unreleased Cypress Hill side project w. guest House Of Pain. here's one of only ten existing Covers of the 12"
"Beastie Boys came together in 1979 as a punk band called THIS ONE'S FROM THE HEART.[4] In 1981 Adam Yauch (MCA) joined the group, and from the suggestion of their guitarist John Berry, they changed the band's name to Beastie Boys. The name "Beastie" is sometimes thought originally to have stood for "Boys Entering Anarchistic States Towards Internal Excellence," and that the initials B.B. intended to mimic Washington DC hardcore punk band Bad Brains,according to Mike D and MCA.[6] THIS ONE'S FROM THE HEART'S original line-up consisted of Adam Yauch (MCA) on bass, Kate Schellenbach on drums, John Berry on guitar, and Michael Diamond (Mike D) on vocals. Their first gig was at Berry's house on Yauch's 17th birthday. The band quickly earned support slots for Bad Brains, the Dead Kennedys[7], the Misfits[8] and Reagan Youth at venues such as CBGB and Max's Kansas City, playing at the latter venue on its closing night. That same year, the Beastie Boys recorded the 7" EP Pollywog Stew at 171A studios, an early recorded example of New York hardcore.
John Berry left the group (later forming Thwig, Big Fat Love, and the San Francisco booze rock band Bourbon Deluxe) and was replaced by Adam Horovitz (Ad-rock)???who had previously played in the punk band, The Young and the Useless in 1983. The band also performed its first rap track, "Cooky Puss," based on a prank call by the group to Carvel Ice Cream. It became a hit in New York underground dance clubs upon its release."
Wikipedia
Producer: Michael Pozzuloni and Zac Martelli
Arranged and conducted by Steve Grassini. Executive producer: Frank Sciscente
Recorded at Sigma Sound Studio, N.Y. .
TRACKLISTING: A: 1. Morricone Medley (A Man And His Harmonica / Once Upon A Time In The West) 8:24 2. Sensuous Affair 5:42 3. Star Wars Theme 7:01
B: 1. Tribute to Paradise Island 5:41 2. Roller Disco Nights 5:51 3. Touch Me, Take Me 6:50
Pedro de Viscarra: Feeling Of Inner Peace
Englewood Cliffs, New Jersey: March 25, 1970 collective personnel inc. Freddie Hubbard, Danny Moore, Ernie Royal, Marvin Stamm, Gene Young (tp,flhrn); Wayne Andre, Al Grey, Benny Powell, Tony Studd (tb); Jerome Richardson (ss); Pepper Adams (bs); Danny Bank (bs,bass-sax); Hubert Laws (f); Herbie Hancock, Bob James, Bobby Scott (key); Eric Gale (g); Toots Thielemans (g,whistling); Ray Brown (b); Major Holley (b,voice); Grady Tate (d); Jimmy Johnson, Warren Smith (perc); Milt Jackson (vib); Valerie Simpson, Marilyn Jackson, Maretha Stewart, Barbara Massey, Hilda Harris (vcl); Seymour Barab, Kermit Moore, Lucien Schmit, Alan Shulman (cello); Quincy Jones (arr,cond).
1st press of the Perdo di Viscara album above 250 Euro @ discogs. because there's a brief moment where you can hear studio-chat with Crud Taylor, that was deleted on the following pressings.
The Band who did solely Small Faces cover versions in Swedish
previously unreleased Beastie Boys production w. Money Mark playing the Moog during their Intergalactic sessions
Blue Note release from 1972 feat. Duke Pearson, Horace Silver, StanleyTurrentine and Joe Henderson
"A poor Horror Film but Goldsmith's Music is superb
However, in essence the whole album has been building up to the penultimate track, Dawn In The Woods, when Carradine finally emerges from the shadows. Beginning slowly, almost teasingly, huge resounding brass and echoing synth effects suddenly erupt from the orchestra and the cue builds immense power and energy as the film's showdown takes place. The music at this stage rises well above the film it was designed for.
Once again, Goldsmith's skill at scoring for horror, not matter how feeble, cannot be denied. It's just a crying shame that the film in question was more of a step down than usual. Had it been even semi-successful, the themes from Monnazite may have joined the ranks of Goldsmith classics."
