Afterpost (Sndz)

Hello Sundazers one to chill out, a great compilation from Toytronic, Neurokinetic. Rounded warm melodies and sharp cold electrostatic beats work the tension between electronic music and soul .



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VA - Neurokinetic ( Toytronic compilation) (00 ^ 99mb)

01 - Dude - Wave1 (6:40)
02 - CiM - Shift (4:26)
03 - Arovane - Actrel (5:43)
04 - Funckarma - Nushuz (2000 Mix) (5:12)
05 - Mr. Projectile - Impregnator (7:10)
06 - Gimmik - Wavefiles (5:43)
07 - Abfahrt Hinwil - Syntax Data (3:30)
08 - M - Francoise (1:07)

VA - Neurokinetic ( Toytronic compilation) 2 ( ^ 94mb)

09 - Multiplex - Compuphonic (Edit) (3:53)
10 - Num Num - Fictional Reality (5:06)
11 - Proem - Glass (4:21)
12 - Quench - Charge (5:31)
13 - Novel 23 - Blink Run Away To East (3:42)
14 - M-Tec - Nitch (5:33)
15 - Digitonal - Drencrom (4:24)
16 - Fizzarum - Microphorus (5:22)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Poem: Derek Walcott

I haven't posted a poem in a long while, so here's one of my favorites, by (at left, from Derek Walcott, Dead White Males), which I first came across when I was a teenager.

No exigesis necessary, I think; as is the case with so many of his poems, from the earliest, of which this is one of the finest examples, to the most recent, it speaks powerfully for itself.

AS JOHN TO PATMOS

As John to Patmos, among the rocks and the blue, live air, hounded
His heart to peace, as here surrounded
By the strewn-silver on waves, the wood's crude hair, the rounded
Breasts of the milky bays, palms, flocks, and the green and dead

Leaves, the sun's brass coin on my cheek, where
Canoes brace the sun's strength, as John, in that bleak air,
So am I welcomed richer by these blue scapes, Greek there,
So I shall voyage no more from home; may I speak here.

This island is heaven--away from the dustblown blood of cities;
See the curve of bay, watch the struggling flower, pretty is
The wing'd sound of trees, the sparse-powdered sky, when lit is
The night. For beauty has surrounded
Its black children, and freed them of homeless ditties.

As John to Patmos, in each love-leaping air,
O slave, soldier, worker under red trees sleeping, hear
What I swear now, as John did;
To praise lovelong, the living and the brown dead.

Copyright © 2007, Derek Walcott, from Selected Poems: Derek Walcott, edited by Edward Baugh, New York: Farrar Straus & Giroux, p. 4. All rights reserved.

Afterposts (1)

Hello, as announced last week i'm going to take it a lot easier from now, that's not to say i'll stop posting..i still have months to go on the canadia 2056 series and besides that i've chosen a new format, Afterposts. This means i'll be extending previous posts with more titles, these will appear at the frontpage and later be integrated into the previous post... I noted that zShare has been off line these last days, i hope they can fix their problems soon, if not ..sigh

Today as it's a case of needing to kick the habit, i still have a trio for your pleasure...and looking at last tuesdays interest for Sherwood's On-U Sound Crash Mix, which i admit triggered some for me aswell and has me posting three titles from the ON-U crews, first up Gary Clail he was the warm up at On U gigs and as it turned out had plenty to say about the politics of scarcity and he back his mouth sang about where his heart is and its befitting that currently he's doing just that what he sings about in the opening track of the album here, providing food clothes and shelter..he made 4 albums backed by the On-U Sound System (=TackHead) Emotional Hooligan is an apt title and crocodile eyes my favourite track....Next up Andy farley , he came the same way as Gary Clail..on the trail from Mark Stewart all from Bristol, Andy's distictive voice became big in Japan as his introductions to On U work were welcomed warmly..He like Gary Clail cared about the world and all the injustices going on, in the end he made one solo album Vertigo and after that slowly retreated towards Bristol where he died late into the nineties. Poet sensetiveties probably had much to do with that untimely death, but he left us his voice and safe mentioned contributions one 12"and an album.....finally the guys who backed the artists mentioned above, TackHead (=slang for homeboy) under the direction and production of Adrian Sherwood, never more so then here on the Sound Crash slash and mix by Sherwood, who was very exited and satisfied about the result, let your speakers go all out too...

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Gary Clail & On-U Sound System - The Emotional Hooligan (91 ^ 140mb)

Gary's preceding On-U life, held career in roofing, used cars, hanging round with gypsies before Mark Stewart introduced him, (as he did Andy Farley) to the On U scene. During the mid to late eighties Gary Clail became a regular warm-up for all types of On-U gigs - with his crowd calls This came both as a welcome relief for devotees of On-U Sound and also as an unexpected bonus. The real impact of Gary was to introduce and roadtest new On-U rhythms and tunes, and also to reversion old favourites. He usually lived in the studio when he was not on the road.

Gary made his first vinyl appearance back in October 1985 on the thinly veiled speed track "Half Cut for Confidence" By the following year Gary appeared on the World Label, the imprint was a venture between the TackHead boys and John Loder of Southern Studios, the tune was "Hard Left" with Gary taking the main credit. 1988 saw the release of "Reality" with the credits reversed and Gary as featured vocalist. Gary then went on to negotiate future material through Paul Oakenfold's Perfecto label. This union was to result in "a consummation devoutly to be wished", Gary's actual appearance on TOTP, together with the wonderfully over the top Alan Pillay, when "Human Nature" became a number 10 UK chart position (by far the highest placing for an On-U act in its own right).

The "End Of The Century Party" album was basically Tack>>head complemented by a few mates with Gary as lead vocalist. The name TackHead Sound System could no longer be used as the band were shaping up for their, eventually, abortive major label flirtation.. The On-U Sound System proved a good substitute as that was actually what Gary was doing in the first place! The album was a follow-up to "TackHead Tape Time" effectively a greatest hits compilation released the year earlier via Nettwerk. "Beef" opened up the set and was to be radically reworked for its appearance as Gary's first single on Perfecto.

Continuing Gary's long-running theme of delivering lyrics concerning socially concious current issues "Privatise Pts 1 & 2" was particularly hard-hitting. Indeed the issue of privatisation was at its height under the Thatcher administration with the question raised "where would it all end?". Gary Clail's presence on the On-U Sound scene from the late eighties certainly brought a new feeling of energy to the live gigs and although is vocal stylings can be objectively said to be limited, he certainly got the best out of his bag for these tunes and the earlier singles.

