals, bass on "Git Fiddler", "Play On Love", and "Sandalphon", organ on "Miracles" and "I Want to See Another World", Arp on "Ai Garimasu" and "There Will Be Love", keyboards on "Tumblin'" Additional Personnel: Bobbye Hall – percussion, congas Irv Cox – saxophone Production: Jefferson Starship – producer Larry Cox – producer, engineer Pat Ieraci (Maurice) – production coordinator Steve Mantoani, Jeffrey Husband – recordists Paul Dowell – amp consultant Dave Roberts – string and horn arrangement Recorded and Mixed at Wally Heiders, San Francisco Mastered by Kent Duncan, Kendun Recorders, Burbank Live tracks recorded at Winterland, November 7, 1975 Bill Thompson – manager Frank Mulvey – art director Jim Marshall – liner photograph Gribbitt! – graphics Artwork IncludedLINK |
 In the Fifties with a rockin' piano Fats Domino came out of New Orleans to become one of rock-and-roll's earliest and best stars. With 65 million record sales to his credit, Fats out sold every Fifties rock and and roll pioneer except Elvis Presley
Fats was born Antoine Domino in 1928 in New Orleans. As a child his brother-in-law, who was twenty years his senior, taught him to play the piano.Fats, also sang.. The first language he learned to speak was French. He first performed in public at age 10. At fourteen he left school and worked days in a factory so he could perform at local nightclubs. He continued with music into the 40's and was heard by Dave Bartholomew, who would become his writing partner on many of Fats' hit songs. Fats joined the Dave Bartholomew Band in the mid-40's. He was influenced by Albert Ammons and Fats Waller, among others.
He signed a contract with Imperial in 1949 and at his first recording session he made sure that he recorded the traditional Hey La Bas. "La Bas" was originally a voodoo god of luck, was identified with St. Peter in French-Catholic Louisiana and finally became La Bas. The record indicated a coming together of many years of New Orleans history and musical influence. It was not, however, his first record to be released. A song about drugs called The Fat Man was cleaned up a bit for his first commercial release, and it reached the R&B chart in 1950. According to some reports, the song was a million seller. The Fat Man also became a nickname for Fats Domino. Another song that made the R&B chart for him, Every Night About This Time, used a piano triplet for which Fats was to become famous. It showed how his music had been influenced by that of Little Willie Littlefield. Fats had another R&B hit with "Goin' Home" in 1952.
Fats Domino exploded onto the rock-and-roll scene in 1955 when his song, "Ain't That A Shame," was covered by white recording artist Pat Boone. Boone's version went to number one, and Domino's version on Imperial went to number ten. The song established both artists as stars. Fats could be heard in the background on the records of other artists, such as Joe Turner and Lloyd Price. He continued to write songs with Dave Bartholomew, many of which became hits. In 1956 he put five songs in the top forty, including "I'm In Love Again" and Fats' rendition of a song that had reached number one for Glenn Miller in 1940, "Blueberry Hill". The latter went to number two and was Domino's highest charting record ever.
Fats Domino was very popular. In 1957 he appeared in a movie that many consider to be the best rock-and-roll film ever made, The Girl Can't Help It, singing his hit "Blue Monday." Another Fats Domino hit, "I'm Walkin'," was covered by Ricky Nelson in 1957 and helped to launch the teenage singing sensation's career. Other top ten songs followed in the late 50's for Domino: "Whole Lotta Loving," " I Want To Walk You Home," and "Be My Guest". The last song had a curious origin -- a teenager had been told by his father to get a job or get out of the house, so he wrote "Be My Guest" and waited in line for a chance to pass it on to Fats Domino. He was able to do so, and heard from Domino's agent some time later; thus was begun the songwriting career of Tommy Boyce.
Fats Domino had his final top ten song in 1960 with Walking To New Orleans. He recorded some old Hank Williams songs such as "Jambalaya [On The Bayou]" and "You Win Again" and he did old standards such as "Red Sails In The Sunset," which was his final top forty song, in 1963. In 1968, he even did a cover of the Beatles' "Lady Madonna".
He also made some more films along the way, including Shake, Rattle and Roll, The Big Beat, and Jamboree. Fats played Las Vegas frequently, and at the Royal Festival Hall in London in the 80's. He had to leave a tour of Great Britain in the 90's due to health problems.
