JESTOFUNK Universal mother ©1998

256 KB/s | 76 / 60 MB | total 1:15:42

Italian acid jazz collective Jestofunk began in 1992 as the collaboration between DJs/producers MozArt and Blade; after issuing their debut single "I'm Gonna Love You," the duo recruited American house vocalist CeCe Rogers for the follow-up, 1993's "Say It Again." Jestofunk's debut album Love in a Black Dimension appeared a year later, with DJ/producer Farias signing on for 1999's Universal Mother.
( Außerdem singt die begnadete Jocelyn Brown 'Special Love' ;-)

• 01 Universal mother
• 02 Be a warrior
• 03 Coulor
• 04 Universal love
• 05 If you've got it, you'll get it
• 06 Special love
• 07 Happy
• 08 Jestofunk,jestofunk
• 09 Try my love
• 10 We are
• 11 Nel nome del suono
• 12 Why
• 13 Pfunk station
• 14 Earthquake
• 15 Reflexion

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JESTOFUNK Live © 1999

256 KB/s | 59 / 56 Mb | total 1:02:44

01 P-funk station
02 Color
03 If you've got it, you'll get it
04 I'm gonna love you
05 Be a warrior
06 Why
07 Special love
08 Nel nome del suono
09 Say it again
10 Can we live

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JESTOFUNK 70 miles from Philadelphia ©2003

256 KB/s | 57 / 52 Mb | total 1:00:07

01 Shake 'em on down
02 Disco quenn
03 Original vibe
04 Mama Blues
05 Smoking plant
06 Walk like a baby
07 Big lover
08 Close to my heart
09 Dubb of gaetean
10 Have a talk with god
11 Believe in music
12 Mondo negro

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COLOSSEUM Valentyne Suite ®1972 ©1998

320 KB/s | 74 MB |total 35:15

One of England's prime jazz-rock -- or, more accurately, rock-jazz -- outfits, most of the members of Colossuem had apprenticed in blues bands, and it shows very strongly on some of the material here. Both "The Kettle" and "Butty's Blues" are essentially tarted-up 12-bar blues, although they work well in a grander context; in the latter case much grander, as a brass ensemble enters for the last part, drowning out everything but the guitar, an indication that this recording is in dire need of remastering. "Elegy" is a fast-paced, minor-key blues that stretches guitarist James Litherland's vocal abilities. Things do get far more interesting with "The Machine Demands a Sacrifice," which offers solo opportunities to organist Dave Greenslade and sax player Dick Heckstall-Smith before re-emerging in what can only be called a proto-industrial style, all heavily treated clattering percussion. The album's real joy comes with "The Valentyne Suite," which takes the band out of their bluesy comfort zone into something closer to prog rock. Bandleader Jon Hiseman is a stalwart throughout, his busy drumming and fills owing far more to jazz than the studied backbeat of rock. Greenslade proves to be a largely unsung hero, his only real solo in the suite something to offer a challenge to vintage Keith Emerson, but with swing. As to criticism, bassist Tony Reeves has very little flow to his playing, which severely hampers a rhythm section that needs to be loose-limbed, and Litherland's guitar playing is formulaic, which can be fine for rock, but once outside the most straightforward parameters, he seems lost. In retrospect this might not quite the classic it seemed at the time, but it remains listenable, and for much of the time, extremely enjoyable.

01 The Kettle
02 Elegy
03 Butty's Blues
04 The machine demands a sacfrifice
05 The Valentyne Suite
a ) January's search
b ) February's Valentyne
c ) The grass is always greener

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PASSPORT Blue tattoo ©1983

320 KB/s | 83 Mb | total 37:30

Klaus Doldinger : Saxes, keyboards, synthesizer, vocoder
Kevin Mulligan : guitars
Dieter Peterreit : bass
David Crigger : drums

01 Riding on a cloud
02 Radiation
03 Ragtag and bobtail
04 Blue tattoo
06 Rambling
07 In a melancholy way
08 Daybreak delight

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PASSPORT Infinity machine © 1988

320 KB/s |87 MB | total 38:29

Klaus Doldinger : all saxes, moog, voice
Kristian Schultze : keyboards, synthi
Wolfgang Schmid : bass, guitar, harmonizer
Curt Cress : drums and percussion

01 Ju-Ju-Man
02 Morning sun
03 Blue aura
04 Infinity machine
05 Ostinato
06 Contemplation

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ROXY MUSIC Live in Denver 1979 2CD ©2003

320KB/s | 61/61/59 MB | 43/37 min

The return to the scene of Roxy Music after three years was certainly a welcome one.
The mainstays of Ferry, Manzanera, Mackay and Thompson were obviously atthe forefront,
augmented on this occasion by hired guns Garry Tibbs, Paul Carrack & Alan Spenner.

