text:
Music For Dummies
Ένα blog για τη μουσική που δεν φτάνει στα αυτιά όλων
Name: Nada
From: Greece
About me: Η Υποκρισία Είναι Η Βαζελίνη Της Κοινωνικής Επαφής
This is a blog of vinyl and oop rips mainly, to suit many tastes. ALL RIPS ARE FROM MY PERSONAL COLLECTION ONLY! Rare items alongside miscellaneous favourites. Blues, Jazz, Soul, Funk, Rock, Progressive Rock, Kraut, Psychedelic, garage, Folk, Classical, World, Soundtracks, Instrumental, Sampling Stuff, Weird Music and more... Sometimes the occasional rant or other stuff such as books, films, comics and the like. I can't afford a shrink so I'm doing this! It works! IMPORTANT: Files are hosted for informative and reference reasons ONLY. If you wish me to remove any, please contact me and I will do so. RE-UPs are NOT available, once the file is gone, it's gone for good. If you like this blog, drop by its little brother,
SAMPLER'S DELIGHT
for some strange 45 rpm rips! COMMENTS ARE APPRECIATED AND THEY WILL COST YOU NOTHING MORE THAN A FEW CLICKS!
My Favourite Band (currently)
NADA in "myspace"
---Nada is proud to be a member of the
Lost In Tyme
blogs - pay them a visit!---
Root 2 Art
The Marvelous Crooning Child!!!
Commodore 64 Remixes
SLAY Radio
Nuricel
The Paris DJs
Agora E Rock
Cities On Flame With Rock 'n Roll (R.I.P Dirk)
Music For A Better Living
Keep Hope Inside
Γιάννης Πετρίδης
Fruto 5
HauptPunkte
Muzak For Cybernetics
fm-shades
trustar vibrations
panayiotis a. stathis
Third Island
Sasha's Retro Emporium
Archimedes Panagiotides
Betty's Fast
Gravy Bread
Downtempo Tribe
Texture DJs
psychotic leisure Music
We're late for class
Hilal's Page
The Acid Lounge
Eight Fires Musica
Lock It Down
Hiskilla
Nodatta
Italian Horror
Heavy Rock Spectacular
Realm Of X
Chris Goes Rocks
Xtabay's World
In The Crowd!
Catasto Elettrico
Catasto's Friendly Fire
Music Mind
A Change Of Seasons
My Favourite Sound
Dreamtime Mix
Drublood
Push Play
Granazi
C-120 Mixtape
Yermamontoast
FuFu Stew!
The Inferno Music Crypt
A Pyrex Scholar
Le Club De Rock
The Secret Music Box
Sitar Dream
Let's Go Get It!
The Free Wave
7 Black Notes
52 Zombies
Roawr
The New Testament Of Funk EP (vinyl only)
Parov Stelar - Coco (promo selection)
ACID JAZZ vol II
ACID JAZZ vol I
ZEPHYR - Zephyr
VASHTI BUNYAN - Some Things Just Stick In Your Min...
HOUSTON PERSON - Goodness!
THE CRYSTAL MANSION - The Crystal Mansion
RAY CONNIFF presents Irving Berlin - Dreaming Of B...
INDIA NATIONAL SITAR ENSEMBLE - Sitar Music Of India
PLACE YOUR REQUESTS HERE
ΜΟΥΣΙΚΗ ΠΟΥ ΔΕΝ ΕΧΕΙΣ ΞΑΝΑΚΟΥΣΕΙ!!!
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Here is a great Acid Jazz 7inch, as a complementary to the "New Testament of Funk" funky breaks series. This is a vinyl-only release and it contains three killer tracks unavailable elsewhere.
Enjoy and don't forget to drop a comment!
posted by Nada at 3:14 AM | Permalink | 46 comments
OK, this isn't a "music-for-dummies" usual practice but Parov Stelar's forthcoming album (9th September) titled "Coco" will be great; so, here's a small selection of the 26 track double CD to be released. The music is very nice (I especially found the "True Romance" track very enjoyable). For more info, pay a visit to this page, where you can listen to the tracks online.
This post is only to PROMOTE the album and the artist (who's on tour at the moment - I'll be catching up with him on September 18th at the ReWorks Festival, Thessaloniki); it is not meant to be a "leaked" release (it isn't a full album and this blog doesn't adopt such practice after all). Buy the album when it's released and support the artists by going to their gigs.
It will be removed upon request, of course
I should Coco!
posted by Nada at 1:26 AM | Permalink | 1 comments
This is the second volume of this great compilation. Expect the same quality. Jack McDuff, Billy Butler, Melvin Sparks, Charles Earland, Idris Muhammad and other funky players offering top-notch grooves.
Part III will be upped soon. Enjoy!
Acid Jazz II
posted by Nada at 12:27 AM | Permalink | 3 comments
OK, this is one of the greatest compilations to emerge from the "rare grooves" revival era and it has ABSOLUTELY NOTHING TO DO with the "Acid Jazz" label - so don't be fooled by the title!
I bought volumes I and II on vinyl somewhere in 1996 in Leeds and they have been on my everyday playlist for many years (still are!!!). Later, I found out that the CD versions had 2 or even 3 bonus tracks compared to the vinyl versions (I would expect this to be the other way around, really) and therefore I HAD to buy them on CD, too!
All volumes contain a range of Killer Grooves from the Prestige vaults by artists such as Charles Earland, Gene Ammons, Houston person, Boogaloo Joe Jones, Funk Inc, Pucho and loads more. We are talking about funky and soulful cuts that can lift you up the very moment you start listening to them! I also find them extremely handy during my DJ sets!
This compilation consists of 3 volumes (as far as I know) and they are all of consistently high quality. They are also a good starting point for those new to the sound of the artists included.
I'd recommend buying this compilation; it should be part of every music collection!
Acid Jazz I
PS: volumes II and III will be upped soon!
posted by Nada at 11:53 PM | Permalink | 2 comments
Zephyr. I was eager to purchase that album mainly because I admired Tommy Bolin's playing with Billy Cobham (in the amazing "Spectrum") and with Deep Purple in "Come Taste The Band" (Deep Purple have never been among my favourites-I only liked their MKI albums to be honest). I had also read somewhere that Zephyr were fronted by a female singer whose voice was very much like Janis Joplin's, only louder and harsher.
After the very first spin, I was amazed at the musicianship but disappointed with Candie Givens' voice. She's actually trying too hard to sound like Janis Joplin and the results are...ehm...crap, really. There are songs in which her pretentious falsetto is simply unbearable to listen to. Shame, because the rest of the band really kicks ass playing a blend of blues and hard rock with jazz elements. Anyway, maybe some of you appreciate what I haven't so far. Again, the musicianship level is really high and it's only the vocals that really get on my nerves... I'd like to know if anyone's got a different opinion, actually.
Rip is in 192kbps (sorry for that but I ripped it ages ago, when bitrate was ...a secondary consideration). Sound quality is very good though, don't worry!
PS: I would appreciate some comments; after all they're the only reason for this blog to keep going. Don't be a dummy, drop me a line!
VASHTI BUNYAN - Some Things Just Stick In Your Mind (CD 1)
OK, I know i'ts been almost 10 months since I last uploaded anything on this blog! Long time, surely, but now that I've got a (damn slow) Internet connection at home makes things a little bit easier.
I've been really into psychedelic folk the last few months and I managed to find some gems I've been lookin' for. Vashti Bunyan's songs are definitely some of my favourites. I bought this double compilation from a local shop and it seemingly includes all songs Vashti Bunyan recorded - either in a proper studio or at home. The compilation consists of two CDs and this is the first CD, including her most impressive stuff with songs such as "Winter Is Blue" and the "Train Song". Nice voice, nice lyrics and a convincing performance by John Bunyan's alleged descendant.
The 2nd CD of the compilation will be upped soon. The CD case includes a fine booklet in which Vashti herself speaks about her songs. I definitely recommend buying the original compilation, since it's also got great artwork and loads of photos.
Vashti Bunyan
PS: I don't usually post CD rips but I haven't set up my vinyl ripping equipment yet, since I moved in to another house very recently. Don't worry though, rare and OOP vinyl albums are on their way! Stay tuned!
PS 2: Many of the albums posted in this blog have been removed by Mediafire, as part of the usual "copyright infringement" policy. I have decided not to reup those (mainly for being extremely time-consuming to reup). I'm really sorry for the inconvenience. But, hey, grab them at a record shop if you find them and support your artists!
PS 3: Drop by this blog's little brother, Sampler's delight, for some strange 45 rpm rips!
The "commercialization" of jazz during the 60s and the 70s was reflected in three major labels: Blue Note, Prestige & Verve. These labels had managed to sign a bunch of great jazz musicians who, in turn, made albums that promoted a new style in jazz, more bluesy, soul and "poppy" to appeal to a wider audience. That was a good move, guys! Along with the eclectic bop genre, those new jazz approaches made their way to a less musically-inclined audience, thus making jazz less elitistic and more understandable. Above all, the "soul-jazz" genre brought back the dance element that jazz had been deprived of by the eclecticism of be-bop and hard-bop.
Houston Person was one of those cats, a straight-forward sax player who had recorded for Prestige and later began his 30-year collaboration with the late Etta James. His Prestige albums contain all those elements that led to the emergence of the term "acid-jazz": passionate bluesy solos, dancefloor aesthetics and electric instruments. "Goodness!" was his most successful album.
Overall, the six tracks featured in this release are simple yet soulful cuts and straight-forward enough to be enjoyable to everybody, regardless of their musical knowledge. And this is how music should be, IMHO.
Let the music fly you away!!!
(vinyl rip-320kbps)
There is always a little story behind every record posted here, so bear with me!
I bought this album in 1998 at Leeds. I found it in a small shop that had opened very close to my house. The shop was at Brudenell Road, Hyde Park and it used to sell every kind of second hand stuff such as flares and retro gadgets in general, as part of the sixties/seventies revival that had taken over England as a trend in those days. The owners were very polite but they hadn't a clue about rare records!!! The price of this album was 2 quid (we are talking about original pressing gatefold vinyl with lyrics included)!!! I grabbed it immediately (I had been looking for it for a while) and I also bought a couple of other original vinyls at ridiculous prices (Golden Earring's "Moontan" and Amon Duul II's "Dance Of The Lemmings" were among them).
The Crystal Mansion were a band signed to Rare Earth Records (a subsidiary of Motown) and they were one of the numerous "white soul-funk" bands of the label. Their music is kinda anodyne and, to be honest with you, I was a little bit disappointed by the album, since I expected it to be funkier. Nevertheless, it contained some nice tracks such as the real funky "Somebody (Outta Turn Your Head Around)" and "Let Me Get Straight Again". The latter was a funky anti-drug confession of a fucked-up pothead. I used to play that track every day, for quite a while. It was somehow connected to my life and thoughts at the time.
Unfortunately, most tracks are rather prosaic and they lack energy (...mind you, my tastes are a bit eclectic) but I am sure that some of you will consider it an interesting album. It is fairly rare to find (especially on vinyl) but if you dig, you should go and buy the CD reissue.
The Crystal Mansion
RAY CONNIFF presents Irving Berlin - Dreaming Of Broadway
Ray Conniff. Yes! With this guy, you got it all: massive horn arrangements, space age pop attitude, light 'n dreamy vocals, musical, theatre and jazz, jazz, jazz!
Here is a really nice 45 from the man and his orchestra, with four quality tracks. I ripped it on a bad day but it made me feel better! Simply great music from another time.
I will actually let the liner notes to do the talking (click to enlarge):
Dreaming Of Broadway
Get ready for a real treat. This brilliant vinyl (which I bought quite a few years ago but managed to listen to relatively recently) contains three tracks of original Indian music performed by the ...appropriately named India National Sitar Ensemble. Two of them form a suite that contains numerous different themes (many of them are really complicated and beautifully arranged) and the third one is a great Meditational Raga, ready to transport you to another planet! All thanks to the obscure Everest Records (can any of you provide any information on this label?) who presented us with this extraordinary album.
The vinyl is Out Of Print and I am pretty sure that there has been no reissue of it on CD. Anyway, we are talking about great music here, people. Don't miss it and don't be intimidated by the style of the recording (it's quite old, you see). And, if you stumble upon the original vinyl, do yourself a favour and buy it.
[320kbps (click & pop elimination) + artwork]
ATOMIC ROOSTER - Land Of Freedom
There you go. A 12inch by Vincent Crane and his pack, promoting the 1983 "Headline News" album. Dave Gilmour is on the guitar, as far as I remember (there are no details on the sleeve, unfortunately). Both tracks ("Land Of Freedom" and "Carnival") are distant, dark and chaotic in places. Nice one.
THE FABULOUS THUNDERBIRDS - Girls Go Wild!
Get ready for some Texas blues, people. Our respect to the late John Fahey and his Takoma label for bringing us exceptional music. The Fabulous Thunderbirds are an electric blues band with Jimmy Vaughan (brother of Stevie Ray) on guitar, Kim Wilson on vocals and harmonica, Keith Ferguson on bass and Mike Buck on drums. Leslie-driven guitars, swamp grooves, snarling harmonicas and bawdy (check "Scratch My Back") blues covers as well as originals, are all in here. Good stuff.
I bought this album back in 1996 for 2 quid from a small record shop at the ground floor of the Corn Exchange building in Leeds. I had bought some 90 lps from there before the shop finally closed down. Shame.
Note: this is a vinyl rip at 320 kbps
HOOKFOOT - Hookfoot
