Thursday, 26 February 2015
Wednesday, 25 February 2015
Keith Hudson - The Dub Dentist Mix
1.Darkest Night On A Wet Looking Road - Keith Hudson
2.Rhodesia - Alton Ellis
3.Barrabas Dub - Keith Hudson
4.In the Burning Sun (Jah Ho) - Bunny Gale
5.Troubles - Keith Hudson And The Soul Syndicate
6.Entering the Dragon (Blackbelt Jones Version) - Soul Syndicate
7.Turn the Heater On - Keith Hudson
8.Big Bad Boy - Alton Ellis
9.Peter & Judas - Earl Flute & Horace Andy
10.Satan Side (aka Theme From Satan Side) - Keith Hudson / The Chuckles
11.War war - Soul Syndicate
12.Don't Think About Dub - King Tubbys & The Mafia All Stars
13.Jean You Change Everything - Keith Hudson
14.Shades Of Hudson - Dennis Alcapone
15.My Eyes Are Red Dub - Keith Hudson
16.Class & Subject - Keith Hudson
17.My Nocturne - Keith Hudson
18.Civilisation - Keith Hudson
19.Nah Skin Up - Keith Hudson
20.Riot - Dizzy & The Soul Syndicate
21.The Exile Song (Adisababa) - Skiddy & Detroit
22.Michael Talbot Affair - Keith Hudson
Tuesday, 24 February 2015
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Monday, 23 February 2015
Sunday, 22 February 2015
William S Burroughs endorses Mr Peanut (Vincent Trasov) as Vancouver mayor (1974)
Via
Under The Influence (Trailer)
Forthcoming for 2015 – “Under the Influence” a brand new documentary that tells the story of Hip Hop, Soul and Reggae in the UK through the eyes of it’s music pioneers
Under The Influence is still in production, we have released the trailer to get the public's point of view and input
Please answer to following questions:
Who do you think should be interviewed?
What is your UK Hip Hop Top Ten?
Who are the biggest icons in UK Hip Hop?
What was the biggest year for UK Hip Hop?
Tell us your favourite UK Hip Hop story?
What UK Hip Hop events do you miss?
Do you own archive content from oldschool UK hip hop events that you can share with us for our documentary – video, photo, audio?
Which American artists/producers are under the influence of UK black music?
“Grime would never exist without UK Hip Hop”. True? Tell us your opinion
Which hip hop act was the first to rap in their own London accents?
and follow us on @UTInfluenceDoc for updates
Jimmy Page - Soundtracks Sampler
Introducing Sound Tracks by Jimmy Page: a special edition box set bringing together JP’s extraordinary compositions for the films Lucifer Rising and Death Wish II along with additional archive material for the first time.
The quadruple box set is available to pre-order now and new discs Lucifer Rising: The Second Coming and Death Wish II: Expansion include rare, never-before-heard tracks.
Speaking about the release, Jimmy explains; “The archive material and work included here serve as an illustration of the ongoing process at the time of these two projects.”
Recorded at Jimmy's home studio in Plumpton and The Sol studio in Cookham in the late seventies and early eighties, Sound Tracks features an all-new booklet containing a written track-by-track insight by Jimmy Page for the archive material amidst a stunning collection of original artwork across 36 pages. The quadruple gatefold CD case and booklet is housed inside a soft-touch matt black slipcase
Info
The only Zeppelin you need (For Yotte X)
The 2014-15 Louisville Leopard Percussionists rehearsing Kashmir, The Ocean, and Immigrant Song by Led Zeppelin.
The Louisville Leopard Percussionists began in 1993. They are a performing ensemble of approximately 55 student musicians, ages 7-12, living in and around Louisville, Kentucky. Each student learns and acquires proficiency on several instruments, such as marimbas, xylophone, vibraphone, drum set, timbales, congas, bongos and piano
Saturday, 21 February 2015
Miles Davis - Live @Tanglewood, Lenox MA (18/8/70)
Miles Davis - Trumpet
Gary Bartz - Soprano and alto sax
Chick Corea - Electric piano
Keith Jarrett - Organ, electric piano
Dave Holland - Electric and acoustic bass
Jack DeJohnette - Drums
Airto Moriera - Percussion
1 Directions 09:31
2 Bitches Brew 09:15
3The Mask 03:55
4 It's About That Time 07:13
5 Sanctuary 01:53
6 Spanish Key 05:42
7 The Theme 00:48
8 Miles Runs the Voodoo Down 04:39
9 Bill Graham Outro
Other than his appearance at the Isle of Wight Festival later this same month, this Tanglewood performance was possibly the largest audience that Miles Davis had encountered up to this point. His extraordinary band, containing many soon to be legendary musicians, was all deeply immersed in the early experiments into electric instrumentation. This incendiary performance captures Miles embracing a rock dynamic in his music that was more electric, more funky, more rhythmic, and simply more "out there" than anything that had proceeded it.
Much of the material performed this night derives from Miles' studio sessions during the groundbreaking In a Silent Way and Bitches Brew album sessions. Because the performance remains one long continuous suite, it allows one to follow the flow and logic of the music over an extended period of time. This continual flow, devoid of announcements identifying the songs, often left critics and some listeners confused, but focused listening reveals that distinct changes are taking place. Miles is thoroughly in control of the musical direction at all times, whether he is in the forefront or not. Miles guides the music back to particular vamps or themes, continually bringing focus to the group improvisations. The swift and agile response of the musicians to Miles' cues and coded phrases is truly remarkable and is a primary reason for the relentless intensity of this music.
Apart from the set ending cue of "The Theme," little of this music derives from Miles' jazz period, nor does it fall into the free jazz category that it is so often mistakenly associated with. This music is much funkier, often comprised of deep, one-chord, cyclical grooves that have little in common with jazz. As he had done several times in the past, Miles was forging into uncharted territory and creating a shift in modern music that would influence countless musicians.
The audience seemed to recognize and appreciate this and they achieve the rare occurrence of bringing Miles back to the stage for an encore (something that rarely ever happened during this era). The encore, a rather short, focused take on "Miles Runs the Voodoo Down," features Corea playing the main riff like a hard rock musician, with Holland's deep bluesy bass line and the rest of the group's dynamic falling somewhere between Led Zeppelin and Jimi Hendrix - and they achieve this without any electric guitars!
While sometimes difficult, often challenging and unquestionably intense, this night's performance is one of the most intriguing of Miles' lengthy career. It's one of those rare performances with boundless depth that continually rewards repeated listening.
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