While Gary's time under the wing of BMG / Perfecto probably brought him his biggest commercial successes, helped in no small part by the remixing talents of Paul Oakenfold and Steve Osborne in giving some of his tunes more dancefloor friendly edges, the partnership was to be short lived. While BMG's first "Emotional Hooligan" album in 1991 sold well, a combination of Clail's unrealistic belief that he was now a fully-fledged pop star, coupled with a lack of new musicial direction and particularly his record companies increasing dis-interest in promoting him saw an acrimonious parting in 1993. In particular the almost complete lack of promotion of the following "Dreamstealers" album left a bitter taste of major label dealings in both Clail's and Sherwood's mouthes.

A new deal was struck with Yelen Musiques in France for 1995's album "Keep The Faith" which was generally well received and featured more of Clail's characteristic lambasts against injustices of the world before he slipped quietly out of the music scene in the late 1990s. He went on to buy a church in Penzance, England convert it into a guest house and then run it for several years. The most recent word is, however, is that he is living on a boat at Saltford, between Bristol and Bath, and is working at a hostel for homeless people in Bath.



01 - Food, Clothes And Shelter (4:18)
02 - Pt. 2 Monk Track (5:11)
03 - Escape (4:20)
04 - The Emotional Hooligan (3:43)
05 - Magic Penny (2:49)
06 - Human Nature (Oakenfold & Osborne On The Mix) (6:15)
07 - Crocodile Eyes (4:25)
08 - Rumours (4:40)
09 - Beef (The) (Oakenfold & Osborne's Future Mix) (5:30)
10 - Temptation (Parts 1 & 2) (9:58)
11 - False Leader (Parts 1 & 2) (8:42)

diet verson
Gary Clail & On-U Sound System - The Emotional Hooligan (* 99mb)

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Andy Fairley - System Vertigo ( 92 ^ 99mb)

A somewhat mysterious figure, Fairley came to the attention of Adrian Sherwood at On-U Sound via the Mark Stewart and Gary Clail Bristol connection. During the 1989-1993 period his voice was a familiar feature of Sherwood productions for particularly Gary Clail, Dub Syndicate and Keith LeBlanc and numerous other one-off guest appearances. When not reciting his own verse in full, he was often sampled for use in-the-mix, often regaling the sonic qualities of the recording or giving a MC-like shout to the artist, On-U Sound or Sherwood personally. Andy Fairley was not so much a musician or a singer as a modern-day poet. A shrewd observer of the injustices and insanities of the modern world, his prose often tackled head-on issues of the moment such as the state of politics, privatisation and the plight of the underclasses.

The Japanese radio station J-Wave 81.3 at one time broadcast an exclusively On-U Sound show, Tunes From The Missing Channel, once a month. Sherwood and the On-U crew of the time consequently became very involved with providing fresh content and guest presenters for it. Fairley provided a whole series of samples exclusively for use on the show, and some of these went on to appear as linking sequences on the eternally hard-to-find 1993 spin-off "Tunes From The Missing Channel" compilation released only in Japan .

Andy was introduced to On-U Sound by Gary Clail in the mideighties, this lead to him making contributions(voacal samples) to the Tackhead tape Time album in the mideighties. This lead to further contributions, even writing credits on Keith Leblancs/Tackhead album Stranger Then Fiction. In 89 he featured on gary Clail's End Of The Century album a year later his first 12 " was issued , backed by DubSyndicate, Lack Of Education/Precinct Of Sound.

Andy's only credited 'solo' album was the underrated 1992 "System Vertigo" set (ON-U LP61) - essentially a collection of his writings set to solid rhythms built by Sherwood et al. at On-U Sound. Like so many On-U contributors before him, Fairley left the fold in the mid 1990s and vanished back into the Bristolian ether from which he had emerged. Sadly little else was heard from or about him until news of his death seeped out in 1999. An unmistakable, irreplaceable and much missed wordsmith had taken his last breath of the as yet unprivatised air.



01 - I Stopped The Clock (4:34)
02 - System Vertigo (4:23)
03 - Ghost (4:10)
04 - The Election (Part 1) (6:02)
05 - You Look At Life (4:56)
06 - Precinct Of System (2:17)
07 - Audio Visual Attack (3:58)
08 - The Election (Part 2) (2:15)
09 - A Nation Responds (0:30)
10 - Fun + Games (1:22)
11 - The Song Of The Phoenix (2:17)
12 - False Starts (4:28)

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Tackhead - Sound Crash (Sherwood's Slash & Mix) ( 06 ^ 99mb)

In the late 1970s, Wimbish, Leblanc and McDonald were members of the house band for the Sugarhill Records record label and the trio of hip-hop artists known as Sugarhill Gang. They were also the musicians playing behind DJ Grandmaster Flash's 1982 hit "The Message" (the vocal was by Melle Mel) and another hit "White Lines".

During a visit to New York City, to help with a remix, London-based producer Sherwood (already noted in the dub music scene) met Leblanc, and they began to collaborate. Soon the trio of Wimbish, Leblanc and McDonald were producing tracks on Sherwood's On-U Sound record label. One of their earlier collaborations was as "Mark Stewart and the Maffia", which featured Stewart, former member of The Pop Group on vocals and their first LP produced under that name As the Veneer of Democracy Starts to Fade was amongst the most industrial, noise-oriented and uncompromising of the group's output.

Later to join forces with Tackhead, was Gary Clail, who as MC for the touring version of the On-U sound system would shout and rant over Tackhead's live playing, and both were then mixed live by Sherwood to produce a wall of sound effect that was highly novel for the mid-1980s. They released one LP Tackhead Tape Time in 1987 as "Gary Clail's Tackhead Sound System" and some of the most distinctive and well-known Tackhead tracks (some were released as 12-inch singles) date from this period particularly: "What's My Mission Now?", "Mind at the End of the Tether" and "Hard Left". These tracks combined funk basslines, hammerblow percussion and Sherwood's trademark sample-laden dub production and represent the defining Tackhead sound.

During this period Leblanc also produced two solo LPs: Major Malfunction (1986) (inspired by the Space Shuttle Challenger disaster) and Stranger than Fiction (1989), which although credited to Leblanc, featured all the rest of members of Tackhead. Around this time the group began to gell as a band, and started adding vocalists to what had been up until then a largely instrumental affair. On the first Tackhead LP, proper, Friendly as a Hand Grenade, vocalist Bernard Fowler joined the line-up and many older instrumental tracks re-appeared with lyrics. In 1990 Tackhead mounted a world tour which probably marked the zenith of the band's commercial success. The follow up album, 1991's Strange Things (the first on a major label, EMI), despite some praise for harder-edge singles such as "Dangerous Sex" and "Class Rock" was not as well received by critics. Many followers of the group were disappointed by the more restrained production, less industrial and more mellow R&B elements. Yet the album was still experimental enough that it did not gain as wide an audience as had been hoped and the band was dropped from their record label shortly after.