Hookfoot were Elton John's backing band in the seventies featuring the musical minds of Caleb Quaye, Ian Duck, Dave Glover and Roger Pope. They released four albums as a band (as far as I know) and they played a blend of blues and rock, quite often influenced by folk-rock artists of their time. This is their debut album featuring original songs as well as two covers, Stephen Stills' "Bluebird (a major hit for Buffalo Springfield)" and Neil Young's "Don't Let It Bring You Down". Both tracks are given a rockier edge. The album contains a few tracks to keep you interested (always according to my taste), namely the a-fore-mentioned and "Mystic Lady".
I bought this vinyl in 1996 in Leeds and, although it was supposed to be relatively rare, it was only priced for 50p, probably because the worn-out cover made the salesman think that the record was in bad condition too. Lucky bastard I was then!!! If you happen to be a retro freak, a record digger or a purist like me, try to find the original vinyl.
Rip is in 320 kbps. A few clicks and pops are present but nothing really to worry about.
Try it here and enjoy!
GOMEZ - Machismo EP
Having already mentioned that Gomez are among my favourites, this is an EP they issued back in 2000 with 5 tracks, all wrapped-up in eco-paper decorated with those quasi-impressionist paintings. They once again combine acoustic melodies with great lyrics and scattered sample spells. "Touchin' Up" and "The Dajon Song" are my picks from this EP with the latter being an extended psychedelic blues jam, slow and creepy.
I bought this CD during my last year in Leeds, England (2000-2001) from a nice little record shop called "The Polar Bear", up in the Headingley area. Good 'ole days they were. I wonder if the shop is still there. Anyway, I have been known for my tendency to digress so I'll stop here and will let you enjoy the music. And enjoyable it is, believe me.
Indulge here
David Shire - 2010 Original Soundtrack
David Shire is among my top-notch composers. His music for films such as Coppola's "The Conversation" is truly great and shows his unbelievable ability to write themes that haunt you for ages. 2010 is an eighties sci-fi film with Roy Scheider. For the soundtrack, Shire uses synthesisers and other electronic devices of the time and, although I am not really into this kind of sound (I usually prefer "real" instruments, you see), the results are amazing. Apart from Strauss' well-known "Thus Spoke Zarathustra (in which Shire employs Police's Andy Summers for the guitar parts), the rest is atmospheric incidental music; yet it stands proudly on its own, without the need of watching the film.
I ripped the album from the original vinyl (which I bought for as much as 13 Euros) and I also scanned the cover. The only problem is that my scanner is too small for a vinyl cover to fit in, so I scanned the front cover in two parts. If any of you knows how to overlap them into a single cover, please do so and send me a link of the jpg, if possible.
Rip is 320kbps
Seks Bomba - Operation B.O.M.B.A.
It looks like a soundtrack but it isn't. Yet, it could have easily been one. Seks Bomba are a Boston award-winning band and they play an excellent multi-layered blend of spy themes, space age lounge, go go beat and hammond grooves. Their singer sounds like a sarcastic crooner and their technical abilities are out of this world. Operation B.O.M.B.A. contains captivating retro songs as well as many frantic instrumentals. Check out the "Seks Bomba Theme" to see what I mean. You can also visit their website here. The surprising thing is that Seks Bomba seem to be relatively unknown outside their homeland. In fact, it was exceptionally hard for me to find their album down here in Greece. I visited many record shops until I managed to find one where they ordered it for me and it arrived a couple of months later!!! Nevertheless, no matter how hard it can be to find their album, it is definitely worth a try. Go buy it, guys, and support Seks Bomba.
Operation B.O.M.B.A.
Nick Drake - The Complete Lost Recordings
No introduction needed. Nick Drake is, IMO, the greatest and most soulful of all folk guitarists/songwriters. What's more, the words of his songs are not merely lyrics: they are POETRY, great, introspective, fragile poetry. His music has been my company for more than ten years; yet, every time I listen to his songs, I feel like it's the first time. There isn't even a single song by Nick Drake that I don't like. All of them are perfect...
I bought this album after I had collected all his official releases. It contains songs which he recorded at home (hence the bad sound quality) and he allegedly gave them to his mother as a present. Most of them are covers, played in that standard folk fingerpicking style. It is a collection of songs that fully represents his influences. An early glimpse at the work of a genius.
The Green Bullfrog Sessions
I wasn't actually sure where to classify this. Most tracks are in the Northern Soul vein, yet personnel hails from other genres. Anyway.... Fans of Ritchie Blackmore would probably know this album. It was recorded in 1970 in De Lane Lea studios, London, and it allegedly began as a session jam. Ritchie Blackmore, Albert Lee, Big Jim Sullivan & Tony Ashton are among the musicians. It was produced by Derek Lawrence and engineered by Martin Birch. The tracks are mostly in the Northern Soul style, as I mention above, and production quality is fairly good. The musicians are in a loose form and Blackmore doesn't really sound very decent, since he manages to overindulge in those fast-and-tedious riffs as well as tremolo bar abuse. I, personally, prefer soul music played by musicians who have an actual understanding of the particular groove. And the musicians in this album don't have it, in my opinion. Simply because their actual genre is quite different. I bought the particular album in green vinyl (1991 reissue) and it contains some extra tracks from the vaults. Rip is in 224kbps and I have also scanned all the notes from the sleeve.
Get it here:
http://www.mediafire.com/?cnerdnmzylx
Link Wray - The Swan Demos (1964)
I bought this vinyl album a few years ago, for a very small price. It contains alternative takes and out-takes of otherwise known tunes by that great surf-axeman, Link Wray. I lent the album to a friend who inconsiderately left it in his car one very hot summer's day and, subsequently, the vinyl got warped and so did my mind. Luckily, I had managed to rip the record before it became redundant. The original vinyl had no cover, as it came in a simple black cardboard sleeve. Thus, I scanned the vinyl tag. Encoding quality is very high and, apart from a few clicks and pops, you'll be able to enjoy this great album. Try to locate the vinyl (there has been no CD reissue of this) and if you find two copies, please let me know!!!
STEREOLAB - Emperor Tomato Ketchup
What do you get when you mix a spoonful of the Free Design with a teaspoonful of flower-pop, sizzle it in krautrock sauce and serve it rare-the-french-way in a post-progressive plate? Stereolab!
The minds of Tim Gane and Laetitia Sadier have been presenting us with some of the most innovative, addictive and especially influential music of the 90s. Emperor Tomato Ketchup is my personal favourite, showcasing their ability to write tunes so memorable and catchy that once you hear them, they stick to the back of your brain like bubblegum! Contributions by Sean O' Hagan are found in this album too.
Brilliant music and with political lyrics (both Gane and Sadier are renowned for their left-wing tendencies)
Enjoy, any time of the day!
http://www.mediafire.com/?9nb10invb1c
LUCIFER'S FRIEND - Banquet
OK, the name isn't that cool (or maybe it is, I don't know), the album cover is a bit "over the top" and it comes from the 70s: some would probably dismiss it without giving it a spin. Well, shame on you! We are talking about one of the best albums in the history of rock!!! Five tracks full of extra-terrestrial composing and playing ability!!! They are from Germany, guys, and they know their stuff!!!
Lucifer's Friend were formed in 1970, from the ashes of The Rattles and Asterix. The recruited English singer John Lawton (from the Les Humphries Singers and later replacing David Byron in Uriah Heep) and their eponymous album saw light of day in 1970: a great hard rock debut, much in the likes of Led Zeppelin and Black Sabbath but infected with that great dark kraut sound of members Peter Hesslein (guitar), Peter Hecht (keyboards), Dieter Horns (bass) and Joachim Rietenbach (drums).
Banquet is their third album and it's not only their best but should be included in the top 10 of rock albums of all time (yeah, I know, many of you will probably disagree but I do not give a damn, honestly!!!). Their sound is very different to their debut, now including far more sophisticated compositions and an entire classical orchestra, too!
The opening track, "Spanish Galleon" is definitely a cornerstone of their genre: an 11-minute epic opening with a funky attitude and evolving into a masterpiece of all kinds. You can even hear a wah wah clarinet and trumpet in there! Lawton's voice is outstanding albeit a bit "too epic". The second track, "Thus Spoke Oberon" is not from this earth! Piano, eerie voice and lyrics and a bloody great instrumental break at stellar speed in the middle!!! "Sorrow" is another epic masterpiece of electric piano madness and orchestral mayhem!!! The album has its pop moments too, notable for the time produced.
Give it a proper listen (a few spins are necessary for its conception) and you will end up begging for more!!!
Enjoy (you will, you will!!!)
http://www.mediafire.com/?2inykbb1pxn
Labels: banquet, friend, lucifer's
ROBERT WYATT - Old Rottenhat
Old Rottenhat is one of the cheapest vinyls I've ever bought. It was only 3 euros, from the Thessaloniki fleamarket (the guy selling it was a sleazy antiques douche, he wanted to sell it for 5 euros but I bargained as hard as I could!). I previously had it on tape but it wore out during the years.
To the point: Wyatt's inspired songwriting is prevalent in this LP which contains some of his best songs to date. His sad voice and political lyrics make for a great blend of near-ambient soundscapes. Echoes of Wyatt's work with the Soft Machine are scattered in the album. Robert Wyatt is probably one of the few remaining 70s musicians whose music isn't pretentious but rather seminal. Grab this album immediately if you come across it.
Note: this is a vinyl rip which I mastered myself (including hiss and crackle elimination). Sound quality is very good.
http://www.mediafire.com/?3g9mgzfimdj
Labels: Machine, Rottenhat, Soft, Wyatt
JIMMY SMITH - Prayer Meetin'
No need to say much about Jimmy Smith; I'm sure most of you are aware of his genius. As for those of you who haven't heard of him, grab this album (and anything from his Blue Note years) and indulge in some of the finest hammond-driven jazz & funk.
Prayer Meetin' was recorded in 1963, at a time when Jimmy Smith had switched to the organ/guitar/drums/sax combo (Quentin Warren and Kenny Burrell were frequently employed for the guitarist position while the late Stanley Turrentine was always present with his thick tone on the sax). The album ranges from incessant soul-jazz grooves to mellow jazz arrangements. The playing is impeccable (like there was a chance for not being impeccable!) and the band is very tight and groovy. Great music for any time of the day, period.
http://www.mediafire.com/?eowevz34bqz
Παύλος Σιδηρόπουλος - Εν Λευκώ / Pavlos Sidiropoulos - 1982 En Lefko
Pavlos Sidiropoulos is probably the best Greek rock artist. An excellent songwriter who has had collaborated with some of the finest Greek musicians. En Lefko is one of his greatest albums. Greek audiences know him well. As for the non-Greeks, you could read some very general information about him in wikipedia.
http://www.mediafire.com/?02dpiznxyje
GUN - Gun (1969)
Those of you familiar with bands such as the Three Man Army and Baker-Gurvitz Army will probably know Gun, a british heavy rock trio formed by the Curtis Brothers (Adrian & Paul) and Lou Farrell in 1969. Their first album cracked out "Race With The Devil", a classic rock song later covered by many artists (Girlschool's version is definitely my favourite). A second album (Gunsight) followed and then the group disbanded.
Gun's music is heavy rock with attitude and the songs are original and quite interesting as they can not be easily pigeonholed under the mainstream rock category.
I ripped the album from the original vinyl and then I edited it in Cool Edit pro to enhance sound quality (mainly to remove clicks & pops and boost the bass). If you are not happy with the mastering I can always post the unmastered vinyl rip.
http://www.mediafire.com/?agyktirdvix
Labels: Curtis, Gun, Gurvitz
The Cult - Heart Of Soul (CD Single)
CD containing Heart of Soul in radio edit & acoustic version, Edie (ciao baby) acoustic version & Earth Mofo
http://www.mediafire.com/?algoac27bzt
Labels: cult
MUKTA - Indian Sitar & World Jazz
Mukta are a French band that play acoustic jazz fused with indian instruments such as sitar and tamboura. There are moments when their playing is reminiscent of the Cinematic Orchestra or Skalpel (keep in mind that Mukta precede these two bands) but the result sounds more intuitive and relaxed. Of course, the inevitable groove is omnipresent but not to the detriment of the meditating aura of the music.
I bought this double album at one of those "grand" Supermarkets (!!!); it was priced for less than 8 euros, as far as I can recall. There are instances where a quest for a fresh cauliflower leads to unexpected gems, such as this album!
The album consists of 2 CDs, one with the original tracks and a second one with remixes by Sporto Kantes and the Lalo's, among others.
http://www.mediafire.com/?aeym9zggndm
Western Swing - Texas 1928-1944 (double album)
Texas big bands play an incredible mixture of swing and country, creating a sound that was the precursor of Rock 'n Roll. Here are the original liner notes from the double CD:
Western Swing, Texan music born of country, jazz and blues, lies at the root of a major part of Rock'n'Roll and present-day Country Music. Gerard Herzhaft, author of numerous works on country music and the blues — as well as artistic producer of the box set "Country / Nashville-Dallas-Hollywood" —, here presents the world's first an¬thology of a neglected musical form that was nevertheless the major influence in the careers of Bill Haley, Carl Perkins, Buddy Holly and Jerry Lee Lewis.
