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James "Blood" Ulmer: Odyssey (1984)

Posted By : wustenratte | Date : 12 Feb 2010 00:48:11 | Comments : 6

James "Blood" Ulmer: Odyssey (1984)
EAC rip | FLAC + LOG + CUE | Scans | 260,3 MB | RS | 3% recovery
Label: Columbia Legacy CK 64934 | Genre: Jazz/Avant-Garde/Free Funk

“"Avant-gutbucket" was one label applied to guitarist James "Blood" Ulmer's nearly unclassifiable mix of harmolodic jazz, blues, and funk. On Odyssey, the 1984 album that is perhaps his greatest, those elements make for an inspired, inspiring disc that alternates between vocals inspired by Muddy Waters ("Little Red House," Ulmer's signature "Are You Glad to Be in America?") and soaring instrumental showcases ("Love Dance"). The latter make particularly good use of the unique guitar-violin-drums lineup. The "experimental" tag might have damaged the commercial chances of this music, but it's never too late for you to catch up with this assured, endlessly appealing sound. --Rickey Wright @ Amazon.com ”
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James "Blood" Ulmer: Black Rock (1982)

Posted By : wustenratte | Date : 12 Feb 2010 00:43:42 | Comments : 3

James "Blood" Ulmer: Black Rock (1982)
EAC rip | FLAC + LOG + CUE | Scans | 323,9 MB | RS | 3% recovery
Label: Sony Records Japan SRCS 9374 | Genre: Jazz/Avant-Garde/Free Funk

“James "Blood" Ulmer is one of the most intense, original, and underrated guitarists of all time. It's a shame this man isn't feted as genius. His unique thumb-picking style blends the manic passion and expressive volume of Hendrix's best work with the exploratory verve of free jazz and the harmolodic approach of Ornette Coleman (with whom he played and studied) and a funky swagger that Sly Stone would've envied. During his career, his musical seeking has taken him all over the map, from jazz to blues to pop to world music, but it was in the early '80s that Ulmer absolutely rocked on Free Lancing and Black Rock, the later the most sonically massive and wild of the two. He put together his most solid combo on Black Rock, with the tub-thumping bassist Amin Ali and the drum heroics of Grant Calvin Weston. Though many of the songs are instrumental, when he sings, it's a joy; his deep, throaty rumble recalls Louis Armstrong on the restless boogie of "Family Affair." But Ulmer preferred to speak through his instrument, and speak loudly he does. It's hard to find a more powerful 10 seconds in rock or jazz than the opening bars of the title track. He kicks straight to the heart of the song with a blistering guitar run that hits with the force of a ball-peen hammer and a guttural "Unhh!" that says more about what he thinks of rock and black music than a thousand words. --Tod Nelson @ Amazon.com ”
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Miles Davis: Tutu (1986 DVD-A 96/24 to 5.1 44/24) DTS CD

Posted By : wustenratte | Date : 10 Feb 2010 18:22:52 | Comments : 4

Miles Davis: Tutu (1986)
DTS CD (DTS WAVs) | 44/24 5.1 DTS | 2 x 200 MB + 1 X 103,3 MB| RS | 3% recovery
Genre: Jazz | Label: Warner Brothers | Source: DVD-Audio

“The controversial but memorable Tutu is mostly a duet between Miles Davis and the many overdubbed instruments of producer Marcus Miller (although violinist Michal Urbaniak, percussionist Paulinho da Costa, and keyboardist George Duke are among the other musicians making brief apperaances). Certainly the results are not all that spontaneous, but Davis is in top form and some of the selections (most notably the title cut) are quite memorable.”
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James "Blood" Ulmer: Free Lancing (1981)

Posted By : wustenratte | Date : 10 Feb 2010 14:47:05 | Comments : 3

James "Blood" Ulmer: Free Lancing (1981)
EAC rip | FLAC + LOG + CUE | Scans | 312,4 MB | RS | 3% recovery
Label: Sony Records Japan SRCS 7184 | Genre: Jazz/Avant-Garde/Free Funk

