Wednesday, March 28, 2012
You all know the story of this (in)famous bootleg. These are the demos that the Pistols recorded before the departure of bassist Glen Matlock. These recordings are raw and unpolished, but give a good insight into what this band was capable of.
Tuesday, March 27, 2012
666 (The Apocalypse of John, 13/18) is a double album by psychedelic/progressive art rockgroup Aphrodite's Child. It is one of the early cult albums in rock history, and is still popular among fans today. It was released in 1972, and was the primary vehicle/effort for the Vangelisproject. It had a minor Album Oriented Radio hit in "The Four Horsemen", and a nearly pop hit with "Break". The album was ostensibly an adaptation of Biblical passages from the book of the same name, but was also very experimental in lyrics and composition, including a curious piece of performance art in which Greek actress Irene Papas performs a struggle to chant a mantra while in the throes of hysteria.http://www.mediafire.com/?lirgr5ltlbj223l
- Vangelis (Evengelos Odysseas Papathanassiou) : keyboards, organ, piano, vibraphone, bass, flute, percussions, backing vocals
- Demis Roussos (Artemiros Ventouris Roussos) : lead vocals (on "Babylon", "The Four Horsemen", "Hic et Nunc"), backing vocals, bass,guitar
- Lucas Sideras : lead vocals (on "The Beast", "Break"), backing vocals, drum kit, snare drums
- Silver Koulouris (Anargyros Koulouris) : guitar, baritone guitar, percussions
- Harris Halkitis : bass, tenor saxophone, congas, percussions, drums, snare drums, background vocals
- Michel Ripoche : trombone, tenor saxophone (on "Babylon", "Hic et Nunc")
- Irene Papas : vocals (on "∞")
- John Forst : vocals (English text narration)
- Yannis Tsarouchis : vocals (Greek text narration)
- Costas Ferris
Sing Me a Song of Songmy (subtitled "A Fantasy For Electromagnetic Tape") is an album by jazz trumpeter Freddie Hubbard and Ilhan Mimaroglu released in 1971.
It was Hubbard's third album released on the Atlantic label and features performances by Hubbard, tenor saxophonist Junior Cook, pianist Kenny Barron, bassist Art Booth and drummerLouis Hayes. The album also features a chorus, strings, recitations of poems by Fazil Husnu Daglarca and other texts, organists and tape-based musique concrète. It is one of Hubbard's most experimental albums.
All compositions by Ilhan Mimaroglu
- "Threnody for Sharon Tate" - 2:04
- "This Is Combat I Know" - 8:56
- "The Crowd" - 7:03
- "What a Good Time for Kent State" - 1:28
- "Monodrama" - 2:54
- "Black Soldier" - 2:19
- "Interlude I" - 5:48
- "Interlude II" - 4:30
- "And Yet There Could Be Love" - 4:28
- "Postlude" - 1:05
- Freddie Hubbard - trumpet, flugelhorn (#1, 3, 4, 7), recitation (6)
- Junior Cook - tenor saxophone (1-4, 7)
- Kenny Barron - piano (1-4, 7)
- Art Booth - bass (1, 3, 4, 7)
- Louis Hayes - drums (1, 3, 4, 7)
- Ilhan Mimaroglu - synthesizer, processed sound
- Arif Mardin - organ, conductor
- Barnard-Columbia Chorus directed by Daniel Paget
- Strings directed by Gene Orlo and Selwart Clarke
- Mary Ann Hoxworth (1, 3), Nha-Khe (3, 8), Charles Grau (3), Gungor Bozkurt (3, 10) - recitation
Monday, March 26, 2012
A New York-based post-punk band, the Del-Byzanteens comprised Don Braun (percussion), Josh Braun (percussion as well), Philippe Hagen (bass), Phil Kline (guitar and vocals), and a budding director by the name of Jim Jarmusch (vocals and keyboards). Author Luc Sante wrote some of the band’s lyrics, and artist James Nares (who also played guitar with the Contortions) contributed occasional percussion.
"At that time everyone in New York had a band. The idea was that you didn't have to be a virtuoso musician to have a band. The spirit was more important than having technical expertise, and that influenced a lot of filmmakers."
Sunday, March 25, 2012
Monday, March 19, 2012
Saturday, March 17, 2012
A Lacht El Bahhtar zenekar 1986 őszén lépett színpadra először a budapesti Képző és Iparművészeti Szakközépiskolában. 1987 telén, aNaconxipán fesztiválon mutatkoztak be a szélesebb nyilvánosság előtt. A következő 5 évben minden jelentős budapesti undergroundklubban és fesztiválon játszottak.
A LEB zenéje meglepő, friss, depresszív hangulatával gyakran megütközést váltott ki, egyedülálló produkciójuk révén. Évek alatt mégis kialakult a saját közönség, 1990-es, – kazettán megjelent – első albumuk 3000 példányban kelt el. A felállásuk: dobgép,szintetizátor, cselló, gitárok, és ének.