GONG - Magick Brother (1970-2004) RM / FLAC (tracks+.cue), lossless

In 1970, the world got its first taste of the original pothead pixie, Daevid Allen's Gong, as Magick Brother was released in France on the BYG label. Allen's wife, Gilli Smyth, penned all the tunes on the album, and Allen's now-classic "Ph.P." drawing style graces the inside of the gatefold. Leaning a little toward the pop end of the spectrum, Magick Brother is a fairly light album, devoid of the blatant psychedelic/hippie qualities which shine through so brilliantly on the later Camembert Electrique. Smyth's "space whispering" makes its debut on the opening track, though the album is not as spacy as it is ethereal. "Gong Song" is a highlight, with lyrics describing a pothead pixie who came down from the planet Gong to sing his green song -- the roots of the Gong myth. Allen's guitar sound is a bit flat and hollow throughout the project, dynamics taking a back seat in most of these recordings. He relies on distortion and various guitar augmentations, but this all works quite well in the context of the collective sound. Much of the vocal harmonizing on the album is typical of many '60s pop troupes and sounds fairly dated today. Didier Malherbe's sax and flute playing spices up this mostly pop-oriented prog rock outing, helping to make this a cut above the radio norm. Although this is an interesting release, especially for its status as the first Gong project, it is not typical Gong and is not recommended as a starting point for sampling the band's recordings. by David Ross Smith

GONG - Continental Circus (Original Soundtrack) (1972-1994) RM / WV (image+.cue), lossless

Gong performed the soundtrack for Continental Circus, Jerome Laperrousaz's film about the 1970 Grands Prix 500cc. Laperrousaz also collaborated with Gilli Smyth on the compositions, which are tighter and more intricate than the band's previous release, Magick Brother. This is possibly the smallest number of musicians involved on any Gong project, and it shows in the sound of the music -- straightforward progressive rock with no surprises. Keys and synth are kept to a minimum as the band plunges forth with the standard guitar, bass and drums. Malherbe's playing (sax/flute) has not yet moved to the forefront, and the band decided to drop the psychedelic angle for this outing. Much of the music is strictly guitar-driven, with the final instrumental cut resembling early King Crimson, as is the case on several cuts from the following, far superior release, Camembert Electrique. [There is a bootleg version of Continental Circus in existence with twice as many tracks.] by David Ross Smith
Tracklist:
1 Blues For Findlay 11:19
2 Continental Circus World 4:08
3 What Do You Want? 9:00
4 Blues For Findlay (Instrumental) 9:42
Credits:
Bass – Christian Tritsch
Drums – Pip Pyle
Saxophone, Flute – Didier Malherbe
Vocals [Space Whisper], Written-By – Gilli Smyth
Vocals, Guitar [Glissandoz] – Daevid Allen
Written-By – Jérôme Laperrousaz (tracks: 1, 2)

GONG - Camembert Électrique (1971-2015) Mini LP CD MSI Japan / RM / FLAC (image+.cue), lossless