(Patrick Fremeaux, Publisher)
This compilation is a musical journey through the towns of a Texas still pervaded by the frontier mentality. It was here that emerged a specific form of Country Music, strongly influenced by the blues and jazz. Called Western Swing, it would considerably alter the course of American music.
TEXAS, A STATE APART
The American South, with its vast plantations, has always been a cultural melting-pot. Peopled by a mixture of British colonists, African slaves, Choctaw and Cherokee Indians, Spaniards etc., it is an area that gave birth to its own music, a music that around the turn of the century spawned various derivatives we today call blues, gospel or country. After the War of Secession, this musical art of the South had assumed a professional mantle in the form of minstrel shows, troupes of travelling entertainers who frequently made up in blackface. By thus miming the blacks, they could more easily resort to the eccentric and even the frankly licentious. The history of Texas is different. This immense territory, discovered by the Spanish, remained a part of Mexico until 1836, when powerful American ranchers installed there mounted a revolt. A Washington-backed militia led by Sam Houston triumphed in a short war against Mexico, culminating in the proclamation of the independent Republic of Texas, which in 1845 was absorbed into the USA as its 28th State. Alongside the mainly Hispanic ranchers, in the late 19th century the Americans created cotton plantations in the wide-open spaces of a rural eastern Texas strongly drawn towards New Orleans. Cheap black labour flocked into the area. Only with the early 20th-century discovery of oil did Europeans begin to arrive, many of them outcasts of the old Austro-Hungarian Empire. The consequence: a basic population of Hispanics, plus a sprinkling of Anglo-Saxons, numerous blacks and a substantial Germanic contingent. Add to that the influence of the cowboy culture of the West and the Cajun culture of the Louisiana swamps, and it becomes evident that Texas is a very different entity from the Old South.
HILLBILLY AND HOT DANCE
While the Appalachian Southeast, the home of Country Music, enforced a strict religious and moral code, Texas was bent on providing uninhibited entertainment for its oil-workers and cowboys in vast dance-halls set up on the fringes of towns like Dallas and San Antonio. When Texan violinist Bob Wills, a musician's son who had grown up on an isolated farm in the company of black share-croppers, decided to become a professional musician, one of his principal models was the influential Emmett Miller, present here in a recording from 1928. Wills was working blackface in a minstrel show when, in 1931, he met guitarist Herman Arnspiger and singer Milton Brown. Together they formed the Aladdin Laddies, and played what would soon be christened "Hot Dance Hillbilly", a style partially influenced by Dixieland jazz and the music of Eddie Lang, Joe Venuti and Jack Teagarden. Soon, Wills and Brown fell out, Wills moving on to form his Texas Playboys and Brown his Musical Brownies. By August 1934, Milton Brown was in San Antonio recording what is generally considered the first Western Swing performance, Talking About You. Bill Boyd and Bob Wills would fairly quickly follow suit.
EARLY WESTERN SWING
The success of Hot Dance Hillbilly (the term Western Swing would not be adopted until the 1940s) opened the way to groups such as Jimmie Revard and His Oklahoma Playboys, The Tune Wranglers, Cliff Bruner's Texas Wanderers and The Light Crust Doughboys, the last with pianist Knocky Parker, who had played as a kid with Blind Lemon Jefferson and was now also operating in a duo with young blues-man T-Bone Walker. Indeed, influenced as much by black bluesmen as by white country-music star Jimmie Rodgers, Western Swing outfits were now playing an increasing number of blues, witness Blues In The Bottle, Milk Cow Blues and the Hillbilly Boys' Dirty Hangover Blues. Another Western Swing specialty was smut (something unimaginable in Nashville Country Music): hence Red's Tight Like That, Pussy Pussy Pussy and the Modern Mountaineers' Everybody's Truckin'. Yet this by no means precluded more innocent items such as cowboy ballads, waltzes, polkas and Appalachian old-time dances. Added to which, Hawaiian music, immensely popular throughout the USA, did not fail to exert its influence here as well. Yet a further influence at work was the Mexican frontier music that inspired the Tune Wranglers' ElRancho Grande, the first of a series of recordings that would culminate in the post¬war Tex Mex style. But the overriding quality of Western Swing was indeed swing, with Bob Wills the undisputed master of the art. Drawing upon the best musicians, many of them jazz players, he moulded his Texas Playboys into a tight, irresistibly swinging outfit. Wills' pre-eminence further increased following the death in a road accident of his big rival, Milton Brown, in 1936. The Musical Brownies did carry on for a short time, led by Milton's brother, Durwood Brown, and one of their recordings was the sad, slow Louise Louise Blues.
WESTERN SWING IN ACTION
While Western Swing was principally dance-hall music (The Crystal Springs Ramblers, for instance, were big favourites in Fort Worth), it also enjoyed huge ex¬posure over the Texan airwaves, generally sponsored by flour and agricultural-machinery manufacturers. And it was this virtually daily activity of live performance that meant groups were not free to travel to New York or Chicago to record. Consequently, the re¬cord companies rigged up makeshift studios in Texas hotel rooms, which explains the precarious recording quality of most 1930s Western Swing sides. But it also explains the incredible atmosphere that reigned at these sessions — free-wheeling, heavy-drinking affairs (Bob Wills was a particularly notorious imbiber), with the musicians comfortably installed, and totally relaxed, on their home territory. This unbridled music soon spread beyond its native Texas and Oklahoma. Invading the Southeast, it established Bob Wills as a big star in the Appalachian region, scandalising a Nashville establishment keen to protect both its musicians and the "purity" of their music. Western Swing artists were branded as drunkards and pornographers (which they often were!), and gradually found themselves banned. But all to no avail: by the end of the 1930s, Western Swing was the most popular form of Country Music all the way from El Paso to Nashville. Jazz remained a crucial component of the genre, while certain Western Swing guitarists were themselves among the early innovators of the electric instrument. Listen, for example, to Zeke Campbell on Blue Guitars, Sidney Buller on Blue Steel Blues, and Eldon Shamblin (with Bob Wills) on Twin Guitar Special. Playing an improvised Dobro laid flat across the knees Hawaiian-fashion, and linking it to a car battery, the Western Swing steel-guitarists invented the pedal steel guitar, one of the most sophisticated instruments in contemporary music. This enabled them to explore totally new sounds, witness the work of Leon McAuliffe, Ted Daffan or Noel Boggs. It was also Western Swing that introduced rhythm sections (and more occasionally brass sections) into Country Music, paving the way for big postwar artists from Merle Travis to Willie Nelson.
ON TOWARDS ROCK'N'ROLL
From Western Swing sprang all major forms of post¬war Country Music such as Honky Tonk, Bluegrass and Country Boogie. Even styles based on a return to tradition refer explicitly to Western Swing, to Texas and to Bob Wills. Furthermore, Cliff Bruner's 1939 Truck Driver's Blues had unleashed a new fashion for truck drivers' songs, still very popular today on all American high¬ways. On this piece (and several others of CD2), the presence will be noted of singer-composer-pianist Moon Mullican, a genuinely two-handed piano player who would be a major influence on 1950s Rock'n'Roll. With Chill Tonic, Pipeliner's Blues, Whatcha Gonna Do?, Draft Board Blues and so many others not included here, early-'40s Western Swing clearly foreshadows the Rock'n'Roll of a decade later. Indeed, Bill Haley would begin his career fronting a Western Swing group, while Carl Perkins, Jerry Lee Lewis (a Mullican pupil), Buddy Holly, Wanda Jackson and all the Southern Rock'n'Roll pioneers would find their initial inspiration in Western Swing and Honky Tonk. Rock'n'Roll is often presented as a 1950s fusion of black and white music. In actual fact, that fusion had already occurred in the '30s and '40s, and it is symbolised by Western Swing.
HOLLYWOOD AND THE END OF WESTERN SWING
War and ensuing conscription forced many groups to disband, while the spread of juke-box joints was reducing work opportunities. Then, when numerous Texans migrated to California, certain Western Swing bands — notably the one fronted by Bob Wills — followed them, setting up in Hollywood. There, screen westerns and popular entertainment gradually emasculated the music, which, despite Wills' valiant efforts, became little more than another arm of Hollywood show-business. The true "king" of this latterday Western Swing was Spade Cooley, a classically-trained Cherokee violinist who enjoyed immense success before being given a life sentence for beating his wife to death. While the spirit of Western Swing does linger on in various forms of present-day Country Music, its real heritage lies in the mass of recordings that this compilation — the first of its kind on CD — hopes to help you discover.
Adapted by Don Waterhouse from the French text of Gerard HERZHAFT © FREMEAUX&ASSOCIESS.A. 1994
CD 1: http://www.mediafire.com/?2edtdied2os
CD 2: http://www.mediafire.com/?2lb9054lnmv
Update: Corrupt Track 2 from CD 2 available here:
http://www.mediafire.com/?fudt23ujme3
THE FRENCH POP & SOUL EXPERIENCE (part 1)
This is one of the best compilations of obscure French instrumental jazz/funk from the 70's. The musicians and the bands are perhaps the most professional of the time. Production quality is absolutely amazing, the tracks sound as if they were produced now. Here are the original liner notes from the CD:
THE FRENCH POP & SOUL EXPERIENCE (part 1) In the early 70s a mad musical goal was achieved by creating an explosive musical mix, initially as soundtracks which brought together Pop, Funk and Jazz music. Jean-Claude Pierric gathered round him Francois Roland, lead player of the MUSTANGS, which had none other than Eric Clapton as their musical director, and Daniel Janin, then band leader of the mythical Paris venue, the Olympia. Their basic goal was clear: to achieve a nigh standard of quality, if not downright musical perfection. At a time when French pop music was in its heyday, this musically demanding group of three made a bold move, pioneering for a large number of other French performers, by setting out in a whole new direction, that of Jazz-Funk and Jazz-Rock. This took its musical cues from a new generation of stateside musicians: the Headhunters, with Paul Jackson, as well as Herbie Hancock, David Axelrod, Peter Herbolzheimer, or yet Bob James. With Jean-Claude Pierric as art director and Francois Rolland & Daniel Janin as musical directors, the threesome successfully set out to create a wide variety of outstandingly orchestrated numbers recorded at a level of quality then rarely equalled in the country. They thus achieved creating, at an outstanding level of quality, French Jazz-Funk and Jazz-Rock: The French Pop and Soul Experience. Keep The Funk Alive,.. DJ Juan
http://www.mediafire.com/?529gdqyyw0g
Update: Download reposted track (Velvet Dream - "Green Smoke") here:
http://www.mediafire.com/?7nyxtzd3eoc
Lift Off! With Apollo Sound
Non-pretentious lounge music from the age of innocence. A cocktail of jazz, pop, scat singing and library grooves to keep your mood high. Bands and ensembles such as The Polish Radio Orchestra and the Robin Jones Quartet contribute great music played with enthusiasm. Impeccable grooves. Please overindulge.
http://www.mediafire.com/?5j1xtwjyxjw
Air - Soundtrack From The Virgin Suicides
This is my top soundtrack. Messrs Godin and Dunkel are surely the masters of atmospheric soundscapes, if they are in the mood. I am not really dying for the rest of the Air albums, since they often sound "soul-less" and mundane; nevertheless, the music they wrote for Sofia Coppolla's film is their tour de force, always according to my personal taste.
The Soundtrack from The Virgin Suicides is also connected with some very important moments of my life and especially with the premature death of my beloved mother. She really liked this album (but Tindersticks were her favourite - I will tell the story in detail in a future post) and we used to have coffee together and listen to it in those autumn Sunday mornings, 5 years ago. Those were the days...
http://www.mediafire.com/?5z1xjmbsnjs
(Extracts taken from the 'Atomic Rooster Story' available from: Keep On Rockin' the 70s fanzine, 13 Heswall Ave St. Helens, Merseyside, WA9 4Dk, UK)
In the late sixties ex-Attack guitarist/vocalist John Cann teamed up with Mike Hawkesworth
to record some songs written by two guys who lived nearby and who had gained a record deal as The 5 Day Week Straw People. The actual album was recorded on a mobile studio, set up ii a local children's playground. They were each paid £25 for the session. It was never a serious undertaking but it did lead to the formation of Andromeda.
Andromeda was formed by John Cann (guitar/vocals), Mike Hawkesworth (bass/vocals) and Jack McCulloch (drums), brother of Jimmy (Wings) In 1968. They played the circuit of clubs and colleges relentlessly and built up a good cult following. The band did a session for Jonn Peel's Top Gear and indeed almost signed for his Dandelion label after the initial demos. Jack McCulloch was replaced by Ian McLane. For some reason, Dandelion didn't take kindly to this, and failed to take them on the books. Track Records were also interested but wanted Pete Townshend to produce their first album. The band being young and innocent (!) declined the deal, wanting to produce it themselves. They finally signed to RCA, producing one album and a single that were well received and attracted a lot of attention in the music press. The music was fairly progressive, heavy rock and is still popular today, selling for healthy sums on the collectors' markets. Unfortunately, RCA lost interest in the band, just as John Cann heard Atomic Rooster were auditioning for a lead guitarist.