“After cultivating a huge underground reputation both as a sideman in Ornette Coleman's Prime Time band and as an increasingly influential musician among the more experimental edges of the New York City punk and noise scenes, James Blood Ulmer was finally, in 1981, given a major-label contract by Columbia. Free Lancing was the first of three albums for the label before he, like many before and after, was unceremoniously dropped. It opens explosively with "Timeless," a ripping instrumental showcasing Ulmer at his best, all jagged angles, raw blues feeling, and chainsaw guitar shards. One of several cuts with only the trio of Ulmer, bassist Amin Ali, and drummer G. Calvin Weston, it's the guitarist at his most elemental, brutal, and real. Other tracks lean toward the funky side of things, with the leader's vocals (always at least a bit reminiscent of Hendrix) and a few female background vocals that impart a certain simmering sexiness even as they always serve to "slickify" the final product. But even here, on tracks like "Where Did All the Girls Come From?," Ulmer manages to raise the stakes far beyond the standard jazz-punk-funk of the period. Three other songs import the impressive horn trio of David Murray, Oliver Lake, and Olu Dara, used to provide a supremely strutting back line on "High Time" and giving the trumpeter a fine, fat solo on "Hijack" (a tune that recalls Ronald Shannon Jackson's Decoding Society). But it's Ulmer's stinging guitar lines -- rough-hewn, corrosive, and scrabbling -- throughout this recording that make it one of his finest. ”
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Music Revelation Ensemble: "No Wave" (1980)

Posted By : wustenratte | Date : 10 Feb 2010 14:20:40 | Comments : 3

Music Revelation Ensemble: "No Wave" (1980)
EAC rip | FLAC + LOG + CUE | Scans | 231,3 MB | RS | 3% recovery
Label: Moers Music 01072 CD | Genre: Jazz/Avant-Garde/Free Funk

“One of the first and best free jazz/funk bands. On No Wave, its 1980 Moers Music debut, the band was comprised of James "Blood" Ulmer (guitar), David Murray (tenor saxophone), Amin Ali (electric bass), and Ronald Shannon Jackson (drums). The MRE became Ulmer's baby since he has been the only constant throughout the group's two decades of existence; Murray has made a couple of returns, and Jackson has been in and out. The lineup of the group changed from album to album, especially in the late '90s. Pharoah Sanders and John Zorn recorded with the band (Crossfire), as did Hamiet Bluiett and Arthur Blythe (Knights of Power). Drummer Cornell Rochester succeeded Jackson early on, and Jamaaladeen Tacuma replaced Ali for a time. The band has remained reasonably vital thanks to Ulmer, but one can be excused for preferring their early records, made when Ornette Coleman's Dancing in Your Head was still fresh in listeners' ears.”
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Pink Floyd: Wish You Were Here (1975 Quadraphonic SQ Software Decoded to 4.0 44/24) DTS CD

Posted By : wustenratte | Date : 10 Feb 2010 13:59:52 | Comments : 3

Pink Floyd: Wish You Were Here QUADRAPHONIC MIX DTS CD (1975)
DTS CD (CUE + WAV + Front & Back Covers) | 44/24 4.0 DTS | 1 x 200 MB + 1 X 189,8 MB| RS | 3% recovery
Genre: Prog Rock | Label: Harvest Q4 SHVL 814 UK Pressing | Source: SQ LP

“Pink Floyd followed the commercial breakthrough of Dark Side of the Moon with Wish You Were Here, a loose concept album about and dedicated to their founding member Syd Barrett. The record unfolds gradually, as the jazzy textures of "Shine on You Crazy Diamond" reveal its melodic motif, and in its leisurely pace, the album shows itself to be a warmer record than its predecessor. Musically, it's arguably even more impressive, showcasing the group's interplay and David Gilmour's solos in particular. And while it's short on actual songs, the long, winding soundscapes are constantly enthralling.”
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James "Blood" Ulmer: Are You Glad to Be in America? (1980)

Posted By : wustenratte | Date : 10 Feb 2010 09:46:52 | Comments : 1

James "Blood" Ulmer: Are You Glad to Be in America? (1980)
EAC rip | FLAC + LOG + CUE | Scans | 309,4 MB | RS | 3% recovery
Label: DIW-400 | Genre: Jazz/Avant-Garde/Free Funk