This is a classic, the epitome of the band's early Daevid Allen phase with Ph.P.'s (pothead pixies) in full, blazing glory. In its infancy, Gong was a unique prog rock band that branched out in all directions at once while most other prog bands chose simply one path or another. Camembert Electrique is a testament to that. The band's eclectic "electric cheese" rock is a mixture of psychedelic rock, spacy atmospherics and lyrics, and doses of jazz often presented with a pop sensibility, yet always intense. From the first cut on Camembert, you are transported to planet Gong via the voice of a "radio gnome" who drops in intermittently to remind you you're not in Kansas anymore. Daevid Allen leads the band through several compositions musically (not lyrically) reminiscent of, and possibly influenced by, early King Crimson -- a hard, raw-edged sound propelled by a strong guitar-sax-percussion combo. Drummer Pip Pyle played on only a few Gong sessions; he is a major figure here, as is saxophonist Didier Malherbe. Both are up front on the wailing progressive rocker "You Can't Kill Me," which also features guitarist Allen in top form. Allen's declarative "I've Bin Stone Before," the first part of an inventive three-song medley, is of particular interest; introductory church organ and avant-garde sax make this another unique Gong experience. But the real gem on Camembert is "Tropical Fish: Selene." This jazzy composition is the most involving and intricate piece on the recording. The band moves tightly through several progressive movements and Gilli Smyth scores with her trademark "space whispering." Camembert Electrique remains undated after over 40 years and hovers "strong and steamin'" over most of the Gong catalog. by David Ross Smith 
Tracklist:
1 Radio Gnome 0:27
Daevid Allen
2 You Can't Kill Me 6:16
Daevid Allen
3 I've Bin Stone Before/Mister Long Shanks/O Mother 4:51
Daevid Allen
4 I Am Your Fantasy 3:39
Gilli Smyth / Submarine Captain Christian Tritsch
5 Dynamite: I Am Your Animal 4:29
Gilli Smyth
6 Wet Cheese Delirium 0:33
Daevid Allen
7 Squeezing Sponges Over Policemen's Heads 0:12
Daevid Allen
8 Fohat Digs Holes in Space 6:20
Daevid Allen / Gilli Smyth
9 Tried So Hard 4:36
Daevid Allen / Submarine Captain Christian Tritsch
10 Tropical Fish: Selene 7:32
Daevid Allen
11 Gnome the Second 0:25
 Daevid Allen
Credits Bass – Submarine Captain Drums, Percussion [Tables, Chairs] – Pip Pyle Guitar, Vocals [Aluminium Croon] – Bert Camembert, Daevid Allen Saxophone, Flute – Blumdido Bad De Grass Vocals [Space Whisper, Lady Voice] – Gilli Smyth, Shakti Yoni Written-By – Tritsch (tracks: 4, 5, 9), Allen (tracks: 1 to 3, 6 to 11), Smyth (tracks: 4, 5, 8)

GONG - Flying Teapot (Radio Gnome Invisible, Vol. 1) (1973-1996) FLAC (image+.cue), lossless

Produced by Giorgio Gomelsky, notable for his work with the Yardbirds, Brian Auger, and Magma, this relatively early Gong project is a great representation of the Daevid Allen-era Gong. Though not as intricate as its follow-up companion piece, Angel's Egg, The Flying Teapot is more of a true prog/space rock outing, where hippie-trippy lyrics and space whispering abound, as evidenced in the opening track, "Radio Gnome Invisible." The following cut, "Flying Teapot," is the sprawling highlight of the album. At times reminiscent of some early Weather Report jams, though not as jazzy, the tune features prominent bass, standout percussion/drums, and space whispering courtesy of Smyth. Improvisational groaning and percussion bring this jam to a close. "Pothead Pixies" is a fun pop (pot?) tune which probably received very little, if any, airplay due to the lyrics, followed by Blake's brief synth interlude, "The Octave Doctors and the Crystal Machine." "Zero the Hero and the Witch's Spell," another lengthy composition, features Malherbe's sax playing, which, at this early point in the Gong evolution, is credited for most of the jazz sounds heard in the music (remember, Pierre Moerlen has yet to join the band). This cut becomes quite heavy near its end before making a clever transition into the final cut, "Witch's Song/I Am Your Pussy." Here you hear Smyth's strange, sexually explicit lyrics, which she embellishes with ethereal voicings and cackling. This, combined with a jazzy sax from Malherbe and some very groovy musical lines near the closing, make for another fun tune. by David Ross Smith 

Tracklist:
1 Radio Gnome Invisible 5:32
Written-By – Daevid Allen
2 Flying Teapot 11:51
Written-By – Daevid Allen
3 The Pot Head Pixies 3:02
Written-By – Daevid Allen
4 The Octave Doctors And The Crystal Machine 1:51
Written-By – Tim Blake
5 Zero The Hero And The Witch's Spell 9:37
Written-By – Christian Tritsch, Daevid Allen
6 Witch's Song, I Am Your Pussy 5:08
Written-By – Daevid Allen, Gilly Smith
Credits
Bass, Piano – Francis Bacon
Congas – Rachid Whoarewe
Design [Cover Design] – Dingo, Maggie, Tom Fu
Drums, Percussion – Lawrence The Alien
Flute, Tenor Saxophone, Soprano Saxophone – The Good Count Bloomdido Bad De Grass
Guitar – Stevie Hillside, The Submarine Captain
Guitar, Vocals – Dingo Virgin
Vocals [Spacewhisper], Organ – The Good Witch Yoni
Synthesizer, Vocals – Hi. T. Moonweed

GONG - Angel's Egg (Radio Gnome Invisible, Vol. 2) (1973-2015) Mini LP SHM-CD Universal Japan / RM / FLAC (image+.cue), lossless