For there to be a winner there has to be a loser. John Cann's joining of Atomic Rooster lead to their chart success with the songs 'Tomorrow Night' and 'Devil's Answer', and the loser had to be the now defunct Andromeda who, like The Attack, never achieved the heights their talent deserved.
The band built up an enormous cult following in the late sixties and their reputation began to grow once again in the mid eighties. Their recordings have been much sought after as their music was a special type of 'Hard Rock', and recently collectors have paid up to £200 to purchase just one copy of Andromeda's first LP.
My opinion: one of the greatest psych/hard rock LPs. John Cann's guitar style is indeed unique, sometimes dissonant but with attitude. The tracks are all excellent and quite ahead of their time in terms of construction. Try to locate the vinyl (prepare to pay loads of money but it's really worth). Bonus tracks included.
http://www.mediafire.com/?etxly4yymn1
PHILIP GLASS & KRONOS QUARTET - Music For The Film Dracula
(Απόσπασμα από το βιβλίο του Δημήτρη Κολιοδήμου «Ο Κόμης Δράκουλας Στην Οθόνη», Εκδόσεις «Οξύ»)
(Eναλλακτικοί Tίτλοι: Ο καπετάν Βρυκόλακας, Δράκουλας)
ΗΠΑ, 1931, Ασπρόμαυρη, Διάρκεια: 75', Σκηνοθεσία: Todd Browning.
Πρωταγωνιστούν: Bela Lugosi, Helen Chandler, David Manners, Dwight Frye,
Edward Van Sloan.
Για χρόνια (μέχρι το 1958, που γυρίστηκε η εκδοχή του Terence Fisher) η πιο τρομακτική ταινία, με τον Lugosi στον ρόλο που του χάρισε την αθανασία (η πρώτη επιλογή της Universal ήταν ο Lon Chaney, αλλά ο "άνθρωπος με τα χίλια πρόσωπα" πέθανε λίγο πριν αρχίσουν τα γυρίσματα και αντικαταστάθηκε από τον ούγγρο μετανάστη). Αν και ομιλούσα, διαποτίζεται από το στυλ και την υποκριτική του βωβού κινηματογράφου, αλλά αυτό δεν την εμπόδισε να γίνει η μεγαλύτερη εμπορική επιτυχία του 1931, λανσάροντας έτσι μία σειρά —κλασικών σήμερα— ταινιών τρόμου. Το σενάριο του Garrett Fort βασιζόταν στο θεατρικό έργο του Hamilton Deane (σε διασκευή από τον αμερικανό John Balderston), που όμως είχε προέλθει από το ομότιτλο μυθιστόρημα του Bram Stoker (είχε πρωτοανέβει το 1925, σε θέατρο του Λονδίνου) και η απήχηση της ταινίας οφείλει πολλά, εκτός από την ερμηνεία του Lugosi (είχε πρωτοερμηνεύσει με επιτυχία τον ρόλο το 1927, στο θέατρο Φούλτον του Μπρόντγουεϊ) και στην παράξενη, τρομακτική ατμόσφαιρα που δημιούργησαν (στην αρχή κυρίως, με την άφιξη του Ρένφιλντ/Frye -προσοχή: όχι του Τζόναθαν Χάρκερ, όπως στο λογοτεχνικό έργο— στον πύργο του Δράκουλα, στα Καρπάθια Όρη) ο Browning και ο διευθυντής φωτογραφίας Karl Freund. Γυρίστηκε παράλληλα με την (για χρόνια στην αφάνεια) ομότιτλη ισπανική εκδοχή της. Ο Mehmet Muhtar σκηνοθέτησε ένα τουρκικό ριμέικ της, με τίτλο Drakula Istanbul'da. To Dracula's Daugther αποτελεί συνέχεια της.
Music by PHILIP GLASS
Performed by KRONOS QUARTET (David Harrington, violin; John Sherba, violin; Hank Dutt, viola; Joan Jeanrenaud, cello)
http://www.mediafire.com/?1yymxezt2iy
Gomez - "Bring It On"
This is one of my favourite albums of all time. Pure music, played from the heart and with minimal production and equipment. A bunch of students cracking out one of the best debuts of the nineties.
I am perhaps one of the lucky ones who attended Gomez's first live gig at Leeds, somewhere around November 1996. It was the time of the "brit pop" trend (you know, Oasis, The Verve etc) and it was really great to see a British band that wasn't into that style but rather had a bluesy edge to their music (I never liked "brit pop", to be honest).
Bring It On is Gomez's first album, recorded, allegedly, in a garage. The production is simple and the sounds are very "down to earth" and "human", as opposed to the "polished" albums of the time. The album is full of acoustic guitars, feedback and, among others, a kid (Ian Ball) with one of the bluesiest voices ever. The songs range from nostalgic mini epics to fuzzy explosions and, again, from introspective moments to melancholic outbursts.
This album was my only company at some very hard moments. The lyrics are really good. The music is, simply, fantastic.
Please listen to it with lots of attention. It's going to be one of your favourites, as it became mine. Please buy the album.
Band line-up:
Ben Ottewell (vocals, guitar)
Tom Gray (vocals, guitar, keyboards)
Paul Blackburn (bass, guitar)
Olly Peacock (drums)
Ian Ball (vocals, guitar, harmonica)
Album tracklist:
01. Get Miles
02. Whippin' Piccadilly
03. Make No Sound
04. 78 Stone Wobble
05. Tijuana Lady
06. Here Comes The Breeze
07. Love Is Better Than A Warm Trombone
08. Get Myself Arrested
09. Free To Run
10. Bubble Gum Years
11. Rie's Wagon
12. The Comeback
Download here (160 kbps):
http://www.mediafire.com/?6tittddqfgy
Καλοκαιρινά πειράματα...
...Πριν λίγες μέρες ολοκλήρωσα ένα μουσικό κομμάτι στον υπολογιστή, με καλοκαιρινή bossa nova διάθεση και μια ιδέα από τη μουσική του... Ghosts 'n Goblins. Έπαιξα την κλασική κιθάρα και το μπάσο, πρόσθεσα ντραμς και πλήκτρα και... έτοιμο!!! Ακούστε το εδώ και πείτε μου την άποψή σας, αν δε βαριέστε.
ELIAS HULK - Unchained
If you have this on vinyl, chances of becoming a sought after marital partner are high! Seriously, this album (in its original vinyl edition) changes hands for big money. Here is the original cover:
I, unfortunately, have the vinyl reissue which looks like this:
No matter what, we are talking about a very strange band, with only this album to date. Formed in Wales in 1969, Elias Hulk stormed local and London clubs during the next couple of years. Their music is blues based, melodic and hyper-dark and constitutes a genre of its own. Some say that their sound is closer to Leaf Hound. True, but not entirely, since Elias Hulk must be listened to closely to appreciate their uniqueness. Nick Saloman from The Bevis Frond hails them as one of his influences.
Granville Frazer - Guitar
James Haines - Bass
Bernard James - Drums
Neil Tatum - Guitar
Peter Thorpe - Vocals
01 Anthology of Dreams
02 Nightmare
03 Been Around Too Long
04 Yesterday's Trip
05 We Can Fly
07 Delhi Blues
08 Ain't Got You
Enjoy and support your artists by buying their albums
http://www.mediafire.com/?9mmi9zd0jdx
TELEVISION - Television
(review from Wilson & Alroy's Record Reviews)
Television (1992)
This might be the most remarkable reunion record ever made. Less remarkable when you consider Verlaine's string of critically acclaimed records and his unwavering adherence to Television's sound; but it's still obvious that his bandmates have inspired his songwriting here. The performances are phenomenal, with Lloyd contributing some extraordinary leads (the atmospheric "Rhyme"), Verlaine rising to his challenge, and even Ficca's drumming sounding creative and utterly authentic. There's one track after another that would have fit in perfectly on Marquee Moon: a bunch of ultra-cool, mid-tempo New Wave rockers ("1880 or so"; "No Glamour For Willi"; "This Tune"); the ecstatic, driving "Shane, she wrote this"; "In World," with a danceable funk groove; the swinging, almost tribal "Beauty Trip"; and especially the brilliant, angst-ridden "Call Mr. Lee." It doesn't always work: the live-in-the-studio energy translates into spacey jamming on "The Rocket." But more often it pushes them into exciting, avant garde histrionics that are held down by ringing, trance-like guitar hooks ("Mars"). Anyone who likes anything that Verlaine does should track this down.
My opinion: excellent album!
http://www.mediafire.com/?7zt91z9xzwi
Ronnie Foster - The Two Headed Freap
Some of you will probably remember that great Grant Green album, Alive!. The version of "Sookie Sookie" from Alive! is probably the most recognisable one, after Don Covay's original. Ronnie Foster is the organist in Alive! and provided one of the most memorable hammond organ solos in "Sookie Sookie".
The Two Headed Freap is Ronnie Foster's greatest album to date, full of energy and sheer virtuosity, as tracks such as "Chunky" and "Kentucky Fried Chicken" witness. Many of you will recognise "Mystic Brew" whose main riff was sampled by A Tribe Called Quest. Al Green's "Let's Stay Together" is also included, covered in a soulful way.
The Two Headed Freap (does anybody know what Freap stands for?) is one of Blue Note's best albums to date.
Just listen to the organ solo in the opening track, "Chunky". Amazing!!!
01. Chunky
02. Drowning in the Sea of Love
03. Two-Headed Freap
04. Summer Song
05. Let's Stay Together
06. Don't Knock My Love
07. Mystic Brew
08. Kentucky Fried Chicken
Ronnie Foster - Organ
Arthur Jenkins - Congas
Gene Bertoncini - Guitar
George Devens - Percussion, Vibraphone
George Duvivier - Bass
Jimmy Johnson Jr. - Drums
Rudy Van Gelder - Engineer
http://www.mediafire.com/?1mojpqjgrzt
Brainticket - "Psychonaut"
So much to say about this band!
Most people believe this is "prog rock". No way dudes! This is NOT prog rock! This is music from another planet, juxtaposing elements from anything you can imagine! More importantly: this album was released in 1972! Way ahead of its time!
Brainticket were sort of a commune band, built around Jöel Vandroogenbroeck (phew!), a swiss multi-organist and composer of stellar tunes. The line-up was different in every album they made, presumably due to Vandroogenbroeck's attempt to create different soundscapes. Psychonaut is their first (and more "accessible" album), showcasing 6 tracks. It contains elements of kraut rock, psychedelia, acoustic/folk, experimental, ethnic, progressive rock (but not that you expect), minimal, maximal and anything else you can probably think of (for the time made, of course). Some tracks are celestial psychedelic built-ups ("Radagacuca", "Coc'o Mary"), others are atmospheric and minimalistic ("One Morning") and others surpass the dreamy-folk frontiers ("Feel The Wind Blow"). "Watching You" is a track that could have easily been written by Portishead, if, of course, were alive at the time!
Psychonaut was released in 1972 under the Bellaphon label and its Brainticket's debut. Later, a double-vinyl release of the first two Brainticket albums with the name Cottonwoodhill was released as a re-issue. I recommend buying the Psychonaut edition on vinyl, because it also contains the lyrics.
The line-up for this album is as follows:
- Jane Free: lead vocals, tbilat, tambourine, slide whistle, sounds
- Jöel Vandroogenbroeck: organ, piano, flute, sitar, sanze vocal, rumors, generator, arrangements
- Rolf Hug: lead guitar, acoustic guitar, tablas, vocals
- Martin Sacher: electric bass, flute
- Barney Palm: drums, percussion, strange sounds
- Carole Muriel: additional vocals (on "Feel The Wind Blow" and "Like A Place In The Sun")
1. From Another Planet(intro)/Padagacuca (7:24)
2. One morning (3:51)
3. Watchin' you (5:15)
4. Like a place in the sun (6:28)
5. Feel the wind blow (3:32)
6. Coc'o-Mary (6:08)
Note: this is a vinyl rip
Enjoy!!! (I'm sure you will, especially if you're a psychotrope-head!)
http://www.mediafire.com/?8ztxbvmckau
Dust - "Hard Attack"
This was probably my favourite band for a long time. I was 12 years old in my first year in high school, in 1989. I had started listening to pirate radio at the age of 10 and when I was 12 I began buying music magazines and vinyls, after my uncle had given me his old worn-out turntable. One of the magazines I used to buy was "Metal Hammer & Heavy Metal". I wasn't really into heavy metal music (never been) but I bought the particular magazine every month because it contained two column pages named "Forgotten Jewels" and "Electricore" respectively. Those were the only articles I would read. Once, there was an article on Dust on the Electricore page. The person who wrote it (it was either Demetrios Stergiou or Popi Stefa, I don't really recall the name of the reviewer now - it's been 17 years you know!), had done something really amazing: he/she didn't write a common review but an almost literary, introspective text in which he/she quoted large parts of the lyrics of both Dust albums. I was so immersed that I decided to locate the albums at any cost. Fortunately, a guy at a local record shop happened to be a record collector and he made a tape for me with both the albums (he was actually surprised to find out that a high school boy knew Dust!!!). Once I put the tape in the cassette player, I never stopped listening to it all day. Years after, in 1995, I bought both vinyls at the Monastiraki flea market in Athens, to fulfill my aspiration.
Dust were a New York band, formed in 1971. They consisted of Kenny Aaronson: bass, slide and pedal steel guitars, Marc Bell: drums and percussion and Richie Wise: electric and acoustic guitars, lead and background vocals. Most songs were penned by Richie Wise and Kenny Kerner, the production manager who went on later producing for Kiss! Dust were indeed fantastic musicians and it is really a treat to listen to a trio playing unbelievable hard rock infected with psychedelic, heavy and even country elements. The songs are all great (no exception, believe me) and the lyrics are very good. Apart from Richie Wise, bassist Kenny Aaronson (later known as member of the supergroup HSAS) is one of the fastest bassists I've known and he is also adept at slide guitars and dobro. Drummer Marc Bell is even faster and some of you will be surprised to learn that, after Dust disbanded, he went on drumming with the Ramones, changing his name to Marky Ramone!
Hard Attack is Dust's second and last album, released in 1972. Unfortunately, the band never had any commercial success and they were forced to split after the release of Hard Attack. Shame, because we are talking about a great band...
This band means a lot to me, guys. Please give them the attention they deserve, they're really worth it.
Pull Away/So Many Times
Walk in the Soft Rain
Thusly Spoken
Learning to Die
I Been Thinkin'
How Many Horses
(note: this is a vinyl rip)
http://www.mediafire.com/?9o4dwzrtiko