“Guitarist James "Blood" Ulmer has been heard in many contexts, covering Ornette Coleman on the fantastic, muted Music Speaks Louder Than Words, playing gritty soul blues on the aptly monikered Forbidden Blues. But this 1980 set captures Ulmer in all his glory. When hearing this, there's no doubt why Coleman was such a fan. Ulmer compresses the dual rhythms of drummers Ronald Shannon Jackson and G. Calvin Weston just as Coleman has done with his own Prime Time. Here, you also get compressed dual horns, blown alternately by David Murray and Oliver Lake or Murray and Olu Dara. They play strong melodies, a couple of them coming across as faux marches, with Ulmer string-bending his way between notes and then clustering his way through melodies. Murray plays up to the task more than anyone here, squawking and honking as if he fully grasped Ulmer's vortex-like view of jazz, blues, and all points in between. This is crucial work for the guitarist and for jazz in the post-1960s era. --Andrew Bartlett”
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James "Blood" Ulmer: Tales Of Captain Black (1978)

Posted By : wustenratte | Date : 09 Feb 2010 17:31:25 | Comments : 2

James "Blood" Ulmer: Tales Of Captain Black (1978)
EAC rip | FLAC + LOG + CUE | Scans | 222 MB | RS | 3% recovery
Label: DIW-403 | Genre: Jazz/Avant-Garde/Free Funk

“Tales of Captain Black first appeared in 1978 on the Artist House label in America. It was a label set up for the purpose of allowing visionary artists to do exactly what they wanted to do. They had issued a couple of records by Ornette Coleman previously, so it only made sense to issue one by his then guitarist, James Blood Ulmer. With Coleman on alto, his son Denardo Coleman on drums, and bassist Jamaladeen Tacuma on bass, Ornette's harmolodic theory of musical composition and improvisation (whereby on a scale of whole tones, every person in the ensemble could solo at one time and stay in this new harmony) was going to get its first test outside of his own recordings. Blood was, before he was a jazz player, a funk guitarist who had tenured with Black Nasty and a side project of George Clinton's in Detroit, as well as playing as a sideman to organ groovemaster Big John Patton. Having an ally in Tacuma, Ulmer brought funk deep into free jazz territory.”
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James "Blood" Ulmer: Revealing (1977)

Posted By : wustenratte | Date : 09 Feb 2010 14:38:09 | Comments : 3

James "Blood" Ulmer: Revealing (1977)
EAC rip | FLAC + LOG + CUE | Scans | 229 MB | RS | 3% recovery
Label: IN+OUT 7007-2 | Genre: Jazz/Avant-Garde/Free Funk

“Revealing, by James Blood Ulmer, was the album he issued in Europe in 1977, a full year before his breakout disc, Tales From Captain Black with Ornette Coleman in 1978. Not to fear, however, with the slight difference of his guitar tone, all of the harmolodic concepts are in place and most of them are exercised here. With a quartet featuring the late George Adams on tenor, Cecil McBee on bass, and Doug Hammond on drums, Blood displays why he is easily the most original jazz guitarist of his generation. It's true that Sonny Sharrock may have been further out, but he wasn't as versatile -- Blood could play even then not only like a guitarist, though unlike any you ever heard before him -- he could also play like a bass player, a saxophonist, and a guitar player. Over the four extended pieces here -- and in particular, "Overtime" -- Blood employs what Coleman's influence made possible: that a guitar whose strings were all tuned to one note (harmolodic E) was capable of playing all the pitches at one time. Therefore, he could solo while playing chords and drones at the same time and leave plenty of room for others in the mix as well. The interplay between Adams and Blood on "Overtime" is astonishing. The melodic line breaks after every round as each man capitalizes on the other's ideas and extends the melody one bar into the frame of the improvisation. Blood had yet to show his hand when it came to his funk leanings (gained just a few years before jamming with George Clinton and Bernie Worrell in Detroit, as well as Black Nasty, and then John Patton), but they aren't far beneath the surface. There's the cut and jump key changes and the percussive down-hand evident on all of his later recordings. Revealing is more than just fascinating listening to hear the development in Blood Ulmer's playing and compositional ideas, it's a solid jazz date with visionary players taking a new turn with the music and seeing how fast they can drive it down the road. While it does not contain the sheer drama of Tales From Captain Black or Are You Glad to Be in America because it's a fairly laid-back date, it does contain all of their musical qualities. ”
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The Tubes: Young And Rich (1976)