Fats Domino still lives in New Orleans with his wife Rosemary, with whom he has had eight children. His awards have been many, including Grammy's Lifetime Achievement and Hall Of Fame Awards.
Fats Domino took his place in The Rock and Roll Hall of Fame 1986.
Tracks:
The Fat Man 2:00
Blue Monday 2:25
Blueberry Hill 2:14
I'm In Love Again 2:00
Going To The River 2:32
My Blue Heaven 2:10
Bo Weevil 2:00
Goin' Home 2:15
Please Don't Leave Me 2:30
Aint It A Shame 2:16
I'm Walking 2:12
Whole Lotta Loving 2:02LINK |
 Another classic home recording from this German label. Recorded in 1969, it's similar to the King Of Poets CD in its drunken intimacy and wry humour. Bukowski's softly spoken voice is always a pleasant surprise when heard for the first time. (http://www.cduniverse.com/) Recorded in 1969. Read his biography here: http://electricflower.ucoz.com/blog/charles_bukowski_biography/2009-12-22-383 Tracks:1. Buffalo Bill 2. A Little Atomic Bomb 3. The Hairy Hairy Fist 4. An Action Afternoon 5. Finish 6. No Charge 7. Love Is A Piece Of Paper Torn To Bits 8. Something For The Touts, The Nuns, The Grocery Clerks & You 9. Songs for Sadists Without a Place To Sit Down 10. The Genius Of The Crowd 11. Farewell, Foolish Objects 12. Experience 13. At The End Of Feet The Blackbird Walks 14. I May Make Paris in the Morning 15. Men and the Sun 16. The Japanese Wife 17. Bukowski Still at It 18. Freedom 19. True Story LINK |
 Biography:Fela Anikulapo Kuti (15 Oct 1938 – 2 Aug 1997), or simply Fela, was a Nigerian multi-instrumentalist musician and composer, pioneer of afrobeat music, human rights activist, political maverick & leader of Fela Ransome Kuti & Africa ‘70. HMV Magazine ranked him #46, on a list of the top-100 most influential musicians, of the 20th century. The musical style performed by Fela Kuti is called Afrobeat, which is essentially a fusion of jazz, funk, psychedelic rock, and traditional African chants and rhythms. It is characterized by having African-style percussion, vocals, and musical structure, along with jazzy, funky horn sections. The endless groove is also used, in which a base rhythm of drums, shekere, muted guitar, and bass guitar are repeated throughout the song. His band was notable for featuring two baritone saxophones, whereas most groups using this instrument only use one. This is a common technique in African and African-influenced musical styles, and can be seen in funk and hip-hop. Some elements often present in Fela’s music are the call-and-response within the chorus and figurative but simple lyrics. Fela’s songs were almost always over 10 minutes in length, some reaching the 20- or even 30-minute marks, while some unreleased tracks would last up to 45 minutes when performed live. This was one of many reasons that his music never reached a substantial degree of popularity outside of Africa. His songs were mostly sung in Nigerian pidgin, although he also performed a few songs in the Yoruba language. Fela’s main instruments were the saxophone and the keyboards, but he also played the trumpet, guitar, and took the occasional drum solo. Fela refused to perform songs again after he had already recorded them, which also hindered his popularity outside Africa. Fela was known for his showmanship, and his concerts were often quite outlandish and wild. He referred to his stage act as the Underground Spiritual Game.  Fela was born Olufela Olusegun Oludotun Ransome-Kuti in Abeokuta, Ogun State, Nigeria, to a middle-class family. His mother, Funmilayo Ransome-Kuti, was a feminist activist in the anti-colonial movement and his father, Reverend Israel Oludotun Ransome-Kuti, a Protestant minister and school Principal, was the first president of the Nigerian Union of Teachers. His brothers, Dr. Beko Ransome-Kuti and Professor Olikoye Ransome-Kuti,both medical doctors, are both well known in Nigeria. Fela was sent to London in 1958 to study medicine but decided to study music instead at the Trinity College of Music. While there, he formed the band Koola Lobitos, playing a style of music that he would later call Afrobeat. The style was a fusion of American Jazz, psychedelic rock, and Funk with West African Highlife. In 1961, Fela married his first wife, Remilekun (Remi) Taylor, with whom he would have three children (Femi, Yeni, and Sola). In 1963, Fela moved back to Nigeria, re-formed Koola Lobitos and trained as a radio producer for the Nigerian Broadcasting Corporation. In 1969, Fela took the band to the United States. While there, Fela discovered the Black power movement through Sandra Smith (now Isidore)—a partisan of the Black Panther Party—which would heavily influence his music and political views and renamed the band Nigeria ’70. Soon, the Immigration and Naturalization Service was tipped off by a promoter that Fela and his band were in the US without work permits. The band then performed a quick recording session in Los Angeles that would later be released as The ‘69 Los Angeles Sessions.  