text:
Home Podcasts Will Podcast Earn Money
Will Podcast Earn Money
Yes, Podcasts earn money. But not the amount you think- say in millions and billions. But yeah, the amount that can help you live a normal life, if not a luxury. Then is it a wrong step to make podcasting a career as it doesn't earn millions or billions?
As the veterans say, experience in any field does count and helps in growing a career. It applies to the field of podcasting as well. This means, that as you gain more audiences or as long as the download count keeps on increasing, companies will line- up for you to either donate, sponsor, affiliate, or market your content and will pay accordingly i.e. as per the market trend of what the other top podcast creators are getting!
When to start monetization of Podcasts
Remember, as soon as you create the first podcast, you cannot monetize it as per your wish. First, wait till you build a community of listeners and then monetize the podcast after choosing the right hosting platform. Building a community and then selecting the right hosting platform are two major components of growth and once you nail these two, marketers, sponsors, donation givers, and affiliates will start pouring in.
Before you monetize a podcast
1.) Here are some points to remember. As told in an earlier paragraph, first let the podcast host win some audiences. And that can only be done by creating strong content that can not only engage listeners but will help in gaining a bounce-back of audiences.
2.) Another point that is vital before monetizing podcast content is opting for the right hosting platform that allows the induction of programmatic ads into the content. Then choose the right platform to distribute the content like Spotify, Apple podcast, or Google Podcast. As it not only helps the content in reaching millions of listeners, but can also offer data insights into who is listening to the content and how the content is keeping them engaged.
3.) Allow the content to hit the 1K download mark and then think about monetizing the content through various means. This will attract affiliate networks to sponsor the content. Affiliate marketing is nothing but referring to a company's product or service during the show at the beginning, middle, or end.
4.) When the download mark reaches the 5K mark, the podcast creator can attract sponsors as they pay anything around $25 to $30 for every thousand downloads on a monthly note, technically referred to as CPM earnings.
5.) As soon as the podcast show surpasses the 10K mark of downloads, donations appreciating the content and merchandise marketers throng to invest in the show. This is when you can celebrate success and plan for the next episode or season with more vigor and interest.
How long will it take to see financial success in podcasting?
Marc Clair, the Podchaser and Producer for the Lions of Liberty Podcast, offers his perspective on this topic. He says that it may take longer than 18-20 months for a podcast creator to see success on a financial note. But he also believes that luck, marketing budget, and titillating content can bring success earlier if all goes well and as per the plan.
Finally, he added to focus more on the right audiences, instead of a large section of audiences, as it can pave the way to attain success in a record amount of time.
moneyPodcast
Will Podcasts Replace Radio