Despite not recording any new material as Tackhead since, group members continued to record as the backing band or along with various Sherwood-led On-U Sound productions artists such as Gary Clail's solo efforts, African Head Charge, Dub Syndicate, New Age Steppers and others. Subsets of the group have also appeared in various guises such as the Strange Parcels, Barmy Army and the blues-oriented Little Axe. In addition to continuing to collaborate with Sherwood and the On-U Sound record label, each of the other members continues to lead active solo careers. Wimbish has recorded solo material as well as forming the short-lived Jungle Funk, a live drum and bass outfit, and is in demand as a session bass player. McDonald leads the Little Axe project, and Leblanc runs a record label and plays with a jazz outfit, Noah Ground.

"It's so good, you're gonna cry." That's what Adrian Sherwood said when he finished mixing 'Tackhead Sound Crash', a compilation mix like the 'On-U Sound Crash' Adrian did for Beat Records in Japan. Adrian Sherwood considers 'Tackhead Sound Crash' to be a totally new record. "It's the best Tackhead thing ever", says Adrian. "It's wicked." He totally reworked



01 - Intro "Free" (0:48)
02 - Mind At The End Of Its Tether (1:30)
03 - What's My Mission Now? (2:06)
04 - Ghost (1:47)
05 -Mind At The End Of Its Tether Pt. 2 (1:07)
06 - 1/2 Cut For Confidence (0:55)
07 - Ticking Time Bomb (2:02)
08 - Heaven On Earth (0:44)
09 - Ticking Time Bomb Pt. 2 (0:12)
10 - Heaven On Earth Pt. 2 (0:47)
11 - Mechanical Movements Pt. 2 (2:21)
12 - I Stopped The Clock (0:53)
13 - Bop Bop (0:52)
14 - King Of The Beat (3:01)
15 - Move It (0:09)
16 - Body To Burn (0:16)
17 - D.J. Programme (3:42)
18 - Disconnection (2:51)
19 - Rochester (1:55)
20 - Audio Visual Attack (1:07)
21 - Man In A Suitcase (2:22)
22 - Dreamworld (0:57)
23 - Get This Beloved (0:36)
24 - Gamesmanship (1:52)
25 - Get Move Of This (1:38)
26 - Einstein Pt. 2 (2:18)
27 - Hard Left (1:59)
28 - No Hands On The Wheel (0:47)
29 - Listen Good Drummers (0:57)
30 - Free Again (0:46)
31 - This Is The Night (1:38)
32 - Bastard Son Of Fats (1:19)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Revenu + Congrats + Sports + Hayden White on "The Practical Past"

Mucho tiempo, no hé blogeado. Or something along those lines. I'll attribute it to too much going on, especially in the larger world (cf. the ongoing economic maelstrom, the presidential election, etc.), though I do still have blog posts ready in my head every morning. The problem is that by midday and especially after I'm heading back from the work, the energy to write them is gone. So here goes another attempt to jumpstart things again.

***

After vacillating I ended up watching the third and final Presidential debate, which was much more of a debate, or at least a conversation (if only one way), than the previous three dis/infomercials for the crisis in our political system. As I'd felt with the first, I found it tough to watch, primarily because I cannot stand to witness people lying and blathering hypocritically and badgering as John McCain is wont to do, without any challenge, as Barack Obama is wont not to do. But, as I'd also noted about the first debate, Obama's approach is obviously the correct one for what he hopes to achieve in 19 days, which is to secure the votes of undecided voters and independents, who constitute the bulk of the focus groups the networks love to assemble, and thus become President of the United States, so props to him. He won the snap polls, he's increasing his lead in key states, and he looks ever more certain to gain enough electoral votes to become the 44th leader of this nation.

McCain's mugging, snorting and eye-bugging, his calumnies about William Ayers and ACORN, his bizarre scare quotes around women's "health" on the issue of late term abortions, and his annoying invocation of the Republican-plant and con man, "Joe the (Unlicensed, Tax-Owing, Keating-Related) Plumber" Wurzelbacher, would probably have set a less cool opponent off live. But Obama smiled, continually turned and addressed him respectfully, and, as was the case with the previous two debates, won the show.

I will be glad when Election Day comes and goes. Waiting this thing out is wracking my nerves; the previous weeks' seesawing poll numbers have taken an emotional toll. A few days I voted by absentee ballot, and I've been glad to see that large numbers of voters are taking advantage of early voting where it's available. (It is possible to do so in Illinois, but not New Jersey, which does thankfully have an excuse-free absentee voting.) Voting issues and standards really should be standardized at the federal level, however. Every state should have early voting, excuse-free absentee voting, automatic registration of ALL adults (regardless of convictions), severe penalties for caging and unexplained voter roll purging, electioneering, and voter intimidation of any sort, and standardized voting equipment and verifiable paper trails for all votes.

Since that hasn't happened already, I can foresee all sorts of Election Day and Night shenanigans, especially in states like Ohio, Florida, Virginia, and Indiana, where the GOP has already tried its best to hinder the successful, massive registration drives by Obama and the Democrats. Let's hope that Obama and Biden, along with their down-ticket allies, have collected enough votes in enough states to make Republican trickeration less of a problem than it could be.

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Lots of congratulations to go around. Let's start with people I know. My very dear colleague, writer Reg Gibbons, was one of five poets nominated for a National Book Award in poetry this week, for his book Creatures of a Day (LSU Press). Reg is one of the finest poets and people I know, so it was wonderful to see this news. Nominated in the same category is the powerhouse wordsmith Patricia Smith, whom I first met through her newspaper columns and then at the Dark Room reading series years ago in Boston. Now one of Cave Canem's doyennes, her book on the Hurricane Katrina survivors, Blood Dazzler (Coffee House Press), also received a nomination. In the fiction category, another colleague, Aleksandar Hemon, was nominated for his new and widely praised novel, The Lazarus Project (Riverhead). The National Book Awards are one of the most important, multicategory national book awards, so I know all three of these writers, like all the nominees, are really soaring right now.

Congratulations also to someone I don't know but do read regularly, Princeton professor Paul Krugman, who received the Nobel Prize in economics on Monday for his groundbreaking work on trade theory and the new economy. For a minute I wondered if the award wasn't also a fillip to the current Misadministration in Washington, and it might be, but everything I've come across suggests that Krugman's achievements in his field are substantial and lasting. As a blogger--is he the first Nobel blogger?--and columnist, which is to say, as a public intellectual of a new kind, he's been invaluable. Even when I've disagreed with him on issues, like his once-harsh criticisms of Obama, I still have respected his incisive grasp of the issues in general.

Congratulations also to the Hurston-Wright Award winners: in fiction, Junot Díaz, The Brief Wondrous Life of Oscar Wao (Riverhead Books); in nonfiction, Edwidge Danticat, Brother, I'm Dying (Knopf); debut fiction, Kwame Dawes, She's Gone (Akashic Books); and in poetry, Kyle Dargan, Bouquet of Hungers (University of Georgia Press)! And congrats as well to the two poetry finalists, A. Van Jordan and Remica Bingham!