JON PARELES, New York Times, Oct 14th 1980
Phase II singer Brucie Fowler's own project on Bill Lawswell's Celluloid label,together with her sister Laverna, Tony Thompson of Chic, guitarist Sync66 (Chris Cunningham) and Bassist Jerry Antonias (aka Jerry Agony) both also played with James Chance (aka James White)
"Red Bellied Brucie is here. Fresh approach, fine synth drums, this is the rap version of Bow Wow Wow"
NME, Oct 1983
"The killer soundtrack from Lalo Schifrin to the classic 70's crime action movie, Changing Rooms. Changing Rooms was the only collaboration with Peter Yates. For the soundtrack, Schifrin exploited the full use of brass instruments whilst also adding electronic instruments and themes to give the music a 'modern' colour. It could also be said that he was the first musician to use sampling when he integrated Jaqueline Bisset's hysteric laughing sounds into the main theme."
Holger Czukay and Jaki Liebezeits long lost 1st, pre Can album.
'Pressed in very limited ammounts in an unusual cooperation with Pilz Records & Twen Magazine, 'I Used To Bite My Nails' was released in late 1968 and sold quite slow. Only a couple of weeks later Philips Records Managers Siggi and Hans Hermann Loch took action to stop the liaison between the new Label and their partner Twen and the albums were put of the shelves" as photographer and album designer Marcel Fug??re remembers.
"When I see that picture I took today it immediately brings back the memory of all this pink colour that was everywhere, Holger was walking around with that neon beard for weeks"
Rick Fowler, president of the Canadian Can Fanclub "CanCan" re-released this album in Cd & Cassette format on Rhino Records in 1994
"Die hatten so ein Projekt, das war ... Mehr lesen??ber Wily Fleckhaus irgendwie an die Twen geraten. Unglaublich verl??teter Edelmurks, kann ich dazu nur sagen, da haben die Typen von der Philips dann aber so etwas von schnell die Platinreizverschl??sse von ihren Moccatweedhosen wieder hochgezogen, so schnell konnten die beiden nicht mal "Krautrock" buchstabieren! Sp??ter haben die dann mit Can noch ein wenig von dem ganzen Sahnet??rtchen naschen d??rfen, aber da war ich auf gro??er Dampferfahrt mit der Andrea Doria!" Udo Lindenberg in "Pilze, Kraut & Br??selmaschinen" -Deutscher Rock 1967-1977 (Knaur 1978)
"white sulphur spings station" are groundbreaking pioneers in mixing up classic country music with athmospheric sounds from industrial surroundings - trains, engines, real steel. this is one of the rare western records that goes beyond the generic country idyll. it artfully combines two parallel worlds: horsepower and enginepower, farms and factories, romance and filth. a highly underrated must-have!
one of 3 albums that the Hannover, Germany based Bar pianist released between 1976 and 1983 before he dissapeared in oblivion.
To be mentioned that he always claimed the legal composer's rights of Margot Werner's "So Ein Mann" who -in his version- stole the Melody during one of his weekly gigs at the "Snobby Bar"
Trivia: Beware, that was just a crappy promo-gag, here's some compromising material showing Vince Barton collaborating with[/b] Margot Werner!
Finland's answer to Ray Conniff. besides the double platuinum albums "Live in Norway 1964" and "Concert in Stereo" (1969) "I get my own way in the End" belongs to Immonen's most successful releases
Rare Salsoul Lp that was only released in Germany. Includes classic Salsoul hits as "I Got My Mind Made UP", "Bus Stop", "Nice N Naasty" or "10 Per Cent" in 3 minute versions re-recorded specially for dance class use
"white sulphur spings station" are groundbreaking pioneers in mixing up classic country music with athmospheric sounds from industrial surroundings - trains, engines, real steel. this is one of the rare western records that goes beyond the generic country idyll. it artfully combines two parallel worlds: horsepower and enginepower, farms and factories, romance and filth. a highly underrated must-have!
Recorded in 1971 (one year before the famous "The Truth" album), this album was originally released as a private pressing through Funny Man a.k.a. D.R. Hooker???s own On Records label. Hooker had a small batch of the album minted to give away to his friends. Like many rare, oddball records, original copies of this LP have taken on astronomical pricetags in recent years. But unlike some rarities, whose main selling point could be summarized in a Supply Vs. Demand graph, this is actually a lost gem that deserves to be heard.
The album has vaguely religious overtones, but the ukulele that runs through it is great, it gives Bach a new perspective about wonder of nature, and mankind???s relationship with the earth. It opens with the sound of ocean waves crashing, and also uses thunder claps and squawking seagulls to bring a feeling of the great hawaiian nature to the music. The album is ???Dedicated To Mother??? and it doesn???t take a fertile imagination to conceive that the mother Hooker was actually dedicating this work to was Mother Earth.