Fela and his band, renamed Africa ‘70, returned to Nigeria. He then formed the Kalakuta Republic, a commune, a recording studio, and a home for many connected to the band that he later declared independent from the Nigerian state. Fela set up a nightclub in the Empire Hotel, named the Afro-Spot and then the Afrika Shrine, where he performed regularly. Fela also changed his middle name to Anikulapo (meaning "he who carries death in his pouch”), stating that his original middle name of Ransome was a slave name. The recordings continued, and the music became more politically motivated. Fela’s music became very popular among the Nigerian public and Africans in general. In fact, he made the decision to sing in Pidgin English so that his music could be enjoyed by individuals all over Africa, where the local languages spoken are very diverse and numerous. As popular as Fela’s music had become in Nigeria and elsewhere, it was also very unpopular with the ruling government, and raids on the Kalakuta Republic were frequent. In 1974 the police arrived with a search warrant and a cannabis joint, which they had intended to plant on Fela. He became wise to this and swallowed the joint. In response, the police took him into custody and waited to examine his feces. Fela enlisted the help of his prison mates and gave the police someone else’s feces, and Fela was freed. He then recounted this tale in his release Expensive Shit (now released together with "He Miss Road” as Expensive Shit/He Miss Road). In 1977 Fela and the Afrika ’70 released the hit album Zombie, a scathing attack on Nigerian soldiers using the zombie metaphor to describe the methods of the Nigerian military. The album was a smash hit with the people and infuriated the government, setting off a vicious attack against the Kalakuta Republic, during which one thousand soldiers attacked the commune. Fela was severely beaten, and his elderly mother was thrown from a window, causing fatal injuries. The Kalakuta Republic was burned, and Fela’s studio, instruments, and master tapes were destroyed. Fela claimed that he would have been killed if it were not for the intervention of a commanding officer as he was being beaten. Fela’s response to the attack was to deliver his mother’s coffin to the main army barrack in Lagos and write two songs, "Coffin For Head of State” and "Unknown Soldier,” referencing the official inquiry that claimed the commune had been destroyed by an unknown soldier.  Fela and his band then took residence in Crossroads Hotel as the Shrine had been destroyed along with his commune. In 1978 Fela married 27 women, many of whom were his dancers, composers, and singers to mark the anniversary of the attack on the Kalakuta Republic. Later, he was to adopt a rotation system of keeping only twelve simultaneous wives. The year was also marked by two notorious concerts, the first in Accra in which riots broke out during the song "Zombie,” which led to Fela being banned from entering Ghana. The second was at the Berlin Jazz Festival after which most of Fela’s musicians deserted him, due to rumors that Fela was planning to use the entirety of the proceeds to fund his presidential campaign. Despite the massive setbacks, Fela was determined to come back. He formed his own political party, which he called ‘Movement of the People’. In 1979 he put himself forward for President in Nigeria’s first elections for more than a decade but his candidature was refused. At this time, Fela created a new band called Egypt 80 and continued to record albums and tour the country. He further infuriated the political establishment by dropping the names of ITT vice-president Moshood Abiola and then General Olusegun Obasanjo at the end of a hot-selling 25-minute political screed titled "I. T. T. (International Thief Thief).” In 1984, he was again attacked by the Military government, who jailed him on a dubious