redpajama_set_name: RedPajamaCommonCrawl


This game is a product of the Game Insight. They are one of the very good developers in the mobile gaming industry. Guns of Boom – Online Shooter is one of the most amazing and the most interesting games available on the market. Not only this but it is one of the best games in the action genre as well. As the name of the game clears it all that it is having a lot of stuff related to the guns and the shooting as well. And when it comes to the shooting games, one this is a must-have thing or a must-have skill, which is to be very fast. And this game also requires a very fast and a very skillful gameplay as well. So in order to match the requirements of the game and in order to make your game a very good one, you need to play this game more and more in order to be the one you like to be in the game.
Talking about the gameplay of the game, it is also clear that it is a multiplayer game. Which means that you are up against the real people across the globe. And keep in mind that there is a huge number of the players playing this game on daily basis. So if you are going to take the things seriously in the game, you need to be very good at the game. Or you are going to be crushed like an ant. The techniques are the most important thing to talk about in the game. And you need to learn a lot of techniques in order to take on each and everyone in the game. And you are now able to use the premium features of the game for free as well.
The unlimited supply of the money is now going to make the game a hell lot more interesting than ever.
All the things are now available for you to use and enjoy them in the game.
Different modes are now available for you to try them and enjoy them in the game.
You are able to customize your character in the game just the way you like it to be.
Real-life battles are going to make your game time a lot of fun.


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Totally Enormous Extinct Dinosaurs Announce Summer Headline Shows
Having already been announced on the thrilling line up for Falls Festival and Southbound in 2012 and 2013 respectively and selling out his one-off Sydney show at Oxford Art Factory in no longer than four minutes, we are extremely excited to announce Totally Enormous Extinct Dinosaurs' headline sideshows for Melbourne and Brisbane this summer.
Orlando Higginbottom AKA 'Totally Enormous Extinct Dinosaurs' first began turning heads in 2010 when he released his third EP through the much loved record label Greco-Roman (partially run by Joe Goddard of Hot Chip) and a track called 'Household Goods'... thus triggered the avalanche which has seen TEED move from strength to strength across the world.
Earlier this year TEED released his stellar and long-awaited debut LP titled 'Trouble' through the widely respected Polydor Records. The album raced to #1 on the Australian electronic album charts and has since basked in praise from media, critics and fans from around the world. Considering the rarity of a debut album featuring tracks as mature as jams like 'Tapes & Money', 'Garden', 'You Need Me on My Own' and 'Stronger', it's no surprise that the juvenile producer from Oxford (UK) has radio waves and blogs around the world lively with his overt musicality and scarily on-point jungle dance intuition.
Totally Enormous Extinct Dinosaurs has spent a large amount of this year travelling the world and wowing punters wherever he goes with his unique live show, most recently at festivals such as Lollapalooza and Bestival. We're now happy to finally announce that TEED will be headlining the Corner Hotel (Melbourne) and Oh Hello (Brisbane) this summer around his highly anticipated festival appearances.
Taking the reigns as main support on both shows will be Melbourne act City Calm Down who have recently been turning heads with current single 'Pleasure & Consequence' and will be releasing their new EP "Movements" on the 2nd of November.
Dates and Tickets:
Thu 4th October - Sydney, Oxford Art Factory - SOLD OUT
Sat 29th December - Melbourne, Corner Hotel - tickets from Corner Hotel
Thu 3rd January - Brisbane, Oh Hello tickets from Moshtix


The challenges associated with the manipulation or separation of biological products led researchers around the world to find alternatives to traditional techniques such as centrifugation. Innovative techniques must be simple to implement and efficient, even with soft particles or cells in suspension.
The manipulation of elements in suspension based on their acoustic properties - or "acoustophoresis" - is one of the most promising ways to manipulate fragile elements because it works without contact or pressure, which prevents any potential damage or physiological change that a traditional technique would induce and furthermore, its action can be in continuous.
Building upon a strong intellectual property portfolio and a unique expertise, Aenitis Technologies develops innovative devices for biomedical and biotechnological applications, based on acoustic manipulation.


I enjoy seeing what others are playing. It doesn't have any influence that I'm aware of in my own choices, but it does provide the opportunity to ask questions if something intrigues me. Don't need to see it in every post though. The WITB thread and demo report and new club threads like Typhoon and sdandrea1 are posting are nice.


text:
Q: Why does AppWindowTitleBar.PreferredHeightOption cause CS0120 in the Windows App SDK? I am currently using Winui-3 and the Windows App SDK for the first time as I usually write apps in classic Win32 C++. My app has a tall title bar (48px) and I want the caption buttons to be sized appropriately. I have already tried using the method from the Microsoft docs, but that causes CS0120: AppWindowTitleBar.PreferredHeightOption = TitleBarHeightOption.Tall;
I have not found any solutions to this exact problem online. Putting it into a static method did not work. While experimenting, I've found that other customizations like AppWindowTitleBar.ForegroundColor = Colors.White; also don't work. I am confused.
EDIT: Added implementation of the title bar
public ShellPage(ShellViewModel viewModel)
    {
        ViewModel = viewModel;
        InitializeComponent();

        ViewModel.NavigationService.Frame = NavigationFrame;
        ViewModel.NavigationViewService.Initialize(NavigationViewControl);

        AppWindowTitleBar.PreferredHeightOption = TitleBarHeightOption.Tall;

        App.MainWindow.ExtendsContentIntoTitleBar = true;
        App.MainWindow.SetTitleBar(AppTitleBar);
        App.MainWindow.Activated += MainWindow_Activated;
        AppTitleBarText.Text = "AppDisplayName".GetLocalized();
    }

A: The AppWindowTitleBar doesn't have PreferredHeightOption. That's why you're getting CS0120.
Try this.
public ShellPage(ShellViewModel viewModel)
{
    ViewModel = viewModel;
    InitializeComponent();

    ViewModel.NavigationService.Frame = NavigationFrame;
    ViewModel.NavigationViewService.Initialize(NavigationViewControl);

    //AppWindowTitleBar.PreferredHeightOption = TitleBarHeightOption.Tall;

    App.MainWindow.ExtendsContentIntoTitleBar = true;  // not sure if you need this line.
    this.appWindow = GetAppWindowForCurrentWindow();
    this.appWindow.TitleBar.ExtendsContentIntoTitleBar = true;
    this.appWindow.TitleBar.PreferredHeightOption = TitleBarHeightOption.Tall;
    App.MainWindow.SetTitleBar(AppTitleBar);
    App.MainWindow.Activated += MainWindow_Activated;
    AppTitleBarText.Text = "AppDisplayName".GetLocalized();
}

private AppWindow appWindow;

private AppWindow GetAppWindowForCurrentWindow()
{
    IntPtr hWnd = WindowNative.GetWindowHandle(App.MainWindow);
    WindowId wndId = Microsoft.UI.Win32Interop.GetWindowIdFromWindow(hWnd);
    return AppWindow.GetFromWindowId(wndId);
}

redpajama_set_name: RedPajamaStackExchange


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Fabulous Auto Club
Everything you need to know about cars
Top 'x'
Car Central
SUV – Sport Utility Vehicles
Bentley Motors
D – H
Latest Toyota News
Manufacturers » Mini
The Mini is a small economy car produced by the English-based British Motor Corporation (BMC) and its successors from 1959 until 2000. The original is considered an icon of 1960s British popular culture. Its space-saving transverse engine and front-wheel drive layout – allowing 80% of the area of the car's floorpan to be used for passengers and luggage – influenced a generation of car makers. In 1999, the Mini was voted the second-most influential car of the 20th century, behind the Ford Model T, and ahead of the Citroën DS and Volkswagen Beetle.
Mini Cars/Models
Visit Mini Website
Here's How We're Charging EVs at the Level 2 Maximum of 19.2 kW at Our Office
This Porsche Wall Connector can charge more than three times faster than our ChargePoint units.
My Hurricane Adventure in a Mitsubishi Outlander Was Revelatory
It was a case of Apocalypse Then when I had to ford Hurricane Ida's waters in the SUV, an event that came right back to me when I drove a 2023 Outlander this week.
Let's Make a Deal's Fabulous Car Week Starts Monday: Here's Every Car up for Grabs
The CBS game show will give out luxury cars as prizes next week from Alfa Romeo, Audi, Jaguar, Lexus, and Mercedes-Benz.
What to See at the 2023 24 Hours of Daytona
The famous endurance race starts tomorrow afternoon, and along with dozens of fire-breathing race cars dueling on track, the race offers the chance to see some of the latest performance metal.
385,000 Ford Explorers, Lincoln SUVs Recalled for Faulty Backup Camera
Several minor accidents have been reported because the rearview camera's screen can go blue unexpectedly.
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Motor City Vipers are on stage at The Solstice.
Motor City Vipers will be bringing the best Motown, Northern and Soul tunes to the SolGarden stage at The Solstice in Peterborough on Friday night - part of a great weekend of music in the city clubs, pubs and bars.
The Ostrich, North Street: EMBRACE - a place for the people by the people of the LGBTQIA+ community. 8pm until late.
The Letter B, Whittlesey: The Returns from 9pm - a fundraiser for Whittlesey Cricket Club.
The Solstice: Saturday Sessions - with four rooms of entertainment. There is Commercial Chart & Dance in the Solstice, House & Dance Anthems in the SolGarden, Pure Urban Flavas in the Lit Room & Party Anthems in Harry's Bar Café. Entry is free before 10.30pm more after.


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Gastroboletus molinae är en svampart som beskrevs av Nouhra, Castellano & Trappe 2002. Gastroboletus molinae ingår i släktet Gastroboletus och familjen Boletaceae.   Inga underarter finns listade i Catalogue of Life.

Källor

Basidiesvampar
molinae

redpajama_set_name: RedPajamaWikipedia


text:
Apetyt na miłość – polski serial obyczajowy z 2006 w reżyserii Anny Kazejak, emitowany w TVP1 od 13 lipca do 27 października 2008. Autorami scenariusza są Dominik W. Rettinger i Julita Grodek.

Emisja
Serial emitowano na antenie TVP1 od 13 lipca 2008 w niedziele o 18.25 (odcinki 1–6). Początkowo rozpoczęcie emisji było zapowiadane na 29 czerwca 2008. Po wakacjach serial przeniesiono na soboty o 13.15 (odcinki 7–10). Ostatnie trzy odcinki pokazywano w październiku 2008 w poniedziałki o 13.35 (odcinki 11–13).