And lastly, congrats to a brilliant person who just cleared one of the final hurdles in her ongoing intellectual journey. The good news was "music," I'm sure, to her ears.

***

I'd hoped to be able to offer congratulations to Marcelo Cerqueira, professor, activist, and the president of Grupo Gay da Bahia, who was vying to become a city councilor (vereador) in Salvador, Brazil, on the Green Party ticket. Marcelo unfortunately was not elected, but he has run in the past and I hope he keeps running, if he can, until he's finally seated. His work on behalf of LGBTQ and human rights is quite substantial, and he would add an important voice to the city's and region's administration. So boa sorte for the future, Marcelo, and please keep doing the good and hard work!

***

No Cubs no White Sox, don't blame me. I wasn't engaging in, as a friend calls it, hateration. I truly wanted to see an El Series for a change. With the White Sox winning, of course. That would, however, require that the Cubs not disappoint. Instead, Philadelphia's Phillies now hold the National League pennant, after a 28-year drought, and they will face the winner of the AL championship, either Boston or the Tampa Bay Rays. One of these latter two teams, not located in Florida, has won the World Series twice in the last five years, and is iconic in a city whose sports clubs seems to win championships at will these days, so I hope they do not return for another go-round this time. Philadelphia vs. Tampa Bay would probably be a broadcaster's nightmare (who but their fans and hardcore baseball acolytes would watch?), yet given the two squads, it could be quite thrilling, especially if you are like watching home runs leave the ballpark. The Rays will have to not squander leads like they did tonight, losing the Red Sox 8-7 after being up 7-0 at one point. Give up a run and they'll take a....

***

Yesterday evening before catching the debate I went to see the historian and critic Hayden White lecture on "The Practical Past." My very dear friend Phoebe M. turned me onto White's work decades ago, after I'd graduated from college and thought I knew all I need to about history, including intellectual history, only to learn that I didn't know a hell of a lot, particularly regarding postmodern approaches to that field. Enter White. And so my education continued and continues. His talk concerned the role of what he called, drawing upon the philosopher Michael Oakeshott's definition, the "practical past," to which he drew a distinction with the "historical past," which was, he suggested, again employing Oakeshott, the collective past, objective and purposive in aim, constructed and written by professional historians, and unmarked by such things as the encapsulated past (scars, wounds, traumas), our own deeply internalized skills and practice, the remembered past (discrete memories), the recollected past (research, recall, etc.), survived fragments of the past (artifacts, images), and so forth. In other words, a past that could stand up to questions of truth and falsity, its authenticity guaranteed, in ways the practical past cannot always be, by professional historians. White took the discussion down various byways, beginning with the history of history as a field and its attempts to become a science, in part to explore the relationship between history as it's currently written and written about, as a field aspiring towards the scientific without an intent or aim to provide a guide to the present or future, a role history once served (alongside other modes of knowledge, such as religion and metaphysics, natural science, etc.), and its familial relation, fiction, whose predictive powers are all too evident but, as a non-scientific field, bracketed off from the science of history (as in, history as a social science, as opposed to a genre of the arts and precursor of fiction and the novel) per se.

One area in particular, however, where White saw a convergence, and controversy, was in "witness literature," which involved the "practical past" in similar ways to fiction--and he cited "postmodern" (though he also rightly called them "modern") novels such as Toni Morrison's Beloved and W. G. Sebald's Austerlitz as excellent examples of works that drew upon varying aspects of the "practical past" in order to tell readers what they craved at times from history: how the past felt, and what we might look out for with regard to the future. What did American slavery during the period of Margaret Garner's life feel like, certainly an unanswerable question, except that through fiction, we might experience the physical embodiment, through our intellectual, emotional and psychological apperception of it in Morrison's text, as readers. As most fiction writers know, truth claims concerning fiction function differently from the ways they do with nonfiction (cf. Rigoberta Menchú, James Frey, Benjamin Wilkomirski, etc.), and depend upon the internal laws established by the work itself. Modern(ist) and postmodern fiction, whether realist or not, proceeds from the questioning of the real, however designated, and the illusory, often calling the artifice involved in the work's production and its aesthetics and poetics into question, and explores the boundaries or lack thereof between them, underpinning something critics have known since the beginning of storytelling: anything is possible in fiction if you can make it work, whether it defies all physical and other laws as we know them. The historical past, as written in nonfictional history works, deals with questions of truth and falsity; it tell us, by various means (empirical, statistical, narrative, etc.), what was, what existed, what happened. Or it tells us that we do not know what happened, and to reconstruct that absence would require, beyond reasonable speculation, to move into the realm of...fiction. White's interest in witness literature, then, pressed upon this boundary, asking, as I read it, how we might assess testimony, as history, that was undeniably real, to the speaker, yet perhaps not factually true, not documentable, not authenticable by historians. Because the aims of this literature, which includes works that hover between genres, like Primo Levi's Survival in Auschwitz, in part was to assert truth, but also to make us feel what those who witnessed the experiences, who lived them, felt.

All of this got me thinking quite a bit about postmodern realism in fiction, especially in relation to history and historical aspects of fiction--and naturally enough, since I have been working directly in this vein for some time now--and how I might think with greater complexity about issues of truth, realism, the poetic utterance and its possibilities, and the invocation and use of the "practical past," which, he noted, is evoked and called upon every single day in so many ways. He noted Hillary Clinton's and Barack Obama's usage of it in their references to the historical aspects of their candidacies, but I also thought about how central it is to a great deal of what fills my TV and computer screens when they're not turned off. I'm still mulling over the many other fascinating things he said, and I've probably badly summarized them here, so if I can find a link to the paper from which he riffed his remarks, which also included pictures (including of a painting of the "gay saint," "Saint Sebastian" by Il Sodoma [the Sodomite, painted in 1525 and pictured above] and its use by Levi to describe a fellow prisoner about whom he had the most complicated feelings, Henri (Paul Steinberg)), references to Kant and Heidegger, and lots of pacing and pauses, I shall. Which will, of course, constitute an artifact, like my notes, constituting...the "practical past."

Into The Groove (50)

Hello, the last Rhotation post is coming up ..I couldn't leave out Prince from the Into the Groove theme, he's totally dominated the eighties and still sells millions of tickets and albums, a creative genius, sadly captured by a religious sekt at a time of personal trauma..the loss of his thusfar only child..Any way these days his goons police the internet as reproduction of images is against the will of his god Jehovah..sadly that creature is a deranged alien general who's beset this world with endless ruins..with the help of his luitenants, Gabriel being the best known, he btw dictated the Koran to Mohammed. The reason is simple, had those initial servants made images of their 'lord' we would have known what he really is, to mask all that an across the board ban was issued....but i digress here. Prince's heyday for me were his days with the Revolution, i bought a lot of his work then, so a compilation of some of his 12 "singles looked a good idea, i managed to obtain an original Black Album back then aswell, had good connections those days, so i post it here aswell....Prince apparently shocked himself somewhat with that album and so his next official releases were much more soft and erotically tinged , specially the Scandalous Suite EP and the dreamy I Wish You Heaven..