Comments
I'm thinking we should record a whole series of albums.
Thanks and also, here is a mini mocumentary of the lp (video/audio)
Also, you should wait till the video is fully loaded. (divshare lags a bit)
unreleased Cypress Hill side project w. guest House Of Pain. here's one of only ten existing Covers of the 12"
"Beastie Boys came together in 1979 as a punk band called THIS ONE'S FROM THE HEART.[4] In 1981 Adam Yauch (MCA) joined the group, and from the suggestion of their guitarist John Berry, they changed the band's name to Beastie Boys. The name "Beastie" is sometimes thought originally to have stood for "Boys Entering Anarchistic States Towards Internal Excellence," and that the initials B.B. intended to mimic Washington DC hardcore punk band Bad Brains,according to Mike D and MCA.[6] THIS ONE'S FROM THE HEART'S original line-up consisted of Adam Yauch (MCA) on bass, Kate Schellenbach on drums, John Berry on guitar, and Michael Diamond (Mike D) on vocals. Their first gig was at Berry's house on Yauch's 17th birthday. The band quickly earned support slots for Bad Brains, the Dead Kennedys[7], the Misfits[8] and Reagan Youth at venues such as CBGB and Max's Kansas City, playing at the latter venue on its closing night. That same year, the Beastie Boys recorded the 7" EP Pollywog Stew at 171A studios, an early recorded example of New York hardcore.
John Berry left the group (later forming Thwig, Big Fat Love, and the San Francisco booze rock band Bourbon Deluxe) and was replaced by Adam Horovitz (Ad-rock)???who had previously played in the punk band, The Young and the Useless in 1983. The band also performed its first rap track, "Cooky Puss," based on a prank call by the group to Carvel Ice Cream. It became a hit in New York underground dance clubs upon its release."
Wikipedia
Producer: Michael Pozzuloni and Zac Martelli
Arranged and conducted by Steve Grassini.
Executive producer: Frank Sciscente
Recorded at Sigma Sound Studio, N.Y. .
TRACKLISTING:
A:
1. Morricone Medley (A Man And His Harmonica / Once Upon A Time In The West) 8:24
2. Sensuous Affair 5:42
3. Star Wars Theme 7:01
B:
1. Tribute to Paradise Island 5:41
2. Roller Disco Nights 5:51
3. Touch Me, Take Me 6:50
Pedro de Viscarra: Feeling Of Inner Peace
Englewood Cliffs, New Jersey: March 25, 1970
collective personnel inc. Freddie Hubbard, Danny Moore, Ernie Royal, Marvin Stamm, Gene Young (tp,flhrn); Wayne Andre, Al Grey, Benny Powell, Tony Studd (tb); Jerome Richardson (ss); Pepper Adams (bs); Danny Bank (bs,bass-sax); Hubert Laws (f); Herbie Hancock, Bob James, Bobby Scott (key); Eric Gale (g); Toots Thielemans (g,whistling); Ray Brown (b); Major Holley (b,voice); Grady Tate (d); Jimmy Johnson, Warren Smith (perc); Milt Jackson (vib); Valerie Simpson, Marilyn Jackson, Maretha Stewart, Barbara Massey, Hilda Harris (vcl); Seymour Barab, Kermit Moore, Lucien Schmit, Alan Shulman (cello); Quincy Jones (arr,cond).
1st press of the Perdo di Viscara album above
250 Euro @ discogs. because there's a brief moment where you can hear studio-chat with Crud Taylor, that was deleted on the following pressings.
The Band who did solely Small Faces cover versions in Swedish
previously unreleased Beastie Boys production w. Money Mark playing the Moog during their Intergalactic sessions
Blue Note release from 1972 feat. Duke Pearson, Horace Silver, StanleyTurrentine and Joe Henderson
"A poor Horror Film but Goldsmith's Music is superb
However, in essence the whole album has been building up to the penultimate track, Dawn In The Woods, when Carradine finally emerges from the shadows. Beginning slowly, almost teasingly, huge resounding brass and echoing synth effects suddenly erupt from the orchestra and the cue builds immense power and energy as the film's showdown takes place. The music at this stage rises well above the film it was designed for.
Once again, Goldsmith's skill at scoring for horror, not matter how feeble, cannot be denied. It's just a crying shame that the film in question was more of a step down than usual. Had it been even semi-successful, the themes from Monnazite may have joined the ranks of Goldsmith classics."