charge of currency smuggling. His case was taken up by several human-rights groups, and after 20 months, he was released from prison by General Ibrahim Babangida. On his release he divorced his 12 remaining wives, saying that "marriage brings jealousy and selfishness.” Once again, Fela continued to release albums with Egypt 80, made a number of successful tours of the United States and Europe and also continued to be politically active. In 1986, Fela performed in Giants Stadium in New Jersey as part of the Amnesty International Conspiracy of Hope concert, sharing the bill with Bono, Carlos Santana, and the Neville Brothers. In 1989, Fela & Egypt 80 released the anti-apartheid "Beasts of No Nation” album that depicts on its cover U.S. President Ronald Reagan, UK Prime Minister Margaret Thatcher and South African Prime Minister P.W. Botha with fangs dripping blood.  His album output slowed in the 1990s, and eventually he stopped releasing albums altogether. The battle against military corruption in Nigeria was taking its toll, especially during the rise of dictator Sani Abacha. Rumors were also spreading that he was suffering from an illness for which he was refusing treatment. On 3 August 1997, Olikoye Ransome-Kuti, already a prominent AIDS activist and former Minister of Health, stunned the nation by announcing his younger brother’s death a day earlier from Kaposi’s sarcoma brought on by AIDS. (Their younger brother Beko was in jail at this time at the hand of Abacha for political activity). More than a million people attended Fela’s funeral at the site of the old Shrine compound. A new Africa Shrine has opened since Fela’s death in a different section of Lagos under the supervision of his son Femi Kuti. (Last FM)Tracks:A Sorrow, Tears & Blood - 10:16 B Colonial Mentality - 13:41 LINK |
 Softs is a 1976 album by the British psychedelic, progressive rock and jazz/fusion band Soft Machine who were one of the central bands in the Canterbury scene. John Etheridge replaced Allan Holdsworth on guitar shortly after the release of the previous album, Bundles, and Alan Wakeman, cousin of keyboardist Rick Wakeman, took over saxophone duties from Karl Jenkins. Karl would play keyboards exclusively from this point onward. This change was necessitated by the departure of the group's last founding member, Mike Ratledge, who left in March 1976 before the sessions were completed, and can be heard on two tracks, but is not credited as a member of the group. Wakeman and bassist Roy Babbington left the group not long after the album was released, Wakeman having been a member for less than six months. Tracks Listing:1. Aubade (1:51) 2. The Tale of Taliesien (7:17) 3. Ban-Ban Caliban (9:22) 4. Song of Aeolus (4:31) 5. Out of Season (5:32) 6. Second Bundle (2:37) 7. Kayoo (3:27) 8. The Camden Tandem (2:01) 9. Nexus (0:49) 10. One Over the Eight (5:25) 11. Etika (2:21) Line-up / Musicians:- Roy Babbington / bass guitar - John Etheridge / acoustic & electric guitars - Karl Jenkins / piano, electric piano, pianette, string, Mini-Moog synthesizers, orchestration - John Marshall / drums, percussion - Alan Wakeman / soprano & tenor saxes + Mike Ratledge / synthesizer (3,4) Artwork IncludedLINK |
 Bundles is a 1975 album by the British psychedelic, progressive rock and jazz/fusion band Soft Machine. On Bundles, only keyboardist and founding member Mike Ratledge is left of the early Soft Machine line-ups. Guitarist Allan Holdsworth's prominent contributions set the album apart from previous Soft Machine recordings, which had not featured a guitarist for seven years, since their debut single.[1] This is the last studio album featuring Ratledge listed as band member. Only two compositions by him are featured, both less than two minutes long. Tracks Listing:1. Hazard Profile Part 1 (9:18) 2. Part 2 (2:21) 3. Part 3 (1:05) 4. Part 4 (0:46) 5. Part 5 (5:29) 6. Gone Sailing (0:59) 7. Bundles (3:14) 8. Land Of The Bag Snake (3:35) 9. The Man Who Waved At Trains (1:50) 10. Peff (1:57) 11. Four Gongs Two Drums (4:09) 12. The Floating World (7:12) Line-up / Musicians:- Roy Babbington / bass - Allan Holdsworth / acoustic & electric guitars - Karl Jenkins / oboe, soprano sax, acoustic & electric pianos - John Marshall / drums, percussion - Mike Ratledge / electric piano, organ, synthesizer + Ray Warleigh / alto & bass flutes (12) Artwork IncludedLINK |
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