The thirty year career of a very productive artist like Prince is hardly easy to summise, books have been written about his career, so this tale here, though long for Rhotation norms, remains an overview..

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Prince Rogers Nelson was born in Minneapolis, Minnesota, on 7 June 1958, to John L. Nelson and Mattie Shaw. John was a pianist and songwriter, and Mattie was a singer. He is named after the Prince Rogers Trio, his father's jazz band, and as a boy he was called Skipper. After the birth of his sister Tyka in 1960, Prince's parents gradually drifted apart. After they formally separated, he had a troubled relationship with his stepfather that resulted in his running away from home. Prince lived briefly with his father, who bought him his first guitar, and later he moved in with a neighborhood family, the Andersons, befriending their son, Andre Anderson ( André Cymone).

Prince and Anderson joined Prince's cousin Charles Smith in a band called Grand Central that they formed in junior high school. His initial contributions were as an instrumentalist in what was a mainly instrumental band that played clubs and parties in the Minneapolis area. As time went by and Prince's musical interests broadened, he found himself producing the arrangements for the band. Before long he became the band's front man. By the time Prince entered high school, Grand Central evolved into Champagne and started playing original music already drawing on a range of influences including Sly & The Family Stone, James Brown, Earth Wind & Fire, Miles Davis, Parliament-Funkadelic and Jimi Hendrix. At one point Prince was a student at the Minnesota Dance Theatre.

In 1976, he started work on a demo tape with producer Chris Moon in a Minneapolis studio, with the patronage of Owen Husney, who ran a campaign promoting Prince as a star of the future, the resulting bidding war was eventually won by Warner Bros. Records, that offered him a contract and were the only label to give Prince creative control of his songs. Prince released his first album, For You, on 7 April 1978. For You was the first major-label album released by Prince, his first of many for Warner Bros. Tommy Vicari was the executive producer. This album, like most of his career, was not recorded with a band; Prince purportedly played all 27 instruments on the album though they were different types of string, percussion, and keyboard instruments.The majority of For You was written and performed by Prince. This was the first of Prince's albums containing the now ubiquitous legend: "Produced, Arranged, Composed and Performed by Prince." Prince spent twice his initial advance recording the album, which sold modestly and made the bottom reaches of the Billboard 200. He used Prince's Music Co. for publishing the songs from this album.

By 1979, Prince had recruited his first backing band featuring Andre Cymone (Anderson) on bass, Gayle Chapman and Doctor Fink on keyboards, Bobby Z on drums, and Dez Dickerson on guitar. Prince intentionally enlisted a multi-racial, mixed-gender group, much like the backing band of one of his greatest influences, Sly Stone. In October 1979, Prince released his self-titled second album Prince, which reached #4 on the Billboard R&B charts, and contained two R&B hits. In 1980, Prince released Dirty Mind, again entirely self-recorded and released using the demos of the songs. On tour, Lisa Coleman replaced Chapman in the band, who felt the sexually explicit lyrics and stage antics of Prince's concerts conflicted with her religious beliefs. He released the album Controversy in 1981, with the single of the same name charting internationally for the first time. In February of 1981, Prince performed "Partyup" on the now-infamous season six episode of Saturday Night Live hosted by Charlene Tilton . Starting with the album Controversy, Prince used Controversy Music for publishing his songs, which he would use for his following sixteen records until Emancipation in 1996.

In 1981, Prince formed a "side project" band called The Time, that released four albums between 1981 and 1990, with Prince writing and performing all instruments and backing vocals throughout. The band's vocals were led by Morris Day. In the eighties Prince would also collaborate with Vanity, Apollonia and Sheila E. He also wrote hits for artists such as Sheena Easton, Celine Dion and The Bangles. Prince's own recordings would be covered in hit versions by diverse artists. In 1982, Prince released the 1999 double-album which "broke" Prince into the mainstream in the US and internationally, selling over three million copies. The title track was a protest against nuclear proliferation and became his first top ten hit internationally. Around this time Prince began crediting his band as The Revolution, which consisted of Dez Dickerson on guitar, Lisa Coleman and Doctor Fink on keyboards, Bobby Z. on drums, and Brown Mark on bass. Dickerson left the band and was replaced by Wendy Melvoin, a childhood friend of Lisa. The band members were known for being solid musicians and a strong live act, nevertheless their talents would be used sparsely in the studio.

Prince's 1984 album, Purple Rain (concurrent with the film of the same name) sold more than thirteen million copies in the US and spent twenty-four consecutive weeks at #1 on the Billboard 200, and the Academy Award-winning film grossed more than $80 million in the US alone. Two songs from Purple Rain, "When Doves Cry" and "Let's Go Crazy," topped the US pop singles charts and were hits around the world, while the title track reached #2 on the Billboard Hot 100. Prince simultaneously held the spots #1 film, #1 single, and #1 album in the US. It was the album's song "Darling Nikki" which inspired Tipper (unconvenient truth) Gore to found the Parents Music Resource Center. The center has enacted the mandatory use of a warning label ("Parental Advisor, Explicit Lyrics") on the covers of records that have been judged to contain language or lyrical content unsuitable for minors.(obviously she'd never listened to Frank Zappa before..wink).

In 1985, after the U.S. Purple Rain Tour, which was a smash hit in the US and Canada, Prince released Around the World in a Day, which held the #1 spot on the Billboard 200 album chart for three weeks. In 1986, Prince released the album Parade. The first single, "Kiss," would top the Billboard Hot 100. At the same time, "Manic Monday" by The Bangles, which Prince had written under the pseudonym "Christopher Tracey," reached #2. Christopher Tracy was the name of Prince's character in the movie "Under The Cherry Moon," for which Parade served as a soundtrack. Prince both directed and starred in the movie, which largely flopped. Following the film and album, Prince returned to touring with a stripped-down show, he embarked on his first full scale European Tour in the summer of 1986. He closed the tour in September in Japan, his first appearances in the country. At the end of the tour, Prince disbanded The Revolution, although retaining band member Matt Fink on keyboard. Added to the backing band was Boni Boyer on keyboards, Sheila E on drums, Levi Seacer, Jr. on bass, and Miko Weaver on guitar.