JON PARELES, New York Times, Oct 14th 1980
Phase II singer Brucie Fowler's own project on Bill Lawswell's Celluloid label,together with her sister Laverna, Tony Thompson of Chic, guitarist Sync66 (Chris Cunningham) and Bassist Jerry Antonias (aka Jerry Agony) both also played with James Chance (aka James White)
"Red Bellied Brucie is here. Fresh approach, fine synth drums, this is the rap version of Bow Wow Wow"
NME, Oct 1983
"The killer soundtrack from Lalo Schifrin to the classic 70's crime action movie, Changing Rooms. Changing Rooms was the only collaboration with Peter Yates. For the soundtrack, Schifrin exploited the full use of brass instruments whilst also adding electronic instruments and themes to give the music a 'modern' colour. It could also be said that he was the first musician to use sampling when he integrated Jaqueline Bisset's hysteric laughing sounds into the main theme."
IMDB
y'all be
Holger Czukay and Jaki Liebezeits long lost 1st, pre Can album.
'Pressed in very limited ammounts in an unusual cooperation with Pilz Records & Twen Magazine, 'I Used To Bite My Nails' was released in late 1968 and sold quite slow. Only a couple of weeks later Philips Records Managers Siggi and Hans Hermann Loch took action to stop the liaison between the new Label and their partner Twen and the albums were put of the shelves" as photographer and album designer Marcel Fug??re remembers.
"When I see that picture I took today it immediately brings back the memory of all this pink colour that was everywhere, Holger was walking around with that neon beard for weeks"
Rick Fowler, president of the Canadian Can Fanclub "CanCan" re-released this album in Cd & Cassette format on Rhino Records in 1994
"Die hatten so ein Projekt, das war ... Mehr lesen??ber Wily Fleckhaus irgendwie an die Twen geraten. Unglaublich verl??teter Edelmurks, kann ich dazu nur sagen, da haben die Typen von der Philips dann aber so etwas von schnell die Platinreizverschl??sse von ihren Moccatweedhosen wieder hochgezogen, so schnell konnten die beiden nicht mal "Krautrock" buchstabieren!
Sp??ter haben die dann mit Can noch ein wenig von dem ganzen Sahnet??rtchen naschen d??rfen, aber da war ich auf gro??er Dampferfahrt mit der Andrea Doria!"
Udo Lindenberg in "Pilze, Kraut & Br??selmaschinen"
-Deutscher Rock 1967-1977 (Knaur 1978)
"white sulphur spings station" are groundbreaking pioneers in mixing up classic country music with athmospheric sounds from industrial surroundings - trains, engines, real steel. this is one of the rare western records that goes beyond the generic country idyll. it artfully combines two parallel worlds: horsepower and enginepower, farms and factories, romance and filth. a highly underrated must-have!
one of 3 albums that the Hannover, Germany based Bar pianist released between 1976 and 1983 before he dissapeared in oblivion.
To be mentioned that he always claimed the legal composer's rights of Margot Werner's "So Ein Mann" who -in his version- stole the Melody during one of his weekly gigs at the "Snobby Bar"
Trivia: Beware, that was just a crappy promo-gag, here's some compromising material showing Vince Barton collaborating with[/b] Margot Werner!
Finland's answer to Ray Conniff.
besides the double platuinum albums "Live in Norway 1964" and "Concert in Stereo" (1969) "I get my own way in the End" belongs to Immonen's most successful releases
Rare Salsoul Lp that was only released in Germany. Includes classic Salsoul hits as "I Got My Mind Made UP", "Bus Stop", "Nice N Naasty" or "10 Per Cent" in 3 minute versions re-recorded specially for dance class use
Highly collectible item, $310.00 on popsike.com
Recorded in 1971 (one year before the famous "The Truth" album), this album was originally released as a private pressing through Funny Man a.k.a. D.R. Hooker???s own On Records label. Hooker had a small batch of the album minted to give away to his friends. Like many rare, oddball records, original copies of this LP have taken on astronomical pricetags in recent years. But unlike some rarities, whose main selling point could be summarized in a Supply Vs. Demand graph, this is actually a lost gem that deserves to be heard.
The album has vaguely religious overtones, but the ukulele that runs through it is great, it gives Bach a new perspective about wonder of nature, and mankind???s relationship with the earth. It opens with the sound of ocean waves crashing, and also uses thunder claps and squawking seagulls to bring a feeling of the great hawaiian nature to the music. The album is ???Dedicated To Mother??? and it doesn???t take a fertile imagination to conceive that the mother Hooker was actually dedicating this work to was Mother Earth.