Fabuła
Akcja serialu toczy się w czasach współczesnych. Głównymi bohaterkami są dwie dziewczyny: Irmina (Paulina Chruściel) i Joanna (Katarzyna Kaźmierczak), które zostają współlokatorkami choć bardzo się różnią. Poszukują stabilizacji i pragną rozwikłać tajemnicę dziewczyny, która była wcześniej lokatorką mieszkania.

Obsada
 Paulina Chruściel – Irmina
 Katarzyna Kaźmierczak – Joanna
 Krzysztof Kowalewski – poseł Krupisko
 Wojciech Mecwaldowski – Marcin, sąsiad dziewczyn
 Maria Maj – pani Walicka, sąsiadka dziewczyn
 Jakub Snochowski – Piotrek, kolega Irminy
 Andrzej Gałła – Stanisław Baranowski, właściciel mieszkania
 Ewa Sonnenburg – Baranowska
 Stanisław Kwaśniak – ojciec Irminy
 Łukasz Simlat – Jasiek Krajewski, mąż Joanny
 Jan Hencz – kierowca
 Jacek Kałucki – Włodek, właściciel wypożyczalni
 Romana Kamińska – pani Iwona, klientka wypożyczalni
 Michał Szewczyk – Michał, klient wypożyczalni
 Tomasz Karolak – Przemo, pracownik wypożyczalni
 Ryszard Chlebuś – dozorca w kamienicy Baranowskich
 Mariusz Siudziński – Damian Miłko, ojciec Ignasia
 Wojciech Bartoszek – właściciel motelu
 Barbara Dembińska – właścicielka motelu
 Aleksandra Leszczyńska-Jakubas – szwagierka właściciela motelu
 Michał Piela – ksiądz Czesław Pawlik
 Sambor Czarnota – dr Paweł Kroenke
 Michał Grzybowski – Wojtek, były chłopak Irminy
 Magdalena Kacprzak – Matylda, obecna dziewczyna Wojtka
 Ewa Złotowska – Zofia Halberg, córka Władysława
 Jan Nowicki – Władysław Halberg
 Agnieszka Greinert – Karolina Halberg, wnuczka Władysława
 Dorota Pomykała – teściowa Joanny
 Tomasz Sapryk – Stefan, wychowanek pani Walickiej
 Leszek Lichota – Lichota, pracownik schroniska dla zwierząt
 Janusz Chabior – Rysiek, pracownik schroniska dla zwierząt
 Czesław Majewski – pianista
 Paweł Audykowski – lekarz
 Mariusz Witkowski – Andrzej Halberg, wnuk Władysława
 Dorota Kiełkowicz – Rita Miłko, matka Ignasia
 Anna Grzeszczak – sprzątaczka
 Marek Chronowski – Guguładze, właściciel lokalu
 Artur Chamski – Michał, brat Irminy
 Iwona Dróżdż – Krystyna Dwornik
 Grzegorz Stelmaszewski – "Mały"
 Łukasz Bzura – "Barczysty"
 Ewa Tucholska – policjantka
 Grzegorz Stosz – policjant
 Ewa Wiśniewska-Audykowska – mama Radka
 Artur Majewski – Ziutek
 Tomasz Kaczmarek – Ogolony na łyso
 Daniel Adamski – Ogolony na łyso
 Robert Walczak – Bardzo wielki
 Jakub Lewandowski – Ignaś Miłko
 Halina Madany – gosposia
 Damian Hryniewicz – Radek
 Jerzy Braszka – Piżmak
 Magdalena Zając – Magda Białowąs (głos)

Informacje dodatkowe
 Tytułową piosenkę z muzyką Roberta Jansona i tekstem Moniki Kuszyńskiej wykonują Edyta Kuczyńska i Michał Marciniak.
 Zdjęcia plenerowe zrealizowano w Łodzi.

Linki zewnętrzne

Polskie telewizyjne seriale obyczajowe
Seriale telewizyjne emitowane od 2008
Seriale telewizyjne zakończone w 2008


text:
Southside Elementary School may refer to:
 Southside Elementary School, Southside Alabama, Etowah County School District
 Southside Elementary School (Casa Grande, Arizona), one of Casa Grande's historic properties
Southside School (Miami, Florida), also known as "Southside Elementary School", listed on the National Register of Historic Places
 Southside Elementary School, Buffalo, New York, Buffalo Public Schools
 Southside Elementary School, Dinwiddie, Virginia, Dinwiddie County Public Schools


text:
Hillary Clinton calls Iran deal 'important step,' withholds full endorsement
Democratic presidential candidate, former Secretary of State Hillary Rodham Clinton speaks in Columbia, S.C., on May 27, 2015. (Associated Press) **FILE** more >
By S.A. Miller - The Washington Times - Tuesday, July 14, 2015
Democratic presidential front-runner Hillary Rodham Clinton chose her words carefully Tuesday, calling President Obama's nuclear deal with Iran an "important step" but holding back a full-fledged endorsement of the agreement struck by her former boss.
The Iran deal once again had Mrs. Clinton torn between her loyalty to Mr. Obama and a campaign that wanted to distance her from a divisive and potentially explosive White House policy.
"This is an important step in putting a lid on Iran's nuclear program," Mrs. Clinton told reporters at the Capitol, where she was holding private meetings with groups of Democratic lawmakers.
SEE ALSO: Republican candidates against Iran deal look for Hillary Clinton to be 'voice of reason'
The former secretary of state said that Mr. Obama called her Monday night to inform her a deal had been reached.
"This is an important moment," Mrs. Clinton said, adding that she applauded Mr. Obama and Mr. Kerry for their efforts in completing the negotiations.
But as soon as she gave the deal a tepid thumbs up, Mrs. Clinton quickly pivoted to calling for additional moves that she said were needed to keep Iran in check, including strict enforcement of the deal to ensure the rogue nation halts its nuclear weapons program.
SEE ALSO: Congress unlikely to stop Iran deal
"This agreement will have to be enforced vigorously [and] relentlessly," she said. "We have to treat this as an ongoing enforcement effort that I certainly strongly support and as president will be absolutely devoted to ensuring that the agreement is followed."
Looking beyond the nuclear threat, she said that the United States and its allies also should undertake actions to stop Iran's other "bad behavior," which includes its sponsoring of terrorism, threats against Israel, destabilizing other Middle East countries and unlawfully imprisoning Americans.
"That bad behavior is something we have to address," said Mrs. Clinton.
Democratic political strategist Christy Setzer said Mrs. Clinton found "exactly the right way to play it."
"This is primary season. She's not going after independents. Anything Clinton can do to ally herself with Obama, distinguish herself from the hyperbolic reactions of the GOP contenders, and remind primary voters that she was secretary of state, is a win-win-win," she said. "And calling it an 'important step' allows Clinton herself to finish the job."
Mrs. Clinton handled the Iran deal much like she did Mr. Obama's massive trade pact with Pacific Rim countries, though unlike the trade agreement, the nuclear deal had support from many Democrats and strong backing from the party's liberal base.
In both the trade deal and the Iran deal, Mrs. Clinton voiced modest support and then attached conditions that needed to be met to win her full approval.
Other Democratic presidential contenders also took a cautious approach.
Former Maryland Gov. Martin O'Malley said called the deal "promising" but needed a closer examination. Former Virginia Sen. Jim Webb said he would reserve comment until he fully reviewed it.
But former Rhode Island Gov. Lincoln Chafee and Sen. Bernard Sanders embraced the deal.
"I salute President Obama and Secretary Kerry in this historic breakthrough. Cuba and now Iran, both good. Strong, patient diplomacy should continue to be the model for resolving conflicts," said Mr. Chafee.
Mr. Sanders, the Vermont independent and avowed socialist who has emerged as the chief rival to Mrs. Clinton, called the agreement "a victory for diplomacy over saber-rattling."
He said it would prevent the United States form "being drawn into another never-ending war in the Middle East."
Still, the politics of the Iran deal could continue to challenge Mrs. Clinton, the party's all-but-inevitable presidential nominee.
As secretary of state, she helped build international support for the sanctions that forced Iran to negotiate. She wanted credit for her role, but she didn't want to be too closely tied to the final agreement brokered by Mr. Obama and her successor, Secretary of State John Kerry, in the event the deal turns out bad for the U.S. or proves unpopular with voters.
Lawmakers on both sides of the aisle assailed the agreement as soon as it was announced, opening a fierce debate in the Senate that promises to keep the issue in front of voters for weeks.
Sen. Robert Menendez, a New Jersey Democrat on the Senate Foreign Relations Committee who has been an outspoken critic of the deal, refused to second Mrs. Clinton's view that it was an "important step."
"That is the secretary's view. It may not be mine," he said.
Copyright © 2020 The Washington Times, LLC. Click here for reprint permission.


The PerfData class simply contains the performance data that is recorded for individual events.
Definition at line 46 of file perf_log.h.
Initializes data to be empty.
Definition at line 53 of file perf_log.h.
Total time spent in this event, including sub-events.
Structure defining when the event was last started.
Structure defining when the event was last started, including sub-events.
Total time spent in this event.
The number of times this event has been executed.
Flag indicating if we are currently monitoring this event.
Definition at line 398 of file perf_log.h.
Definition at line 434 of file perf_log.h.
References called_recursively, count, tot_time, tstart, and tstart_incl_sub.
Definition at line 390 of file perf_log.h.
Definition at line 379 of file perf_log.h.
References called_recursively, count, tstart, and tstart_incl_sub.
Definition at line 405 of file perf_log.h.
References tot_time, tot_time_incl_sub, tstart, and tstart_incl_sub.
Referenced by pause(), and stopit().
408 // a new one.
Definition at line 452 of file perf_log.h.
Definition at line 105 of file perf_log.h.
Referenced by pause_for(), start(), and stopit().
Definition at line 90 of file perf_log.h.
Referenced by pause_for(), and start().
Should only be true while the event is executing.
Definition at line 97 of file perf_log.h.
Definition at line 67 of file perf_log.h.
Referenced by pause_for(), and stop_or_pause().
Definition at line 72 of file perf_log.h.
Definition at line 78 of file perf_log.h.
Referenced by pause_for(), restart(), start(), and stop_or_pause().
Definition at line 84 of file perf_log.h.
Referenced by pause_for(), start(), and stop_or_pause().


If you've ever dreamt of dating Leonardo DiCaprio, this might be your chance!
Just days away from his One-Year Anniversary with model Nina Agdal, the two have called it quits.
Since this was a big anniversary, do you think he already had a present picked out??
If so, I wonder what he's going to do with it? HmMMmmm.
Anyways, this is unfortunate since the two seemed happy as recent as a couple weeks ago, when the two were spotted on a taco date in West Hollywood.
Then again, who could look angry eating tacos?
However, other sources say that Leo was "on his phone the whole time" which definitely sounds like a major red flag.
Pshhh isn't that what they always say??
So, get in there girl. Do your thing! Don't you worry about the thousands of Victoria's Secret models coming out of the woodwork. You got this!!!!