Sign o' the Times, released in 1987 as a double album, reached the Top Ten of the Billboard 200 and achieved the greatest critical acclaim of his career, The double album was a synthesis of three projects from 1986, including some work with The Revolution. The bulk of the tracks originate from the final Revolution project known as Dream Factory and a later solo project called Camille. These projects, along with some other songs merged into a 22-track, 3-LP opus called Crystal Ball. Prince's record company, Warner Bros. Records, balked at the idea of a 3-LP album, and forced Prince to trim the album down. The result was Sign O' The Times, which quickly became widely regarded as Prince's magnum opus amongst fans and critics alike.was the best album of the 1980s. Following the albums' release, Prince launched the Sign o' the Times Tour in Europe

In 1987, Prince planned to release The Black Album, a funk-oriented album whose erotically-charged lyrics and club-focused beats were perceived by many as his attempt to woo back the black audience he was supposed to have lost as a result of his mid-80s forays into pop, hard rock, and psychedelic rock. The album remains legendary in Prince's career after its release was canceled at the artist's behest mere days before its release date. Though many already manufactured copies were supposed to be destroyed, several escaped and became the source for numerous bootleg editions. The album circulated through the bootleg underground music world and was not given an official release until 1994.

The 1988 album Lovesexy is considered Prince's "spiritual" answer to the "dark" The Black Album. Lovesexy performed disappointingly on the US charts, reaching only #11 on the Billboard 200, but it reached #1 in the UK. In 1989, Prince provided and released the soundtrack for Batman, which returned him to #1 on the US album charts. The worldwide hit-single "Batdance" reached #1 on the Billboard Hot 100, while another track, "Partyman," became a popular song with the film's audiences. In 1990, Prince released the film Graffiti Bridge, a sequel to Purple Rain that performed poorly at the box office. The release of Diamonds and Pearls 1991 gave Prince his fifth US number one single with the song "Cream." Diamonds and Pearls debuted Prince's new band, the New Power Generation, that featured rapper Tony M., Rosie Gaines on vocals, Michael Bland on drums, Levi Seacer on guitar, Sonny T on bass, and Tommy Barbarella on keyboards.

Prince's twelfth album was titled with an unpronounceable symbol (later copyrighted as Love Symbol #2).[15] It reached the top ten of the U.S. album charts. In 1993, he also changed his stage name to the Love Symbol, which is a combination of the symbols for male (♂) and female (♀). Because the symbol was/is unpronounceable, he was often referred to as "Symbol," "The Artist Formerly Known as Prince," or simply "The Artist." In 1993, at the request of Warner Brothers, Prince released a 3-CD greatest hits compilation entitled The Hits/The B-Sides. Two new songs, first "Pink Cashmere" and then "Peach," were chosen as promotional singles to accompany the compilation album. Unfortunately, neither the album nor singles performed as well in sales as Warner Bros. had hoped

n 1993, during negotiations regarding the release of Prince's album The Gold Experience, a legal battle ensued between Warner Bros. and Prince over the artistic and financial control of Prince's output. During the lawsuit, Prince appeared in public with the word "slave" written on his cheek.In 1994, Prince's attitude towards his artistic output underwent a notable shift. He began to view releasing albums in quick succession as a means of ejecting himself from his contractual obligations to Warner Bros. The label, he believed, was intent on limiting his artistic freedom by insisting that he release albums more sporadically.

Chaos and Disorder, released in 1996, was Prince's final album of new material for Warner Bros., as well as one of his least commercially successful releases. Prince attempted a major comeback later that year when, free of any further contractual obligations to Warner Bros., he released Emancipation. The album was released via his own NPG Records with distribution through EMI. While certified platinum by the RIAA, some critics felt that the sprawling 36-song, 3-CD set (each disk was exactly 60 minutes long) lacked focus, and might have worked better as a single or double disc. Prince released Crystal Ball, a 4-CD collection of unreleased material, in 1998. The distribution of this album was disorderly, with some fans pre-ordering the album on his website up to a year before it was eventually shipped to them, and months after the record had gone on sale in retail stores. The Newpower Soul album released three months later failed to make much of an impression on the charts.

In 1999, Prince once again signed with a major label Arista Records to release a new record, Rave Un2 the Joy Fantastic. In an attempt to make his new album a success, Prince gave more interviews than at any other point in his career. Nevertheless Rave Un2 the Joy Fantastic failed to perform commercially. A few months earlier, Warner Bros. had also released The Vault: Old Friends 4 Sale, a collection of unreleased material recorded by Prince throughout his career, and his final recording commitment on his contract with Warner Bros.

On 16 May 2000, Prince ceased using the Love Symbol moniker and returned to using "Prince" again, after his publishing contract with Warner-Chappell expired. For several years Prince primarily released new music through his Internet subscription service, NPGOnlineLtd.com (later NPGMusicClub.com). Two albums that show substantive jazz influence were available commercially at record stores: 2001's The Rainbow Children and, later, the 2003 instrumental record N.E.W.S. In 2002, Prince released his first live album, One Nite Alone... Live!, which features performances from the One Nite Alone tour. The 3-CD box set, which also includes a disc of "aftershow" music entitled It Ain't Over!, failed to chart. During this time, Prince sought to engage more effectively with his fan base via the NPG Music Club, pre-concert sound checks, and at yearly "celebrations" at Paisley Park, his music studios.

In April 2004, Prince released Musicology through a one-album agreement with Columbia Records. This deal gave Prince most of the royalties, the album did well in the charts. The supporting Musicology tour was 2004's most profitable grossing $ 88 million. Further highlighting the success of the album, Prince's Musicology went on to receive two Grammy wins. In late 2005 Prince signed with Universal Records to release his album, 3121, on 21 March 2006, it became an immediate success and gave Prince his first #1 debut on the Billboard 200 . In November 2006, Prince opened a nightclub named 3121 in Las Vegas at the Rio All-Suite Hotel & Casino. He performed weekly on Friday and Saturday nights until April 2007 when his contract with the Rio ended. August 2006, Prince released Ultimate a double disc set containing one CD of previous hits, the other of extended versions and rareties.

On 8 May 2007, Prince announced that he would play 21 concerts in London over the summer. The "Earth Tour" included 21 nights at the 20,000 capacity O2 Arena. Tickets for the O2 Arena were priced at £31.21 (including a free copy of Prince's latest album), in order to make the concerts "affordable for everybody." It sold out very quickly..28 June 2007, the UK national newspaper The Mail on Sunday revealed that it had made a deal to give Prince's new album, Planet Earth, away for free with an "imminent" edition of the paper, making it the first place in the world to get the album. The date chosen was 15 July 2007. This move sparked controversy among music distributors and has also led the UK arm of Prince's distributor, Sony BMG, to withdraw from distributing the album in UK stores, clever recordshops on the other hand stocked thousands of Mail on sundays..btw for those in the UK, this weekend there's a Tina Turner's classic, Private Dancer as a bonus..

