Saturday, April 28, 2012

Bruno Nicolai (1973) -L'onorata Famiglia Uccidere E' Cosa Nostra [OST]

Artist: Bruno Nicolai
Album: L'Onorata Famiglia Uccidere E' Cosa Nostra [OST]
Released: 1973
Quality: mp3 CBR 320
Size: 70 MB

”Bruno Nicolai was born in Italy in 1926, and the first film he scored was 1963's "Head of the Family". Bruno's big break came in 1965, when he was the musical supervisor for the Sergio Leone film, "A Few Dollars More". In 1966 he reprised this role for "The Good, The Bad, and The Ugly". Bruno worked along side composing master Ennio Morricone, learning much from him. Bruno Nicolai studied piano, organ and composition at the Conservatory Of Santa Cecilia. His teacher for piano was Aldo Mantia, and for composition was Goffredo Petrassi. While at the Conservatory he met Ennio Morricone who also was studying with Petrassi. A friendship began that would last many years. He has composed for theatre, TV and movies. Between scoring movies he also conducted scores by Carlo Rustichelli, Luis E. Bacalov and Nino Rota. He conducted many of Morricone's scores, and played the organ on some of them and also co-scored some with him. Many of his scores have and are still being released on his Edi-Pan label. In 1975 Bruno was the musical director for Tinto Brass' movie, "Saloon Kitty", and this is here the two got to know each other. About 1977 Bruno was approaching by the Caligula Production (probably through Tinto Brass) team to write original music for the movie. As well, Bruno picked out the Classical music that was featured through-out the movie, he must have been a big fan of Aram Il'Ych Khachaturian (1903-1978) and Sergei Prokofiev (1891-1953), who were both great Soviet Union composers. Bruno's last film was 1987's "Buckeye and Blue", which he wrote the score. Bruno died in 1991 in Italy. © Discogs

Sunday, April 15, 2012

The 13th Floor Elevators (1988) -Live at The New Orleans Club, Austin, late 1966 or 1967

Artist: The 13th Floor Elevators
Album: Live [vinyl rip]
Recorded at The New Orleans Club, Austin, late 1966 or 1967
Released: 1988
Quality: FLAC (tracks)
Size: 313 MB

”THE THIRTEENTH FLOOR ELEVATORS - the much-discussed mid-sixties legends whose name and music have become better known and more influential in the past fifteen years than either ever were during the brief period the group was together. Musically and philosophically the Elevators were in a class of their own, and far ahead of their time, describing themselves as 'psychedelic' as early as late 1965; and it took talent, vision and a large amount of guts to do so in the reactionary social climate of Texas.

Most of the material here is from the first album and the inclusion of 'Levitation' and 'She Lives' (early and mid-1967 singles respectively) suggest a date after the release of "Psychedelic Sounds" in late 1966. What makes matters confusing is the claim by the tape's source that the performance is no later than September 1965. The recording was made by Walt Andrus, whose Houston studio and production company recorded many of the International Artists acts. Andrus was unlikely to have been with the Elevators much before mid-1966, when International Artists licensed 'You're Gonna Miss Me' from Austin label Contact. Somebody who was involved with Contact was Gordon Bynum, the "young up-and-coming producer" of 'You're Gonna Miss Me', who apparently helped arrange this taping for the group. The venue is Houston's famed La Maison Ballroom, where the Elevators played regularly throughout their career; the Texas Archive album "Elevator Tracks" includes five tracks recorded at La Maison in the summer of '66, and they do sound earlier in comparison to what we have here.
The sound of the band is another important point in determining the date. Listening to the set, it appears to have been performed by the same line-up who recorded the first album. Certainly, the nucleus of Roger 'Roky' Erickson (vocal and guitar), Tommy Hall (electric jug) and Stacy Sutherland (lead guitar) are present, and the drumming is probably that of John Ike Walton, detectable by his idiosyncratic, cymbal-dominated style. Walton, an imposing figure, and reportedly so powerful his kit had to be chained to the stage, left the band on less than amicable terms just prior to the making of "Easter Everywhere", in June 1967. The bass player could either be Bennie Thurman, who played on "Psychedelic Sounds", or his replacement Ronnie Leatherman (who is pictured on the cover of "Elevator Tracks").
Whatever the truth, the tape was probably not intended for commercial release as the performance is fairly subdued (by the standard of the earlier live tapes) and an unusual, disjointed atmosphere pervades, perhaps due to inter-band wrangles, hassles with police (to act or even look like the Elevators did then was to 'flip the bird' to authority) or, no doubt, increasing drug usage. The lack of crowd noise is surprising because by 1967 the Elevators were finally being accepted as the innovators they were and subsequently became one of Texas' top crowd drawers. However, this album provides a fascinating glimpse at the development of the band; and while not containing classic Elevators recordings, it offers exceptional clarity and hitherto unheard live renditions of many of their best songs, and thus can only add to the phenomenon that was and is THE THIRTEENTH FLOOR ELEVATORS.”
~ sleeve notes by Alec Palao

Monday, April 9, 2012

Tuba Skinny - 3 albums

Artist: Tuba Skinny
Albums: Tubaskinny / Six Feet Down / Garbage Man
Released: 2009 / 2010 / 2011
Quality: mp3 CBR 320
Size: 148 / 129 / 122 MB

”Tuba Skinny is a band that takes it's listeners back in time to the traditional dixieland jazz and old blues music of the nineteen twenties and thirties. The members have been playing together since meeting on the streets of New Orleans six years ago, & officially began Tuba Skinny during the spring of 2009.” ©


Sunday, April 1, 2012

Solefald (1997) -The Linear Scaffold

Artist: Solefald
Album: The Linear Scaffold
Released: 1997
Quality: mp3 CBR 320
Size: 111 MB

”The Linear Scaffold was Solefald's debut album, and it showed right off the bat that they were a band with their own sound and vision. They get lumped into the black metal genre, and they do have certain sonic elements in common with the more symphonic black metal bands such as early Cradle of Filth or Dimmu Borgir; for instance, the big pipe organ keyboards and the painfully shrieking vocals that appear on much of this album. But Solefald passes on the overdone gothic aesthetic favored by so many bands in this same symphonic black metal field, and their music is more wide-ranging and open to experimentation than most bands of that type. Considering that this is just a duo, the songs and arrangements are especially full-sounding, incorporating a variety of keyboards (synth strings, acoustic piano, horror movie organs, and the above-mentioned pipe organs) and vocal styles (clean-voiced singing, spoken passages in both French and English, death metal growls, and high-pitched shrieks) in addition to a nice mix of clean-toned, distorted, and acoustic guitars. The songwriting also has a great sense of flow and dynamics, balancing moody, atmospheric sections with moments of shrieking, blasting intensity, and heaviness. Just as importantly, they come up with consistently strong and memorable melodies throughout the album. For music of this expansive, open-ended sort, this album is a bit on the short side, clocking in at less than 40 minutes, but that's just about the only criticism. One of Solefald's best.” ~ by William York,