I was recently in one of our regular quarterly planning meetings with a client, when they told me about an event that really demonstrates the power of email as a tool to help you get a response and unblock the blockage.
Having received a specific enquiry for some engineering work from a large process company, our client responded promptly with their quotation and then, after a reasonable period, called to follow up on the quotation. Unable to get through, they left a message. The response….nothing!
Over a further couple of weeks, more follow up calls were made, all with the same outcome – no response.
I'm sure many of you have been in this situation and know how frustrating it is.
After a while you come to the conclusion that clearly they aren't interested and move on to the next opportunity.
WAIT! – Don't just leave it at that. At least bat the ball back to them.
Just checking that you received your quotation for the engineering work?
We try to be as competitive as possible and the information you provide will help us in the future.
company who can do a full turn key job on the install as a whole.
Excellent, a lot quicker than the other two companies I went out to quotes for. It is particularly nice to have someone let me know they are working on the quote rather than just silence until a quote turns up.
Again excellent I feel like I will get what I want with your quote.
Don't give up, but don't keep banging your head against the wall.
Have a joined-up process and use it. Don't assume your efforts will fall on deaf ears. If you have a good proposition, relevant to your customers, you will get successes.
Hope this inspires you to have a process to never drop an enquiry but always be willing to constructively let it go. You never know….


text:
BETHAN LAURA WOOD
October 04, 2017 / Broadgate/ Claire Bingham
It's an understatement to say Bethan Laura Wood likes colour. Looking every inch a modern-day Frida Kahlo, the bright young British designer is wowing the global creative scene – and that's not just down to her eye-popping clothes. Her work, from furniture and glass to ceramics, lighting, textiles and fashion, is bold, vibrant and wonderfully expressive. This week sees Wood curating Broadgate's Makers Mini Market, where East London designers will showcase cross-disciplinary wares. Expect the unexpected...
BY CLAIRE BINGHAM
Tell us about this week's pop-up Makers Mini Market in London.
I was invited to curate the Makers Mini Market and wanted to see how it could be interesting or different from just another type of makers market. I really liked the idea of bringing together a mix of creative people from East London whose work I follow on Instagram and that crosses over different disciplines.
What can we expect?
There's dyed marble from Silo Studio, Fashion East newcomer Harry Evans will be showing smaller accessories, and illustrator and sculptor Saelia Aparicio will be showcasing her pickle jars filled with balloons. There are seven designers in total, each with their own shed and creative world. One shed, devoted to workshops and talks, has my pattern all over it and I will be in and around the market.
ABOVE: Bethan Laura Wood in her studio with a bag from the forthcoming 'Toothpaste' collection for luxury Italian accessories brand Valextra. Wood designed witty handles and clasps for the SS18 range
BELOW: Two worlds collide as colourful patterned sheds nestle among the vast corporate structures of Broadgate for Makers Mini Market
ABOVE: Bethan Laura Wood (centre) with her band of East London creatives from Makers Mini Market. From left: Tino Seubert, Beth Postle, Attua Aparicio Torinos of Silo Studio, Ryan Coleman Connolly, Kim Thomé, Saelia Aparicio, Harry Evans; Evans invites you in to see his take on menswear and accessories
You've designed for Nilufar Gallery, Bitossi Ceramiche, Kvadrat, Abet Laminati and Hermès, among others. What are you most known for?
My style is very colourful with lots of layers and texture. My work often focuses on materiality and exploring that through design. I also do a lot of locality-based work and make direct references from places when I have the opportunity to travel. For example, I've completed a range of designs based on Mexico City: the colours, patterns and architecture there all resonate with me.
Where's next on your travel wish list?
I went to Japan a year ago and absolutely loved it, so I would really love to go back and work with artisans there. I'm also a big lover of kimonos. I would like to spend time seeing how the fabrics are woven and explore how the shapes could be taken in a furniture direction, while honouring their proportions.
BELOW: Wood's spectacular blown glass lights at Peter Pilotto's 'Townhouse Takeover' during September's London Design Festival 2017
Your floor lamps for Peter Pilotto were a hit at September's London Design Festival and your work appeared in three of our top LDF17 FizzPicks. What was your highlight?
I love the opportunity to collaborate with others on a project like the Peter Pilotto Townhouse Takeover. Much like the Makers Mini Market, I enjoy everyone working together to create something special.
How does working in fashion and interiors compare?
In the fashion industry, the speed is crazy fast, whereas furniture production has a much longer lead time. For me, I really enjoy the crossover. I've just collaborated on a line of handles and clasps for Valextra in Italy, for a limited-edition range of their bags called the 'Toothpaste' collection. It was great to have access to their production and find a way to incorporate my skills too.
ABOVE: Classics with a twist... Milan brand Valextra's 'Toothpaste' collection of iconic 'Iside' (left) and 'Passepartout' (right) handbags updates the original designs' sleek lines with Wood's cartoon-like, graphic handles and clasps. A new 'It' bag duo is born
Left to your own devices, what's your interior style?
There's a lot of stuff in my house! It's not minimal. A lot of my work is inspired by colours, patterns and things that I find at flea markets, so my home is pretty much filled with stuff like that. All of these things go on to inspire a project.
Is there an era or style that you're drawn to?
I have a love of 60s Pop furniture and Memphis. I like the joy and excitement in all of their colours. I also live in an amazing Art Deco building in the middle of Hackney. I love it. The signature colour of the architecture is dusky blue with mint-green staircases and pastel-pink doors. I knew it was the place for me.
What qualities do you most like in a room?
I find lots of objects comforting. A minimal, blank white space may be the dream for some but it is the opposite for me. I love to enter people's spaces or worlds where there are so many things to look at and explore. I like things busy.
Growing up, what was the dream?
I've always been a collector. When I was younger, I wasn't allowed to paint my walls. I never got my ideas for interior decor past my parents, so I'd change things up with objects instead.
What part of the design process do you enjoy most?
I love dreaming up concepts and realising the difficult bit of turning ideas and sketches into something amazing. I like model making, so that always makes me happy when I can get off the computer and start building something in 3D. Also, when I go into a workshop and start talking, touching materials, seeing what's working and what's not, that's really enjoyable for me.
My tutors at the RCA, Jurgen Bey (above left) and Martino Gamper (left), have been really influential on my work but there are many, many, many others.
Usually, it's the last thing I've done. I like to keep challenging myself. I have a soft spot for my laminate marquetry. It's a language and a technique that I love playing with so that's one of my favourite pieces.
I'm aware that I must take part in social media (*sighs*). I'm not really a writer, so I use Instagram the most. It's fun to see what other people are posting and photographing.
bethanlaurawood.com
broadgate.co.uk/makers-mini-market-east-london-where-to-shop
#BroadgateDESIGN
Makers Mini Market, curated by Bethan Laura Wood, runs from 4 to 7 October 2017 at Finsbury Avenue Square, Broadgate, London EC2 (11am–6pm, free admission)
October 04, 2017 / Broadgate/ Claire Bingham/ Comment
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Claire Bingham
Acclaimed UK architect Amanda Levete – head of AL_A studio, and formerly of Future Systems – has created this year's MPavilion for Melbourne. A futuristic take on a forest canopy, the temporary pavilion forms a welcoming glade for all-comers, hosting a programme of 300 spring/summer events. Inspired by 2015's theme 'Architecture of Wellbeing', it's the second in a series of four pavilions bringing cutting-edge architecture to the city, a dreamy space for a sun-kissed season.
What inspired your MPavilion?
One of the things about the Melbourne climate is 'four seasons in one day', and we responded to that with our MPavilion. For me the very nature of a pavilion is that of a bandstand. I took this literally, forgetting all about walls and designing something that creates a magical quality of life. We wanted to create a sensation of a tree canopy and play with sunlight, wind and rain. We used the canopy to filter out the harshest summer sun and aimed to add the noise of wind as it passes through.
How do you hope people will use and enjoy it?
Rooting the pavilion in its parkland setting, I want to create the sensation of a forest canopy in the heart of the city that gives shelter to a programme of events. Wouldn't it be lovely if, as dusk is falling, there are kids lounging on beanbags while an actor reads them a bedtime story? Then they'll be taken home, falling asleep, in their buggies. That sort of communal storytelling is very powerful. It's a slightly dreamy experience.
What can temporary pavilions bring to a city, and to an architect?
The brief for MPavilion 2015 is a great opportunity to design a structure that responds to its climate and landscape. I'm interested in exploiting the temporary nature of the pavilion form to produce a design that speaks in response to the weather. What really drew me to the pavilion commission is the opportunity to do things that you could never do with a building.
What were the material or technical challenges involved?
I wanted to use a material that is translucent, incredibly lightweight and seemingly very fragile. The construction industry is a fairly slow-moving beast, but Australia has some of the finest boat builders in the world. We worked with a yacht fabricator to employ their boundary-pushing technology, to create something that looks fragile but is actually really strong. The 43 translucent resin petals are reinforced with carbon fibre strands that span up to five metres and are only three millimetres thick. Supported on slender, four-metre-high carbon fibre columns, the structure is designed to sway in the wind, with lighting and a soundscape that activates at sunset.
What are your next projects?
There's a new Southampton centre I'm creating for UK cancer care charity Maggie's and our expansion of the Victoria & Albert Museum, the world's largest museum of decorative arts and design, is due to open in 2017. The Exhibition Road Building (above) will have a new entrance, a 1,500-square-metre gallery for temporary exhibitions and a courtyard all made out of porcelain.
What's your design philosophy?
Architecture shouldn't be about playing by the rules. It should be about challenging the brief you're given, about breaking boundaries. Here is an artistic discipline that involves things like functionality, building codes and planning logistics; it combines everything I love. AL_A is more driven by conceptual thinking than formalism, so it's less easy to identify an architectural style in what we do now. What binds all our projects together is a very rigorous, but intuitive, way of thinking.
Where do you get inspiration?
I love the fact that architecture is an artistic discipline with very real constraints. Size has never mattered to me. You could do something incredible in a piece of furniture. A temporary experience is almost more difficult than a permanent one. I've always functioned best when there's something to push against. Whatever project I'm working on, I immerse myself in each new world. That might mean researching the culture or reading up on relevant literature. You come out of every project changed. You just learn so much.
What's currently exciting you in design, architecture or style?
Australia is an exciting place for architecture because of the expansive landscape and what that allows for private houses. That genre has really exploded. I love the varying characteristics of different areas – for example in Melbourne, inner-north Fitzroy (first three images, above) as compared to St Kilda (above) with its proximity to the sea.
Which design era, building or interior has influenced you the most?
The Centre Pompidou in Paris (above, by Richard Rogers and Renzo Piano) is one of my favourite buildings because conceptually it's so groundbreaking. The Pompidou changed forever the way we look at museums by being fabulous and yet taking away the pomp. It also totally regenerated the area. Like the Sydney Opera House, it became a national icon recognised around the world. The value of it is incalculable.
mpavilion.org
MPavilion is at Queen Victoria Gardens, Melbourne, opposite NGV International, from 5 October 2015 to 7 February 2016. Entry is free with a café kiosk run by Three Thousand Thieves. For more on Amanda Levete's 25XDesign project check back with the Fizz this Wednesday 7 October.
Photo credits: Amanda Levete portrait copyright Peter Guenzel; MPavilion by John Gollings; V&A copyright AL_A; Sydney Opera House at Dawn courtesy of Sydney Opera House Trust; Centre Pompidou, Fitzroy and St Kilda by Sophie Davies.
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