The first tempting slither of the new Roxy came in front of the single 'Trash' a
brilliant entrance into the third phase of the band.The albun 'Manifesto'( whose title track
was the superb opener of the show) was recorded at Rich Farm in Surray, Basing Street in London
and at the Atlantic Studios in New York [ where backing vocals supplied by one Luther
Vandross ! ] in the autumn of 1978.

Intersestingly the singles 'Angel Eyes' & 'Dance away' were firmly aimed at the dance market :-)

Recorded collecting enthusiastics may be interested to know that the both tracks were re-recorded
and replaced after the initial album pressing.

It was exiting, Roxy were back, a new album, live shows, no more relying on the fondest memories
of the 'Siren' tour of Ferry & 801 shows,
this was a real Thing !!

CD I :

01 Manifesto 5:39
02 Angel eyes 3:57
03 Trash 2:54
04 Out of the blue 5:17
05 A song for Europe 6:26
06 Still falls the rain 4:29
07 Ain't that so 5:55
08 Stronger thruogh the years 8:23


CD II :

01 Ladytron 5:28
02 In every dream a heartache 9:06
03 Love is a drug 3:50
04 Do the stand 4:08
05 Re-make / Re-Model 4:05
06 Mother of perl 6:43
07 Editions of you 3:44


Part I | Part II | Part III

ROXY MUSIC For your pleasure ©1973

320 KB/s | 95 MB | total 42:20


On Roxy Music's debut, the tensions between Brian Eno and Bryan Ferry propelled their music to great, unexpected heights, and for most of the group's second album, For Your Pleasure, the band equals, if not surpasses, those expectations. However, there are a handful of moments where those tensions become unbearable, as when Eno wants to move toward texture and Ferry wants to stay in more conventional rock territory; the nine-minute "The Bogus Man" captures such creative tensions perfectly, and it's easy to see why Eno left the group after the album was completed. Still, those differences result in yet another extraordinary record from Roxy Music, one that demonstrates even more clearly than the debut how avant-garde ideas can flourish in a pop setting. This is especially evident in the driving singles "Do the Strand" and "Editions of You," which pulsate with raw energy and jarring melodic structures. Roxy also illuminate the slower numbers, such as the eerie "In Every Dream Home a Heartache," with atonal, shimmering synthesizers, textures that were unexpected and innovative at the time of its release. Similarly, all of For Your Pleasure walks the tightrope between the experimental and the accessible, creating a new vocabulary for rock bands, and one that was exploited heavily in the ensuing decade.


01 Do the stand
02 Beauty queen
03 Strictly Cofidential
04 Editions of you
05 In every dream haome a Heartache
06 The Bogus man
07 Grey lagoons
08 For your pleasure

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BRYAN FERRY Taxi ©1993

320 KB/s | 90 MB | total 40:17



Taxi shows a mature Bryan Ferry, suave and controlled, very much in line with his general career from 1979 on. The choices of songs to cover doesn't make for any surprises -- the same selections of classic rock, pop, and soul numbers dominate, with an interesting ringer here and there like "Amazing Grace." As with his other recent solo records, a cast of thousands supports him, ranging from the Grid's Richard Norris on synth programming to Brit guitar legends Robin Trower and Michael Brook, plus vocalist Carleen Anderson. All four feature on the opening "I Put a Spell on You," which manages the neat trick of sounding almost exactly like a Ferry original -- what Screamin' Jay Hawkins would have made of it is anyone's guess. The rest of the album takes a similar tone, either crackling with low-key energy or aiming for a more gentle approach. The former style turns up in some welcome guises -- thus the take on Fontella Bass' "Rescue Me," here benefiting from a quick beat, mysterious samples and noises buried in the mix and near-subliminal guitar. An overall highlight is the take on the Velvet Underground's "All Tomorrow's Parties," which balances a certain winsomeness with a subtle air of threat, the music just beautiful enough on the one hand and just creepy enough on the other. Ferry's treated vocals, made to sound weirdly flat and compressed, heightens the curious mood.

01 I put a spell om you
02 Will you love me tomorrow
03 Answer me
04 Just one look
05 Rescue me
06 All tomorrow's parties
07 Girl of my best friend
08 Amazing grace
09 Taxi
10 Because you're mine