On 14 September 2007, Prince announced that he was going to sue YouTube and eBay because they "appear to choose not to filter out the unauthorized music and film content which is core to their business success. On 5 November 2007, several fan sites of Prince formed Prince Fans United to fight back against legal requests made by Prince to cease and desist all use of photographs, images, lyrics, album covers and anything linked to Prince's likeness. While Prince's lawyers claimed that the use of such representations constituted copyright infringement, the Prince Fans United claimed that the legal actions were "attempts to stifle all critical commentary about Prince. The Electronic Frontier Foundation filed a lawsuit against Prince's music company because he demanded that YouTube remove a video of a 13-month-old boy dancing as 29-seconds of "Let's Go Crazy" plays on a CD player in the background. The video is a home movie shot by the child's mother in the family's rural Pennsylvania kitchen. Ah well Jehovah in action, very sad a great star loaded with money and affinity of millions of fans.

His personal life hasnt been that glamourous, plenty of liasons obviously. He married his backup singer and dancer, Mayte Garcia, on Valentine's Day, 1996. They had one son, possibly named Gregory, who was born with Pfeiffer syndrome and died shortly after birth. Shortly after Prince approached funk bassist Larry Graham, one of his childhood idols, with questions about his Jehovah's Witness faith. In a later interview, Graham stated that Prince was in need of Biblical answers and advice and that Graham was glad to answer. Prince apparently became very interested in the religion. He was baptized by Jehovah's Witnesses in 2001, marking his formal conversion to the faith.By that time he had been divorced from Mayte for 2 years. He married Manuela Testolini in 2001 in private ceremony but she filed for divorce in May 2006. Maybe Prince should reread the new testatement and asap leave those servants of a servant of the devil, Jehova Witnesses.

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Prince And The Revolution - Twelves (84-86 ^ 151mb)

A compilation of 12'"'s Prince released with The Revolution, i note that this version of America was initially intended for Around The World but was edited down to 4 min to accomedate the record company.



01 - Lets Go Crazy (special dance mix) (7:33)
02 - Raspberry Beret (extended) (6:34)
03 - Erotic City (dance mix) (7:22)
04 - America (original) (21:43)
05 - Pop Life (fresh dance mix) (6:13)
06 - Kiss (extended) (7:16)
07 - Mountains (extended) (10:02)

diet version
Prince And The Revolution - Twelves ( * 99mb)

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Prince - Black Album ( 87 ^ 99mb)

The Black Album is a Prince record that was originally planned for release in December 1987, as the follow-up to Sign o' the Times. Referred to as The Funk Bible by preceding press releases, and in a hidden message within the album itself, the work seemed to be a reaction to criticism that Prince had become too pop-oriented.

The album had no printed title, artist name, production credits or photography; a black sleeve was all that came with it. On promotional copies, only a song listing and catalog number—25677—were printed on the disc itself Here are the known pressings that where supposed to be released. Just before the Black Album was released to the market, Prince recalled all copies and abandoned the entire project, leaving roughly 100 European promotional copies in circulation, and several US copies that would be widely bootlegged in the coming years. The German pressing is well known among collectors but hard and expensive to get. After cancellation rumours surfaced that a box of fifties copies made his way out of the Alsdorf record plant. German version (Cat: 925 677-1) Well i got one those ripped here.

Despite the mystique surrounding it, the Black Album has typically been viewed by fans and critics as a somewhat pro forma, rushed effort by Prince, although it is treasured by aficionados of the artist's funkier side, being as close to a straight funk album as anything he had recorded. The opening track also mentioned the title of the album as being The Funk Bible, which was a consideration during work on this project. The title refers both to the album's all-black cover design and to Prince's attempt to earn back his credibility among the Black pop audience with a release that was heavier on rhythm than its last few predecessor. The album features one of the most shockingly unusual Prince songs, "Bob George," in which he assumes the identity of a cursing, gun-wielding alter ego who murders a woman and dismisses the figure of Prince as "that skinny motherfucker with the high voice. Rumors and hearsay abound as to why the release was derailed; Prince became convinced that the album was evil or represented an ominous portent, or according to Per Nilsen, respected author of several books on Prince, Prince decided to scrap the album after an experiment with the drug MDMA (Ecstasy) that resulted in a bad trip. (must have been bad contaminated Ecstasy) Whatever..



01 - Le Grind (6:48)
02 - Cindy C (6:16)
03 - Dead On It (4:33)
04 - When 2 R In Love (3:55)

05 - Bob George (5:37)
06 - Superfunkycalifragisexy (5:57)
07 - 2 Nigs United 4 West Compton (7:01)
08 - Rock Hard In A Funky Place (4:17)

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Prince - I Wish U, The Scandalous Sex Suite ( 88/89 ^ 99mb)



01 - Scarlet Pussy (6:09)
02 - I Wish U Heaven (Part 1, 2 & 3) (10:13)

The Scandalous! Sex Suite

03 - The Crime (6:24)
04 - The Passion (6:17)
05 - The Rapture (6:39)
06 - Sex (7:02)
07 - When 2 R In Love (4:02)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Around The World (50)

Hello, Around the Worldmusics returns to the source with a twist because whats on today is two very different approaches/reflections of the dubreggae input of the sixties and seventies. Adrian Sherwood build a well acclaimed label on his productionwork, though it took the internet to really bring it home as before, in the eighties, the On U sound was considered marginal..alas..Still they kept going and their independance..What we have here is a mix album of sorts the grand old masterproducer did giving an overview of 25 years of ON U.....Technokillers Basic Channel never were that far away from dub when slowing down their strict 4-to-the-floor beat into a hypnotising slowmotion their Rhythm and Sound 12"s and cd compilations attracted ever more attention from the reggae dubscene and meanwhile they've gained much respect therein. Listening to their beats almost has you high without the weed. On See Mi Jah they bring on some oldskool Studio One singers together with some Berlin based singers to vocalise the album....another superb result and give that bassknob a swing...

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Rhythm & Sound - See Mi Yah ( 05 ^ 99mb)

The awesome production talents of Mark Ernestus and Moritz von Oswald have already set the world ablaze once, twice, three, four times with the seminal work as Basic Channel and the splintering into microscopic, heavyweight offshoots by way of the M series (Maurizio on proud display), Main Street (Chicago rhythms floating into dub), Chain Reaction (reduced, spacious techno blueprints), Rhythm and Sound (largely instrumental dub coloured mountains of space) and, of course, Burial Mix (vocalists brought forth, reggae re-invented). It's hard to over-emphasise just how important this music has been on everything that has taken place in electronic music since. 