Posted By : wustenratte | Date : 09 Feb 2010 10:14:44 | Comments : 5

The Tubes: Young And Rich (1976)
EAC rip | FLAC + LOG + CUE | Scans | 256,7 MB | RS | 3% recovery
Label: A&M CD 3222 | Genre: Rock

“The Tubes were arch satirists of popular culture whose outrageous performance-art concepts -- which swung wildly from soft-core pornography to suit-and-tie conservatism -- frequently eclipsed their elusive musical identity. The beginnings of the group originate in Phoenix, Arizona in the late '60s, where guitarist Bill Spooner, keyboardist Vince Welnick and bassist Rick Anderson formed as the Beans (alternately billing themselves as the Radar Men from Uranus). After moving to San Francisco in 1972, the Beans recruited guitarist Roger Steen and drummer Prairie Prince (from Red, White & Blues), and later became the Tubes with the addition of Michael Cotten on keyboards and former roadie Fee Waybill on lead vocals.

Over the course of the next few years, the Tubes earned a devoted cult following on the strength of Spooner's parodic songs and the group's surreal live shows, which featured Waybill adopting a variety of personas including the "crippled Nazi" Dr. Strangekiss, country singer Hugh Heifer and Quay Lewd, a drug-addled British pop star. After signing to A&M in 1975, they released their self-titled debut, followed a year later by Young and Rich; while both failed to transfer the manic energy and theatrical complexity of their live set onto record, the single "White Punks on Dope" became a minor hit and a radio staple.		”
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Tom Tom Club: Boom Boom Chi Boom Boom (1989 US Version)

Posted By : wustenratte | Date : 06 Feb 2010 18:40:21 | Comments : 0

Tom Tom Club: Boom Boom Chi Boom Boom (1989 US Version)
EAC rip | FLAC + LOG + CUE | Scans | 291,3 MB | RS | 3% recovery
Label: Sire/Reprise/Red Eye | Genre: Rock, Dance
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Tom Tom Club: Boom Boom Chi Boom Boom (1988 European Version)

Posted By : wustenratte | Date : 06 Feb 2010 11:45:31 | Comments : 0

Tom Tom Club: Boom Boom Chi Boom Boom (1988 European Version)
EAC rip | FLAC + LOG + CUE | Scans | 279,7 MB | RS | 3% recovery
Label: Fontana/Phonogram | Genre: Rock, Dance
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Tom Tom Club: Suboceana (1988)

Posted By : wustenratte | Date : 06 Feb 2010 10:27:25 | Comments : 0

Tom Tom Club: Suboceana (1988)
EAC rip | FLAC + LOG + CUE | Scans | 97,3 MB | RS | 3% recovery
Label: Fontana/Phonogram | Genre: Club, Dance
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Tom Tom Club: Don't Say No (1988)

Posted By : wustenratte | Date : 06 Feb 2010 10:21:19 | Comments : 0

Tom Tom Club: Don't Say No (1988)
EAC rip | FLAC + LOG + CUE | Scans | 127 MB | RS | 3% recovery
Label: Fontana/Phonogram | Genre: Club, Dance
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Ghostland featuring Sinéad O'Connor & Natacha Atlas: Guide Me God (2002)

Posted By : wustenratte | Date : 04 Feb 2010 13:13:20 | Comments : 2

Ghostland featuring Sinéad O'Connor & Natacha Atlas: Guide Me God (2002)
EAC rip | FLAC + LOG + CUE | Scans | 425 MB | RS | 3% recovery
Label: Rasa Music/Tommy Boy | Genre: Dance
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