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Bryan Ferry Bete noir ©1987

320 KB/S | 98 MB | total 43:48


Hooking up with regular Madonna collaborator Patrick Leonard as the co-producer of this album proved to be just the trick for Ferry. Bete Noire sparkles as the highlight of Ferry's post-Roxy solo career, adding enough energy to make it more than Boys and Girls part two. Here, his trademark well-polished heartache strikes a fine balance between mysterious moodiness and dancefloor energy, and Leonard adds more than a few tricks that keep the pep up. Five out of the nine songs are Ferry/Leonard collaborations; all succeed, from "Limbo"'s opening punch and flow to the cinematic (and unsurprisingly French-tinged) feeling of the title track. The atmospheric, almost chilling "Zamba"'s minimal, buried drums, soft synths and doomy piano, make it the best of that bunch. Ferry's best moment here is all his own, though -- the great single "Kiss and Tell," with a steady, bold bassline leading the way for his slightly dissolute portrayal of mating rituals and all they entail. Like Boys and Girls, the album's supporting cast mixes a lengthy list of session pros with a few guest stars. David Gilmour returns, but even more interesting is the appearance of another guitar hero -- none other than Johnny Marr, hot on the heels of the Smiths' dissolution. He took the music of a Smiths instrumental, "Money Changes Everything," and made it the basis of a full collaboration, "The Right Stuff." Marr shows a little more fluidity than usual, likely thanks to the rhythm section's smooth, effortless groove, while Ferry steps to the fore with gusto. In sum, a great listen from start to finish.

01 Limbo
02 Kiss and tell
03 New town
04 Day for night
05 Zamba
06 The right stuff
07 Seven deadly sins
08 The name of the game
09 Bete noire

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Bryan Ferry Boys and girls ©1985

320 KB/S | 86 MB | total 38:22


Having at last laid Roxy to bed with its final, intoxicatingly elegant albums, Ferry continued its end-days spirit with his own return to solo work. Dedicated to Ferry's father, Boys and Girls is deservedly most famous for its smash single "Slave to Love." With a gentle samba-derived rhythm leading into the steadier rock pace of the song, it's '80s Ferry at his finest, easy listening without being hopelessly soporific. As a whole, Boys and Girls fully established the clean, cool vision of Ferry on his own to the general public. Instead of ragged rock explosions, emotional extremes, and all that made his '70s work so compelling in and out of Roxy, Ferry here is the suave, debonair if secretly moody and melancholic lover, with music to match. Co-producer Rhett Davies, continuing his role from the latter Roxy albums, picks up where Avalon left off right from the slinky opening grooves of "Sensation." The range of people on the album is an intriguing mix, from latterday Roxy members like Andy Newmark and Alan Spenner to avid Roxy disciples like Chic's Nile Rodgers. Everyone is subordinated to Ferry's overall vision, and as a result there's not as much full variety on Boys and Girls as might be thought or hoped. The album's biggest flaw is indeed that it's almost too smooth, with not even the hint of threat or edge that Ferry once readily made his own. As something that's a high cut above the usual mid-'80s yuppie smarm music, though, Boys and Girls remains an enjoyable keeper that has aged well.


01 Sensation
02 Slave to love
03 Don't stop the dance
04 A waste land
05 Windswept
06 The chosen one
07 Valentine
08 Stone woman
09 Boys and girls

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Bryan Ferry As Time goes by ©1999

320 KB/s |57/43 Mb |total 44:38




Bryan Ferry invests considerable time and energy in cover albums (he should, considering that they compose a good portion of his solo catalog), treating them with as much care as a record of original material. He's always found ways to radically reinvent the songs he sings, so it's easy to expect that his collection of pop standards, As Time Goes By, would re-imagine the familiar. Instead, As Time Goes By is his first classicist album, containing non-ironic, neo-traditionalist arrangements of songs associated with the '30s. That doesn't mean it's a lavish affair, dripping with lush orchestras -- it's considerably more intimate than that. Even when strings surface, they're understated, part of a small live combo that supports Ferry throughout the record. He's made the music as faithful to its era as possible, yet instead of rigidly replicating the sounds of the '30s, he's blended Billie Holiday, cabaret pop, and movie musicals into an evocative pastiche. Ferry is at his best when he's exploring the possibilities within a specific theory or concept; with As Time Goes By, he eases into these standards and old-fashioned settings like an actor adopting a new persona. Since Ferry has always been a crooner, the transition is smooth and suave. He makes no attempt to alter his tremulous style, yet it rarely sounds incongruous -- he may sound a little vampirish on "You Do Something to Me," but that's the rare case where he doesn't seamlessly mesh with his romantic, sepia-toned surroundings. On the surface, it may seem like a departure for Ferry, but in the end, it's entirely of a piece with his body of work. True, it may not be a major album in the scheme of things, but it's easy to be seduced by its casual elegance.

01 As time goes by
02 The way you look tonight
03 Easy living
04 I'm in the mood for love
05 Where or when
06 When somebody thinks ....
07 Sweet and lovely
08 Miss Otis regrets
09 Time on my hands
10 Lover come back to me
11 Falling in love again
12 Love me or leave me
13 You do something to me
14 Just one of those things
15 September song

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RARE EARTH Ma 1973 / © 1994

320 Kb/s | 86 Mb | total 37:42

Rare Earth's most satisfying LP, Norman Whitfield wrote and produced all five songs. "Ma," the title track, had been done by Temptations and Undisputed Truth but nobody rocked the sucker like Rare Earth; they jam for 17:17 on the funkiest mama song ever. "Hum Along and Dance," first appeared on the Temptations' Psychedelic Shack; Rare Earth gives the groover and update, a rolling organ sets it off. Lead, Gil Bridges brags about his musical ability on the loud, horn dominated stomper "Big John In My Name."A haunting arrangement of "Smiling Faces Sometimes" will make you shiver. And you don't get much more sensual than the soft and lush "Come With Me," where a female simulates an orgasm that puts Donna Summers' exhibition on "Love to Love You Baby" to shame; it's the only new song on the LP, but who's quibbling, MA is da bomb!

01 Ma 17:16
02 Big John is my name 4:19
03 Smiling faces 6:02
04 Hum along and dance 5:18
05 Come with me

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STOMU YAMASHTA GO....Live in Paris ©1974

320 Kb/s | 76 / 68 Mb | total 1:03:21

The primary difference when comparing this live performance and the rendering simply titled Go (1976) is that Go Live From Paris (1978) presents the proceedings (as they exist) in a properly linear fashion, as correlated to the Eastern mythology that informed the extended two-part suite. This is in direct contrast to Go, which assembled the contents out of sequence. The stage show was recorded at the Palais Des Sports in Paris, France on June 12, 1976 and the recital setting allows for considerably longer and more exploratory interaction amongst Stomu Yamashta (percussion/piano), Steve Winwood (vocals/keyboards) and (drums). They are joined by legendary jazz axeman Michael Shrieve,Al DiMeola (guitar) as well as Tangerine Dream and Ash Ra Tempel veteran Klaus Schulze (synthesizer) -- all of whom had contributed to Go. Filling out the band are Jerome Rimson (bass), Pat Thrall (guitar), Brother James (congas) and Karen Friedman (vocals). Specifically, the licks traded between DiMeola and Shrieve are comparable to the workouts the pair shared as part of the Borboletta (1974) era Santana. In terms of sheer intensity, it is hard to beat DiMeola's searing leads and Winwood's blue-eyed soul on the driving "Ghost Machine," easily topping its former incarnation. "Surfspin" lands into the funky mid-tempo "Time Is Here" highlighted by Karen Friedman's expressive exchanges with Winwood, while Rimson punctuates the rhythm with some penetrating bass interjections. This is followed by the sole Winwood composition "Winner/Loser," which further exemplifies how the spontaneity of the concert yields results that best their predecessors. In fact, on the whole the material on Go sounds like a blueprint for the exceptional and inspired outing found here. The second movement commences with fairly even renditions of the trifecta "Solitude," "Nature" and "Air Voice" -- which had previously been given the name "Air Over." "Crossing the Line" is an additional zenith, spotlighted by Winwood's emotive vocals and the untamed and otherwise incendiary frenzy of fretwork courtesy of DiMeola. Clocking in just shy of a quarter-hour, "Man of Leo" provides another opportunity for the players to loosen up and fuse their collective improvisations behind DiMeola's intense soloing and the similarly seminal instrumental offerings from Shrieve, Rimson -- who is at his most melodic -- and Freidman's haunting warbles.

01 Space song
02 Carnival
03 Wind spin
04 Ghost machine
05 Surf spin
06 Time is here
07 Winner Looser
08 Solitude
09 Nature
10 Air voice
11 Crossing the line
12 Man of Leo
13 Stellar
14 Space Requiem

( with booklet :-)

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STING AND GIL EVANS Last session ( Live)

Live at the Perugia Jazz Festival July 11, 1987

320KB/S | 77/73 Mb |total 1:06:06

DELMAR BROWN – synthesizer
GIL GOLDSTEIN – DX 7 synthesizer
JOHN SURMAN – baritone saxophone
GEORGE ADAMS – tenor sax and vocals
BRANDFORD MARSALIS – tenor sax
CHRIS HUNTER – alto sax
JOHN CLARK – electric french horn
MARC EGAN - bass
DANNY GOTTLIEB - drums
URSZULA DUDZIAK - back-up vocals
EMILY MITCHELL - harp
ANITA E. - percussion
TOM MALONE - tenor and bass trombone
GEORGE LEWIS - tenor trombone
MILES EVANS - trumpet

and of course the maestroes GIL EVANS & STING :-)

01 Exp 9:31
02 Strange Fruit 7:11
03 Shadows in the rain 5:55
04 Little wing 9:43
05 Comes a time 4:38
06 Introduction of the band 2:13
07 Consider me gone 6:28
08 Murder by numbers 6:25
09 Roxanne 5:16
10 Tea in the Sahara 8:43

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