Rhythm & Sound released a series of 10" records on Burial Mix and 12" records on Rhythm & Sound, both labels distributed by Hardwax. Von Oswald and Ernestus' Rhythm & Sound recordings are much more dub-influenced and less techno-orientated. The late-'90s Rhythm & Sound productions emphasized the dub-reggae aesthetic Thus, the Rhythm & Sound records, which often featured reggae vocalist Paul St. Hilaire(Tikiman), weren't quite as popular or well-known as the duo's Basic Channel recordings, which instead retained their popularity over the years, becoming quite legendary and oft-cited within the techno scene. Nonetheless, Von Oswald and Ernestus' Rhythm & Sound work prevailed into the early 2000s, being compiled onto listener-friendly CDs, Showcase (1998) and Rhythm & Sound (2001). The Versions (2003) See my Jah (2005) Powerful revisions of the dub sound, stripped down, full of space, dynamic range, and shimmering with analog wash and broken textures. The hallucinating, strict 4-to-the-floor beat of techno was sacrificed for a unique sound, hallucinations in slowmotion. It's the improbable connecting factor between the stern German electronic heritage of Karlheinz Stockhausen and Kraftwerk and the loose Caribbean culture . Dirty, deep and powerful , in short essential roots dub. 

"See Mi Yah" is a classic one riddim album, using a riddim that is as much rooted in their technodub works as it is in their more dub-reggae oriented work. Opening this album is Studio One veteran Willie Williams who contributes the title track "See Mi Yah" what follows is an aural trip and a must have for any serious reggae, roots and dub listener.



01 - Rhythm & Sound feat.Willi Williams - See Mi Yah (3:56)
02 - Rhythm & Sound feat.Jah Cotton - Dem Never Know (3:56)
03 - Rhythm & Sound feat.Koki - Rise And Praise (3:48)
04 - Rhythm & Sound feat.Freddy Mellow - Truly (4:11)
05 - Rhythm & Sound feat.Rod Of Iron - Lightning Storm (5:50)
06 - Rhythm & Sound feat.Sugar Minott - Let Jah Love Come (5:12)
07 - Rhythm & Sound feat.Walda Gabriel - Boss Man (3:33)
08 - Rhythm & Sound feat.Bobbo Shanti - Poor People Must Work (3:29)
09 - Rhythm & Sound feat.Ras Donovan & Ras Perez - Let We Go (4:26)
10 - Rhythm & Sound feat.Paul St. Hilaire - Free For All (4:26)
11 - Rhythm & Sound - See Mi Version (4:00)

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VA - On-U Sound Crash, (Adrian Sherwood's Slash & Mix) (06 ^ 139mb)

On-U Sound Crash' is a mix compilation Adrian Sherwood iniytially did for Beat Records(Japan) .It featues re-sequenced back-catalogue tracks, overlaid with additional samples and other snippets from his On-U Sound and Hitrun archive. The tracks featured are often segued or parts of different original versions spliced together. To long term ONU Sound followers, it is doubtful this album will be indispensible or an essential purchase since it compiles old catalogue material -- and though it is presented as a remix album, a few "woooshes" swirling sounds and "pings" overdubbed here and there on original tracks does not really meet the definition of a remix release. 

This album compiles old On-U Sound catalogue material presented as a megamix with minimal overdubs and shows what kind of an evolution a label can go through in 25 years. The mix takes you from ONU's post punk Slits period , with the PIL influenced Vivienne Goldmann/Viv Albertine "Private Armies" composition. Members of John Lydon's PIL and The Slits hammer out this track, which sounds like an outtake from the groundbreaking "Metal Box." Onto the highlights from Adrian Sherwood's influential On-U-Sound label feature loads of dub workouts from Gary Clail, Tackhead, New Age Steppers, Bim Sherman, Mark Stewart & The Mafia, Dub Syndicate, Dr. Pablo, African Headcharge and many others. Keeping in mind that this release holds a selection taken from the label's complete back catalogue, there is of course some clutter inserted but on the whole the material holds well the road. For diehard ONU Sound completists and relative newcomers who want a reliable overview and introduction to the strange pleasures and distortions of AMS's label.



01 - Dub Syndicate (Feat. Lee Perry) - Jungle Pt. 4 (2:21)
02 - New Age Steppers - Private Armies (Dub) (1:45)
03 - Gary Clail - 2 Thieves And A Liar (3:08)
04 - Mark Stewart & Maffia - Liberty City (1:29)
05 - Doctor Pablo & Dub Syndicate - Man Of Mystery (1:16)
06 - Dub Syndicate - Hey Ho (1:38)
07 - Dub Syndicate (Feat. Lee Perry)- Dubbing Psycho Thriller (2:05)
08 - African Head Charge - Hole In The Roof (2:09)
09 - Noah House Of Dread - Stand Firm (0:25)
10 - Dub Syndicate - Chemical Head (0:17)
11 - Tackhead - Mind At The End Of The Tether (1:29)
12 - Prince Far I, Creation Rebel & Bim Sherman - Frontline Version (Tribulation Dub) (2:13)
13 - Congo Ashanti Roy & Singers & Players - African Blood (2:37)
14 - Prince Far I / Singers & Players - Virgin (0:52)
15 - Creation Rebel - Beware (1:56)
16 - Creation Rebel - Creation In A Iration (0:17)
17 - Noah House Of Dread - Sellasie I (1:29)
18 - African Head Charge - Conspiring (1:59)
19 - Mark Stewart & Maffia - Jerusalem (1:34)
20 - Bim Sherman & Singers & Players - Revolution (1:42)
21 - New Age Steppers My Whole World (2:04)
22 - Mark Stewart & Maffia - Beneath The City Streets (0:52)
23 - Gary Clail & Barmy Army - Privatise The Air, Stadium Rock (2:10)
24 - Gary Clail & Andy Fairley - Half Cut For Confidence, Jack The Biscuit (2:11)
25 - Mark Stewart - These Things Happen (1:56)
26 - Congo Ashanti Roy & Singers & Players - Breaking Down The Pressure (2:37)
27 - Creation Rebel - African Space (1:51)
28 - Bim Sherman - Slummy Ghetto (2:12)
29 - Creation Rebel - The Dope (1:31)
30 - African Head Charge - In The Air (2:02)
31 - African Head Charge - Dinosaur's Lament (3:47)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !

Canadia (09)

Hello, the new captain on the Canadia talks about the prospects for earth
 



and now.. the saga continues and i hope the number of fans will increase as the story unfolds more hilarious reasonings ..the coming 27 minutes

In the year 2056 the US has declared war on the Ipampilashians and has sent the American armada to destroy their planet. Canada has sent its only ship, The Canadia, in support of the American mission but the Canadia is not a warship. It's a maintenance ship (they change light bulbs and plunge toilets). Max Anderson is the first American ever to be stationed on the Canadia. He was put there by the American admiral (his mother) to toughen him up but keep him out of any real danger. The only thing that Max and the crew of the Canadia agree on is that no one wants him there..

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Episode 9:

The Captain takes drastic action when his relationship with the computer goes too far. Faverau gets a promotion.
Anderson and Lewis try to modify the robot. The captain uncovers the real reason the Americans declared war on the Ipampilashians. As they approach the end of the mission, the relationships between the crewmembers intensify.


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Canadia 2056 - 09 (20mb)

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All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !