V.A. Soundtrack For Naked Runners Vol. 02 (2012)

ARTIST: Various
ALBUM: V.A. Soundtrack For Naked Runners Vol. 02
GENRES: Psychedelic Rock, Pop, Indie, Funk, Cumbia, World, Disco
YEAR: 2012
A New Bleeding Panda Compilation!

Hey guys:) Thank you so so much for all the love and support. I still can't totally give up on sharing music I adore so here it is - a sequel to my most popular comp - Naked Runners. 

Compared to the first one it has much less funk and jazz but more psych and covers more countries. It was impossible to follow the first volume as it was made a whiiile back so I sat down and made it from scratch, without trying to continue the same story. Two of my favorite songs are on this volume - the spectacularly surreal and positive Angelo Branduardi's The Song of Eternal Numbers (please read these beautiful absurd lyrics while listening the song) and my officially favorite instrumental - the gorgeous Grace Jones La Vie En Rose Instrumental.

It was a huge pleasure making this one as each of these songs is a fragment of something I've been listening for the past 3 years. There is a possibility that I make more comps and if I do they will all follow this logic - I will not post new, trendy music but try to compile music that I really wanted to post on the blog over the years.

I do hope you will enjoy this selection and be sure to come back and comment - I wan't your opinions:) Also, upload it yourselves if you will I don't care, just share it if you like it. I will try and upload it on more services.

TRACKLIST:
01 Hawkwind - Kadu Flyer (1976)
02 Jacqueline Taieb - Le Couer Au Bout Des Doigts (1968)
03 ingenting - Mamma, Jag Har Gjort Sa (2004)
04 Les Gypsys - Proletaire (1967)
05 Los Mirlos  - Muchachita Del Oriente (2007)
06 Mikis Theodorakis - On The Streets (1973)
07 Jean Claude Vannier - Le Roi Des Mouches (1972)
08 Jesus 'Sixto' Rodriguez - Can't Get Away (1971)
09 Juaneco Y Su Combo - Me Robaron Mi Runa Mula (1970)
10 Nicos Jaritz - Otao E Eu (1996)
11 Madeleine Chartrand - Ani-Kun (1973)
12 Paul Mauriat - Love Is Blue (1967)
13 The Universal Robot Band - Disco Trek (1978)
14 Cameo - Find My Way (1979)
15 Electric Light Orchestra - Boy Blue (1974)
16 Christian Bruhn - Katastrophe (Space-Kudu Re-Edit) (2004)
17 Amon Dull II - Kismet (Cut Version) (1978)
18 Angelo Branduardi - The Song of Eternal Numbers (1978)
19 Harper's Bizarre - Witchi Tai To (1969)
20 Grace Jones - La Vie En Rose Instrumental (1977)

MEDIAFIRE
4SHARED

Download the first volume here.

The Beach Boys - Pet Sounds (1966) With Bonus Tracks

ARTIST`````The Beach Boys
ALBUM`````Pet Sounds / With Bonus Tracks

GENRE`````Pop-rock, Sunshine, Psych Pop

YEAR````````1966

Ooh this feels good:

These last few weeks I've been really stuck in some ridiculous, experimental, obscure sub-genres melting my brain with really shitty japanese noises and early fartcy European synth blah blah experiments... This warm album was really a much needed breathe of fresh air. In short: Considered by some to be the greatest album of all time, by many the best album of the 60's and by all - the best Beach boys album. Believe me, stop digging through terabytes of unknown, unreleased, rare music for an hour or two and enjoy this record brimming with love.

Review by Richie Unterberger:

The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times." It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best). Massively influential upon its release (although it was a relatively low seller compared to their previous LPs), it immediately vaunted the band into the top level of rock innovators among the intelligentsia, especially in Britain, where it was a much bigger hit.

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And remember to keep reminding people that this album exists. Just keep pasting it into their USB's, iPhones and players while they're not watching.

HOWLIN WOLF - HOWLIN WOLF or the The Rockin' Chair Album (1962)

ARTIST`````HOWLIN' WOLF
ALBUM`````HOWLIN' WOLF (also known as The Rockin' Chair Album)
GENRE`````BLUES, CHICAGO BLUES,
YEAR````````1962

SHIT:
How the hell didn't I hear this guy's records before is beyond me. He is a formidable cult figure in blues history and one of it's most original and powerful singers. When I heard just a first few screams from his huge mouth I immediately though - shit: Tom Waits had lots of fun listening to this... I am really not blues-oriented or informed so this is quit a find for me especially because I was into Tom Waits for 10 long years (!?). I heard a few Howlin' Wolf later hit songs but I never listened to a full album. It took me just a few clicks to find out that Tom Waits was directly influenced by this passionate loud-mouth killer.
This record was released 10 years before 1973 Tom Waits debut light-hearted but beautiful album "Closing Time" and 20 years before his revolutionary Swordfishtrombones (1983) where he fully released his gravelly voice. Wolf has been singing since the 1930's and played on one of the first electric guitars anyone had ever seen (that's how old his music is). Even the themes and some phrases are identical. The thing that struck me the most was that while listening Wolf's mostly 2,50 mins long songs I constantly had a feeling of purity, power and strength that Waits lost over time in his often over-done cabaret aesthetic. If you listen to the sharp guitar stabs and vocal beat of Spoonful, or the backing instrumentation and the shuffled beat of Who's Been Talkin'? you will simply hear Tom Waits cooking the same soup all over again.
I found a comment here that even as a dedicated Waits listener I have to agree with:

J. P. Spencer
I happen to love Tom Waits' music, "The Black Rider" in particular, but I have one big beef about him. Why is he always suing people for sounding like him when he himself sounds like Howlin' Wolf? I think it's safe to say that Waits has made more money suing people for musical plagiarism than he has from his truly impressive catalog of songs. You would think that The Continuum of Universal Fairness would dictate that this should be the other way around.

One of my favorite tracks from this album is The Red Rooster - a moronically simple song about a measly farm problem with a missing lazy rooster. This brilliant line - If you see my little red rooster, please drag him home (like he's a wasted drunkard) is something we could easily hear in Tom's live or recorded ramblings. People can easily get lost in the huge universe of Tom Waits discography (I did) and never look beyond it (or before it). This reminds me of a documentary on rock music of 1970's (can't remember the name) where Keith Richards said that pretty much every cult rock song or guitar solo was either a direct remake or was heavily based on a 50 year old blues song hahaha.

Anyways, this album is really a must-listen. Repost the damn thing.

WHO IS HE?

In the history of the blues, there has never been anyone quite like the Howlin' Wolf. Six foot three and close to 300 pounds in his salad days, the Wolf was the primal force of the music spun out to its ultimate conclusion. A Robert Johnson may have possessed more lyrical insight, a Muddy Waters more dignity, and a B.B. King certainly more technical expertise, but no one could match him for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits.

Howlin' Wolf:

Biography @ allmusic

Howlin' Wolf @ Wikipedia

Website
Howlin' Wolf (album)

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Orchestre T.P. Poly-Rythmo de Cotonou - 0+0=Zero (Zero + Zero = Zero)

AFRICA'S BEST KEPT SECRET
ARTIST`````Orchestre T.P. Poly-Rythmo de Cotonou
ALBUM`````0+0+Zero (Zero + Zero = Zero)
GENRE`````Funk, African, Voodoo
YEAR````````???

SHORT BIO:

Unfortunately political realities in Benin had left the Tout Puissant Orchestre Poly Rythmo bereft of international recognition, while big bands like Super Rail Band or Orchestra Baobab enjoyed a rebirth… But Poly Rythmo has always been recognised as one of the best orchestras in Africa, so much that the former leader of Super Rail Band in Bamako, Tidiani Kone, left his job in Mali to join the fabulous Poly Rythmo in the seventies.

Their repertoire draws inspiration from the regional poly-rhythmic blend called Sato or Sakpata, original Voodoo beats, which are married with the funk left behind by James Brown’s African tours. Their voices, brass section, guitar and percussion weaved together to crystallise a golden age in this musically-fertile nation. Most of their 500 songs were recorded live with a couple of microphones and a Swiss-made Nagra reel-to-reel tape machine. The studio was a living room in the noisy neighbourhood near Cotonou’s airport.

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EDEN AHBEZ - EDEN'S ISLAND (1960)

One of the goofiest efforts in the goofy exotica genre -- and brother, that's saying something, given the stiff competition.
ARTIST`````EDEN AHBEZ
ALBUM`````EDEN'S ISLAND
GENRE`````EXOTICA, KITSCH, OBSCURO
YEAR````````1960

I'M BACK
First, I want to thank everybody for their kind words of support for this blog of mine. I practically gave it up some months ago but then I checked my downloads which skyrocketed recently and started reading a shitload of positive comments. Obviously, people are diggin' my eclectic taste in everything that ends with .mp3. So -- I am back. Kachoing!

So, here's a great, great (one of the best) goofy odd 60's exotica albums of all times from one of the weirdest and unexplained composers ever. It's kitschy and almost child-like atmosphere, brilliance of arrangement with tasteful yet naive choruses of paradises lost and psychedelic roads of calmness, definitely lock-up the age of relaxed psy music makers into the 60's. It is very strange how far and "romantic" this record sounds. It's like we will never hear something this childish done with such an effort for detail.

WHO'S THE ODDBALL?
Ahbez boasted a resumé as colorful and mysterious as his music. Born Alexander Aberle in Brooklyn in the early 20th century, he changed his name in the 1940s shortly after moving to (where else?) California. A hippie a good 20 years before his time, he cultivated a Christ-like appearance with his shoulder-length hair and beard. He claimed to live on three dollars a week, sleeping outdoors with his family, eating vegetables, fruits, and nuts.

One of the genuinely strange characters of pre-rock American popular music, Eden Ahbez's main claim to fame was as the composer of "Nature Boy." The melodically and lyrically beguiling song was a huge pop hit for Nat King Cole; it would be covered by many other reputable performers, including Frank Sinatra, John Coltrane, Sarah Vaughan, and the Great Society (Grace Slick's pre-Jefferson Airplane band). But Ahbez's modern stature rests on a 1960 album that mixed exotica album and beatnik poetry. It rates as one of the goofiest efforts in the goofy exotica genre -- and brother, that's saying something, given the stiff competition.



ALBUM REVIEW:
Musically, Ahbez' 1960 outing was squarely in line with the exotica fad, utilizing then-unusual combinations of instruments (flutes, bongos, vibes) and sound effects like creaking boats to conjure up the aural equivalent of a tropical breeze. Unlike Martin Denny or Arthur Lyman, Ahbez often added his own spoken poetry, speaking of coves, paradise, and other idyllic subjects. Occasionally he even sang in a thin voice (he's no Nat King Cole). Even those who share Ahbez' yearning for heaven on earth must concede that his recorded effort to invoke these states is, to put it bluntly, sophomoric. Yes, it's good for some snickers from the exotica revival crowd, but that's almost definitely not what he had in mind when he was making this.

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Supported by furorisacrum.blogspot.com

WHITE NOISE - AN ELECTRIC STORM (1969)

OBSCURO TOP-NOTCH
ARTIST`````WHITE NOISE
ALBUM`````AN ELECTRIC STORM
GENRE`````ELECTRONIC, PSYCHEDELIC, OBSCURO, EXPERIMENTAL, "ROCK"
YEAR````````1969

WHY?
One of the most advanced electronic albums of its age (see Bruce Haack also), White Noise represents the true free spirited beginnings of pop culture being demolished and sampled, looped and twisted in ways nobody had heard before. A true obscuro album which stands out for its inventive approach to pop music.

Info from Gabriel Colucci

This LP showed the first use of Peter Zinovieff first British synth the EMS VCS3, before Pink´s, Eno´s, Tangerine´s or Twine´s! :) ... A must have!

Read more about this amazing synth here:
http://www.vintagesynth.com/misc/vcs3.php
http://en.wikipedia.org/wiki/EMS_VCS_3

WHO WERE THEY?
The White Noise project had its origins in the BBC's Radiophonic Workshop, whose previous claim to worldwide fame was the theme music to Doctor Who.

By the time White Noise's debut album, An Electric Storm, arrived in 1969, the Moog synthesizer had already started to make tentative appearances on pop records by the likes of the Monkees and Simon & Garfunkel. But no other pop or rock record before (or since) had been so painstakingly assembled using mainly homemade equipment and tape recorders.

Delia Derbyshire - Love Without Sound (1969) (The White Noise Project)



Info from youtube user audiolemon

Delia Derbyshire is well known for her work with the BBC Radiophonic Workshop and her help in creating the Dr.Who theme. Of all the BBC Radiophonic musicians I've heard I always found Delia's music to be more aesthetically mature than that of the others. While many were content to create mathematically structured enharmonic noise she looked for the ghost in the machine, creating haunting, off kilter and often sexually charged music. This track is from the 1969 The White Noise - Electric Storm LP.

REVIEW BY BOOMKAT.COM:
An Electric Storm is justly renowned among techno boffins as one of the first albums to fuse pop and electronic music before the advent of the Moog synthesizer. But you don't have to be versed in the language of sine waves and oscillators to enjoy this mostly delightful and hugely inventive album.

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DR. JOHN - GRIS-GRIS (1968)

HIPPIE, VOODOO, PSYCH, MARDI GRAS, TRIBAL, HIGH NIGHT TRIPPIN' OF THE LATE 60's
ARTIST`````DR. JOHN
ALBUM`````GRIS-GRIS
GENRE`````PSYCHEDELIC, FUNK, ROCK N' ROLL, DRUGS?
YEAR````````1968

WHY:
This guy was something special in the late sixties. His debut album (Gris-gris) is quite an exploration of R&B blended in primitive voodoo aesthetics and coloured by some strange mystic/psych elements that I can't recognise. A very unique artist indeed. Lots of drugs involved too. Lots.

AN UNSUALY SHORT REVIEW FROM ALLMUSIC:
The most exploratory and psychedelic outing of Dr. John's career, a one-of-a-kind fusion of New Orleans Mardi Gras R&B and voodoo mysticism. Great rasping, bluesy vocals, soulful backup singers, and eerie melodies on flute, sax, and clarinet, as well as odd Middle Eastern-like chanting and mandolin runs. It's got the setting of a strange religious ritual, but the mood is far more joyous than solemn.

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THE DREAM WORLD OF DION McGREGOR (1964)

THIS GUY IS ONE OF THE STRANGEST SLEEPTALKERS EVER...
ALBUM````THE DREAM WORLD OF DION McGREGOR
GENRE````SPOKEN WORD
YEAR``````1964

MY VIEW:
It's sad that a man with such a rare "talent" (curse?) has to be promoted on personal blogs, myspace pages and stupid fan-forums which nobody acctualy visits. In short - Dion McGregor is a very strange man that talks OUTLOUD while asleep.

SHORT BIOGRAPHY:
Dion McGregor dreamt out loud, fully narrating his vivid and often bizarre dreams, which were recorded by his roommate from 1961 to 1967. By his late '30s, McGregor's sleep talking had grown beyond the usual mumblings of somniloquists, he was speaking out loud and clear. McGregor was raised in NYC, but moved to Hollywood after dropping out of college. By 1953, the aspiring song lyricist was back in NYC, collaborating with Bob Cobert (who later scored for the Dark Shadow T.V. series). In 1955, he met Mike Barr, and the two began collaborating exclusively as songwriting partners.

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NICK DRAKE - FIVE LEAVES LEFT (1969)

REDISCOVERED YOUNG GENIUS FROM THE 1960's BRITAIN WHO RESHAPED THE PROGRESSIVE SINGER/SONGWRITER GENRE - 30 YEARS AFTER HIS DEATH.
ARTIST`````````````NICK DRAKE
ALBUM`````````````SOLO PIANO
GENRE`````````````VOCAL/ BRITISH PROG-FOLK
YEAR```````````````1969

RICHIE UNTERBERGER SAID IT BEST:
In the manner of the young Romantic poets of the 19th century who died before their time, Drake is revered by many listeners today, with a following that spans generations. Baby boomers who missed him the first time around found much to revisit once they discovered him, and his pensive loneliness speaks directly to contemporary alternative rockers who share his sense of morose alienation.

ALBUM REVIEW:
from allmusic
It's little wonder why Drake felt frustrated at the lack of commercial success his music initially gathered, considering the help he had on his debut record. Besides fine production from Joe Boyd and assistance from folks like Fairport Convention's Richard Thompson and his unrelated bass counterpart from Pentangle, Danny Thompson, Drake also recruited school friend Robert Kirby to create most of the just-right string and wind arrangements. His own performance itself steered a careful balance between too-easy accessibility and maudlin self-reflection, combining the best of both worlds while avoiding the pitfalls on either side. The result was a fantastic debut appearance, and if the cult of Drake consistently reads more into his work than is perhaps deserved, Five Leaves Left is still a most successful effort.


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