The companion piece to The Flying Teapot, Angel's Egg is not your usual progressive rock album. Very quirky, with many, mostly brief compositions, the album is a tad less spacy than Teapot, with just a few psychedelic-inspired lyrics, and it's very technically adept. Angel's Egg opens with a true space rock cut (one of the few on the album), filled with the usual Gilli Smyth space whispering and Daevid Allen voicings, then leads into the cleverly titled "Sold to the Highest Buddha," with Steve Hillage and Didier Malherbe prominent figures. The instrumental "Castle in the Clouds" finds Hillage coming into his own, with a sound identical to his solo work. "Givin' My Love to You" sounds like a bar song, with no music and a cluster of seemingly drunken fellas trying to sing. The instrumental "Flute Salad" gives way to "Oily Way," a showcase for Malherbe's jazzy flute. "Inner Temple," an instrumental space rock track, moves along with a jazz edge, provided by Malherbe's sax. The final three tracks are the real highlights on Angel's Egg. "I Never Glid Before" is a fantastic prog rock tune, replete with blistering Hillage solo, primo Allen lyrics and vocal, and the precise percussion of new bandmember Pierre Moerlen. This eclectic composition travels through several movements and time changes, and comes across as a perpetually progressing piece. The imaginative and jazzy "Eat That Phone Book Coda" brings the album to a close.  by David Ross Smith  
Tracklist:
1 Other Side Of The Sky 7:40
Written-By – Allen, Blake
2 Sold To The Highest Buddha 4:25
Written-By – Allen, Howlitt
3 Castle In The Clouds 1:09
Written-By – Hillage
4 Prostitute Poem 4:53
Written-By – Smyth, Hillage
5 Givin' My Luv To You 0:42
Written-By – Allen
6 Selene 3:38
Written-By – Allen
7a Flute Salad 2:09
Written-By – Malherbe
7b Oily Way 3:37
Written-By – Allen, Malherbe
8 Outer Temple 1:09
Written-By – Hillage, Blake
9 Inner Temple 2:34
Written-By – Allen, Malherbe
10 Percolations 0:46
Written-By – Moerlin
11 Love Is How Y Make It 3:26
Written-By – Allen, Moerlin
12 I Niver Glid Before 5:37
Written-By – Hillage
13 Eat That Phone Book Coda 3:09
Written-By – Malherbe
Credits
Bass – T. Being Esq
Drums, Vibraphone, Marimba – Pierre de Strasbourg
Glockenspiel – Mirielle de Strasbourg
Lead Guitar [Lewd Guitar] – Sub Capt Hillage
Producer – Gong
Synthesizer, Vocals [Lady Voce] – T. Moonweed
Tenor Saxophone, Soprano Saxophone, Flute, Vocals [Bi-Focal Vocal] – Bloomdido Bad de Grass
Vocals [Local Vocals Aluminium Croon], Guitar [Glissando Guitar] – Dingo Virgin
Vocals [Space Whisper & Loin Cackle] – Shakti Yoni

GONG - You (Radio Gnome Invisible Vol. 3) (1974-2015) Mini LP SHM-CD Universal Japan / RM / FLAC (image+.cue), lossless

You is the final installment in Gong's legendary Radio Gnome Trilogy, and it marks an important turning point for the band. By 1974, the psychedelic hippie/folk-rock element of the sound that was leader Daevid Allen's most important contribution was beginning to disappear. In its place was a more sophisticated musical vision that owed as much to jazz-rock fusion as to fellow space rockers like Pink Floyd and Hawkwind. Ironically, this is Gong's most "spacy" album, full of extended, ethereal passages that would inspire future generations of space rockers. The sound was equally defined however, by the jazzy flights of saxophonist Didier Malherbe and the sinuous rhythms of bassist Mike Howlett and drummer Pierre Moerlen (the band would eventually become the fusion-oriented Pierre Moerlen's Gong). Allen's songs still provide a crucial link to the rest of the trilogy, though the conceptual/mythological aspect is less crucial to You.  by Rovi Staff
Tracklist
1 Thought For Naught 1:30
2 A P.H.P.'s Advice 1:37
3 Magick Mother Invocation 2:11
4 Master Builder 6:09
5 A Sprinkling Of Clouds 8:42
6 Perfect Mystery 2:25
7 The Isle Of Everywhere 10:21
8 You Never Blow Yr Trip Forever 11:24
Credits
Bass Guitar – Mike Howlett
Illustration [Scandalous Mandalous On The Back] – Daevid Allen
Lead Guitar – Steve Hillage
Percussion – Benoit, Mireille, Pierre Moerlen
Synthesizer [Moog And EMS Synthesisers], Mellotron [Mellowdrone] – Hi T Moonweed
Vocals [Vocal Locust], Guitar [Glissandoz Guitar] – Dingo Virgin
Voice [Poems], Vocals [Spacewhisper] – Shakti Yoni
Voice [Wee Voices], Backing Vocals [Chourousings] – Bambaloni Yoni
Wind [Wind Instruments], Vocals – Bloomdido Bad de Grass
Written-By – Gong

GONG - Shamal (1975-2015) Mini LP SHM-CD Universal Japan / RM / FLAC (image+.cue), lossless

Between Daevid Allen's departure from the band and Pierre Moerlen's official takeover of the band, there is Shamal. This transitional album contains none of the Allen-inspired psychedelia, but also very little of Moerlen's jazz influence. Shamal is, for the most part, a progressive rock album, half vocal, half instrumental. Its most accessible tune, the opening "Wingful of Eyes," had the potential for airplay if only it hadn't been so lengthy. Penned by Mike Howlett, his not-so-great-but-appealing vocal style and lyrics will grow on you, given the opportunity. "Bambooji," mostly instrumental, opens with Didier Malherbe's flute, which at times gives this tune an Asian sound. Percussion and flute dominate and yield a Scottish feeling as well. "Mandrake" is the soft, laid-back piece on the album, followed by the closing title cut, a slight foreshadowing of the sound Pierre Moerlen and company assumed on the next several albums. Moerlen, an outstanding, classically trained drummer/percussionist, along with Jorge Pinchevsky on violin color this piece with a Mahavishnu Orchestra hue, although it's still distinctly Gong. by David Ross Smith
Tracklist:
1 Wingful Of Eyes 8:19
Electric Guitar, Acoustic Guitar – Steve Hillage
Written-By – Howlett
2 Chandra 7:16
Lyrics By – Howlett
Music By – Lemoine
Violin – Jorge Pinchevsky
3 Bambooji 5:21
Electric Guitar, Acoustic Guitar – Steve Hillage
Violin – Jorge Pinchevsky
Vocals – Miquette Giraudy
Written-By – Malherbe
4 Cat In Clark's Shoes 7:45
Violin – Jorge Pinchevsky
Voice – Jorge Pinchevsky
Written-By – Malherbe, Howlett, Lemoine
5 Mandrake 5:07
Written-By – Moerlen
6 Shamal 8:58
Violin – Jorge Pinchevsky
Vocals – Sandy Colley
Written-By – Malherbe, Howlett, Bauer, Lemoine, Moerlen
Credits:
Bass Guitar, Vocals – Mike Howlett
Violin, Voice – Jorge Pinchevsky
Drums, Vibraphone, Tubular Bells – Pierre Moerlen
Marimba, Percussion [Assorted], Glockenspiel, Xylophone, Gong – Mireille Bauer
Piano, Organ, Synthesizer [Mini-moog] – Patrice Lemoine
Producer – Nick Mason
Tenor Saxophone, Soprano Saxophone, Flute [Bamboo, C&g Flutes], Gong – Didier "Bloom" Malherbe

GONG - Gong Est Mort (1977-2015) 2 Mini LP SHM-CD / RM / FLAC (image+.cue), lossless

Live album recorded during the first « Gong reunion » in May 28, 1977 in Hippodrome de Pantin (Paris), organised by Jacques Pasquier. The classic Gong line-up with founder Daevid Allen didn’t exist anymore at this date, but reconvened for this event, which also featured all bands formed by ex or current Gong members : Daevid Allen with Euterpe, Didier Malherbe’s Bloom, the « official » Gong led by Pierre Moerlen, Mike Howlett’s Strontium 90, Tim Blake’s Crystal Machine, Steve Hillage’s band etc…
When the newly created label Tapioca announced they will release the Gong recording of this concert, Virgin interjected by legally trying to prevent the release of this album, saying the band and name Gong was signed to Virgin, as well as other artists like Steve Hillage. In an attempt to sabotage the release of the Hippodrome concert, Virgin also quickly compiled live tapes of Gong and issued the Live Etc. album in August 1977, including many pictures of the Hippodrome concert on the insert sleeves ! As a reaction, Daevid Allen and Gong freaks invaded the Virgin offices in London, claiming that Gong belonged to no-one. Eventually, Tapioca was able to release their Gong Est Mort album in September (or November ?) 1977. Though as a side-effect of the dispute with Virgin, Steve Hillage could not be credited on this recording and his face was blanked on the inner gatefold picture. web
Tracklist 1:
1. Can't Kill Me 7:59
2. I've Been Stoned Before / Mr Longshanks / O Mother 06:42
3. Radio Gnome Invisible 03:01
4. Zero The Hero & The Witches Spell 10:03
5. Flute Salade / Oily Way / Outer Temple 10:26
(0:38:13)
Tracklist 2:
1. Inner Temple (Zero Meets The Octave Doctor) 05:54
2. IAO Chant & Master Builder 06:49
3. Sprinkling Of Clouds 04:24
4. From The Isle Of Every Where To The End Of The Story Of Zero The Hero 12:18
5. You Never Blow Your Trip Forever 10:27
(0:39:54)
Credits:
Bass [Souper Bass] – Mister T. Being
Drums – Le Pere Cushion De Strasbourger
Guitar [Glissando Guitar], Vocals [Chant] – Bert Camenbert
Guitar [Uncredited] – Steve Hillage
Mixed By – Christian Gence, Daevid Allen
Saxophone [Saxo Selmer], Flute [Float] – Bloomdido Bad De Grass
Synthesizer, Keyboards – High. T. Moonweed
Vocals [Space Whisper] – Shakti Yoni

GONG - Live Etc. (1977-2015) 2 Mini LP SHM-CD Universal Japan / RM / FLAC (image+.cue), lossless

The essential Live Etc. sports incredible live versions of material from four Gong albums (Camembert Electrique, Flying Teapot, Angel's Egg, You) and one studio track which had been recorded in 1974 as an attempt at a single. The live material, recorded 1973-1975, consists of performances from several different incarnations of the band, making this an excellent starting point for anyone interested in sampling Gong. Abundant and overflowing with infusions of space, prog, and jazz, this melting pot of a band stands alone in its eclectic delivery of the goods. Highlights include Moerlen's percussion solo on "Flying Teapot," Malherbe's sax solo on "Zero the Hero...," and Hillage's guitar work on the spacy "Radio Gnome Invisible." "Where Have All the Flowers Gone" is Gong's attempt at a single; while somewhat mainstream, even this piece pushes the envelope for the airwaves. "6/8 Tune" is a superb jazzy instrumental, a kind of foreshadowing to the CD's final four tracks, which are for the most part instrumental and very progressive. The tracks blend together to form the climax and highlight of this great live album, and exhibit the jazziness that would become an integral sound in the band's future releases. Recorded after Allen's departure, this is the personnel that would go on to record Shamal, though no tracks from that album show up here. Live Etc. originally ended with the tune "Ooby-Scooby Doomsday" (another attempt at a pop hit), but at 79 minutes, the CD format could not hold it, and it has been tacked on to the end of the Angel's Egg compact disc release. by David Ross Smith   
Tracklist 1:
1. You Can't Kill Me 5:56
2. Zero The Hero And The Witch's Spell 11:05
3. Flying Teapot 6:31
4. Dynamite / I Am Your Animal 5:43
5. 6/8 Tune 3:48
6. Est-Ce Que Je Suis 4:16
7. Ooby-Scooby Doomsday Or The D-day DJ's Got The D.D.T. Blues 5:09
8. Radio Gnome Invisible 7:35
Tracklist 2:
1. Oily Way 3:21
2. Outer Temple 1:03
3. Inner Temple 5:14
4. Where Have All The Flowers Gone? 3:04
5. Isle Of Everywhere 10:24
6. Get It Inner 2:30
7. Master Builder 5:57
8. Flying Teapot (Reprise) 2:05
Credits:
Bass, Vocals – Mike Howlett
Drums – Pierre Moerlen, Rob Tait
Flute, Percussion, Saxophone, Vocals – Didier Malherbe
Guitar, Vocals – Daevid Allen, Steve Hillage
Keyboards – Patrice Lemoine
Keyboards, Vocals – Miquette Giraudy
Percussion – Mireille Bauer
Percussion, Vocals – Diane Stewart
Synthesizer, Keyboards, Vocals – Tim Blake
Vocals – Gilli Smyth

PIERRE MOERLEN'S GONG - Downwind (1979-2010) RM / FLAC (image+.cue), lossless

The impressive Downwind is the first release from the band under its new moniker, Pierre Moerlen's Gong, as Moerlen assumes creative control and dominance. The release marks a return to vocals/lyrics, which proves only partially successful. Moerlen's voice is a hit on the opener, the rocking "Aeroplane," and the collective vocals on the fast-paced, percussive "Jin-Go-Lo-Ba" (popularized by Santana) are right on target. His singing is weak, though, on "What You Know" and detracts from the song's quality. Mick Taylor makes his only appearance here with an exceptional guitar solo. Downwind is also a return to compositions dominated by rock structures and styles, the jazz element minimal this time around. The instrumental cuts are sublime: "Emotions" and "Xtasea" are relaxing; "Crosscurrents" and "Downwind" are energetic and exciting. The title cut is easily the highlight of the album, featuring guest appearances by Steve Winwood (Moog, synth) and guitarist Mike Oldfield. At almost 13 minutes, this thrilling composition resembles the early work of Oldfield, particularly strains of "Tubular Bells, Pt. 1," and specifically the section used for the film The Exorcist. On "Downwind," Moerlen's percussives are ablaze, recalling his "Percolations" performance from Gazeuse. Bassist Hansford Rowe is prominent, and saxophonist Didier Malherbe, a longtime Gong staple, makes his only appearance on the album. by David Ross Smith 
Tracklist:
1 Aeroplane 2:39
2 Crosscurrents 6:11
3 Downwind 12:30
Co-producer – Mike Oldfield
Flute – Terry Oldfield
Guitar, Bass, Drums – Mike Oldfield
Saxophone – Didier Malherbe
Synthesizer – Steve Winwood
4 Jin-Go-Lo-Ba 3:24
Written-By – M. Olatunji
5 What You Know 3:40
Lead Guitar – Mick Taylor
6 Emotions 4:44
7 Xtasea 6:39
Credits:
Bass, Vocals – Hansford Rowe
Congas, Marimba – François Causse
Drums, Vibraphone, Timpani, Cowbell, Timbales, Percussion, Organ [Hammond], Synthesizer, Vocals – Pierre Moerlen
Guitar, Vocals – Ross Record
Producer – Pierre Moerlen
Tape Op – Jess Sutcliffe
Vibraphone – Benoit Moerlen
Violin – Didier Lockwood (tracks: 1, 6, 7)
Written-By – Pierre Moerlen (tracks: 1 to 3, 5 to 7), Ruan O'Lochlain (tracks: 1 to 3, 5 to 7)

ARVO PÄRT : Te Deum; Silovans Song; Magnificat; Berliner Messe (1993) FLAC (tracks+.cue), lossless

A richly realized collection of prayers that brings deep, resounding enlightenment to the ears. Everything about this compact disc feels like Arvo Pärt's master work, right down to the gorgeous photos in the accompanying booklet. "Te Deum" opens patiently and ominously, then proceeds to run the spectrum between overflowing swells and hushed contemplation. The Tallinn Chamber Orchestra and the Estonian Philharmonic Chamber Choir breathe as one under the magnificent direction of Tönu Kaljuste for this and "Berliner Messe," the closing mass that parts the clouds with its stark beauty and pious rejoicing (the third passage within the mass, "Erster Alleluiavers," is a brief teardrop of reverence that even atheists would ponder). Elsewhere, the a cappella chorus of "Magnificat" shines with vocals that embrace the church walls with chills and crispness, like a beam of moonlight through winter. One of the composer's strengths has always been to find the depth in simplicity. To this end, ever-present ECM producer Manfred Eicher's sparse and beautiful sensibilities fit Arvo Pärt like a glove, especially with "Silouans Song," which blossoms in stoic waves of strings. Such bittersweet longing resides here ("My soul yearns after the Lord") that a little sadness seems to slip out through all the reverence. This is uniformly his finest album, but by no means does it encompass all he has to offer. The compositions in Te Deum may not reveal Pärt's more eclectic and thunderous side, but few other albums carry such a consistent theme. by Glenn Swan

Tracklist:

1 - Te Deum (1984-1986)

2 - Silouans Song (1991) - 'My Soul yearns after the Lord...' 

3 - Magnificat (1989) 

4 - Berliner Messe (1990-1992) - Kyrie 

5 - Berliner Messe (1990-1992) - Gloria 

6 - Berliner Messe (1990-1992) - Erster Alleluiavers 

7 - Berliner Messe (1990-1992) - Zweiter Alleluiavers 

8 - Berliner Messe (1990-1992) - Veni Sancte Spiritus

9 - Berliner Messe (1990-1992) - Credo 

10 - Berliner Messe (1990-1992) - Sanctus 

11 - Berliner Messe (1990-1992) - Agnus Dei

ARVO PÄRT : Arbos (1987) APE (image+.cue), lossless

Pärt's 1987 release, Arbos, shows the composer working within his medium, bringing forth a body of music sacred in sound and message and presenting new compositional techniques. Utilizing a limited palette of tones, arranged in repeating patterns, these works are often (understandably) categorized with the works of Glass, Reich, and Riley. The tonal palette is often borrowed from European medieval styles, and this, in conjunction with the liturgical subject matter, make these new compositions feel centuries old. His Pari Intervello, originally scored in 1978 for wind instruments, is here recorded for solo organ. One of his more famous pieces, Stabat Mater, is presented here -- an airy piece that floats just on the threshold of awareness. Scored for vocal trio and string trio, this is a simply beautiful piece -- very expressive and lilting. by Mark Allender

ARVO PÄRT - Passio (1988) APE (image+.cue), lossless

Pärt's long-form The Passion of Our Lord Jesus Christ According to St. John dramatizes the apostle John's account of the arrest and crucifixion of Jesus. The form he adopts sounds as though it were centuries old, with its choral orchestration. But his choice of instruments, his choice of chords, his phrasing, and the basic construction of the piece itself are all based on 20th century ideas, most notably his own innovation, the "tintinnabuli" method. The overall sound is significantly bigger than the small ensemble performing it; this is an innovative work, despite the classic subject matter. The text is taken verbatim from the Vulgate. by Mark Allender

Tracklist:
1 Passio Domini Nostri Jesu Christi Secundum Joannem 70:52
Credits:
Baritone Vocals [Evangelist Quartet] – Gordon Jones
Bass Vocals [Jesus] – Michael George
Bassoon – Catherine Duckett
Cello – Elisabeth Wilson
Choir – The Western Wind Chamber Choir
Composed By – Arvo Pärt
Conductor – Paul Hillier
Countertenor Vocals [Evangelist Quartet] – David James
Ensemble – The Hilliard Ensemble
Oboe – Melinda Maxwell
Organ – Christopher Bowers-Broadbent
Producer [Produced By] – Manfred Eicher
Soprano Vocals [Evangelist Quartet] – Lynne Dawson
Tenor Vocals [Evangelist Quartet] – Rogers Covey-Crump
Tenor Vocals [Pilate] – John Potter
Violin – Elizabeth Layton

HANS REICHEL - Lower Lurum (1994) FLAC (image+.cue), lossless

Hans Reichel's Lower Lurum is perhaps the record that introduced the world to his invention, the daxophone, a box playing a long, thin altered board that produces so many tones and sounds they are virtually limitless. Add to this Reichel's homemade guitars, which are truly exotic pieces of art as well as functional instruments, and you have an orchestra from another dimension. Which is what Lower Lurum is pretty much all about. Being subtitled as a "guitar and daxophone" operetta, in Reichel's mind there is probably a concept here. But that concept for the listener -- especially since there are no notes explaining what the "plot" of this operetta is supposed to be -- is tonal. Given how technical Reichel is about everything in the booklet, it is -- for those who've never heard Reichel's music -- shocking to hear its emotional warmth, depth, and humor. There is very little manipulation of sound with overdubs occurring in very few places, and even they are used sparingly. This is music that comes straight through the microphone without effects. In large part this is because it doesn't need any. Reichel's operetta and his music in general are more musical than music because they integrate the entire human being -- physical, psychological, emotional, spiritual -- into the way in which a composition or improvisation is executed and ultimately sounds. On Lower Lurum, Reichel has created a light body (or, from the Buddhist perspective, a rainbow body) of sound. Its clarity and spirit are one in the same, expressed as resonances from the heart through the hands and moving beyond them both into a sonic architecture that expresses emotions and thoughts that occur just beyond the field of language, and that achievement is far greater that the faculty of language this reviewer possesses. by Thom Jurek  

JOHN CAGE : Complete Piano Music Vol. 1 (1997) 3CD / APE (image+.cue), lossless

JOHN CAGE : Complete Piano Music Vol. 10 (2002) FLAC (tracks+.cue), lossless

ARRIGO BARNABÉ E A BANDA SABOR A VENENO - Clara Cocrodilo (1983-2001) APE (tracks+.cue), lossless

Tracklist:
1 Acapulco Drive In 4:30
Arranged By, Synthesizer, Electric Piano – Bozo
Backing Vocals – Passoca, Teté
Backing Vocals, Arranged By – Gi Gibson
Lyrics By, Arranged By – Paulo Barnabé
Music By – Gibson Gibson, Paulo Barnabé
Music By, Arranged By, Bass Guitar – Otávio Fialho
Music By, Synthesizer, Vocals – Arrigo Barnabé
Vocals – Mané Silveira
2 Orgasmo Total 4:37
Written-By, Arranged By, Vocals – Arrigo Barnabé
3 Diversões Eletrônicas 7:49
Alto Saxophone, Clarinet – Baldo Versolatto
Backing Vocals – Eliana Estevão, Passoca, Teté
Synthesizer, Electric Piano, Piano, Backing Vocals – Bozo
Written-By, Arranged By, Electric Piano, Piano – Regina Porto
Written-By, Arranged By, Vocals – Arrigo Barnabé
4 Instante 3:30
Clarinet – Marcelo Galberti
Soprano Saxophone, Flute – Mané Silveira
Written-By, Arranged By – Arrigo Barnabé
5 Sabor De Veneno 2:31
Piano, Electric Piano – Regina Porto
Piano, Electric Piano, Percussion, Written-By, Arranged By, Vocals – Arrigo Barnabé
Vocals, Arranged By [Vocals] – Teté
6 Infortúnio 4:50
Arranged By – Itamar Assumpção
Arranged By, Drums, Percussion, Backing Vocals – Paulo Barnabé
Backing Vocals – Bozo, Passoca, Teté
Cello – Mario "Biafra" Aydar
Written-By, Vocals, Arranged By – Arrigo Barnabé
7 Office Boy 6:59
Backing Vocals – Teté
Electronics, Narrator – Regina Porto
Written-By, Arranged By, Narrator, Vocals – Arrigo Barnabé
8 Clara Crocodilo 7:21
Backing Vocals – Bozo, Eliana Estevão, Gilberto Mifune, Passoca, Teté
Guitar, Violin, Backing Vocals – Gi Gibson
Lyrics By, Narrator, Arranged By – Arrigo Barnabé
Music By – Arrigo Barnabé, Mário Lucio Cortes
Credits:
Alto Saxophone, Clarinet – Baldo Versolatto
Clarinet – Felix Wagner
Percussion – Rogério
Producer – Robinson Borba
Recorded By – Carlos A. Duttweller, Francisco Braga
Recorded By, Mixed By – Marcus Vinicius
Tenor Saxophone, Clarinet – Chico Guedes
Trombone, Bass Trombone – Ronei Stella
Vocals – Suzana, Vania

CAPTAIN BEEFHEART & HIS MAGIC BAND - Safe as Milk (1967-1999) RM / APE (image+.cue), lossless

Beefheart's first proper studio album is a much more accessible, pop-inflected brand of blues-rock than the efforts that followed in the late '60s -- which isn't to say that it's exactly normal and straightforward. Featuring Ry Cooder on guitar, this is blues-rock gone slightly askew, with jagged, fractured rhythms, soulful, twisting vocals from Van Vliet, and more doo wop, soul, straight blues, and folk-rock influences than he would employ on his more avant-garde outings. "Zig Zag Wanderer," "Call on Me," and "Yellow Brick Road" are some of his most enduring and riff-driven songs, although there's plenty of weirdness on tracks like "Electricity" and "Abba Zaba." [Buddha's 1999 reissue of Safe as Milk contained restored artwork and seven bonus tracks.]  by Richie Unterberger
Tracklist:
1 Sure 'Nuff 'N Yes I Do 2:15
Written-By – Don Van Vliet, Herb Bermann
2 Zig Zag Wanderer 2:40
Drum [Log Drum] – Milt Holland
Written-By – Don Van Vliet, Herb Bermann
3 Call On Me 2:37
Written-By – Don Van Vliet
4 Dropout Boogie 2:32
Drum [Log Drum] – Milt Holland
Written-By – Don Van Vliet, Herb Bermann
5 I'm Glad 3:31
Written-By – Don Van Vliet
6 Electricity 3:07
Theremin – Sam Hoffman
Written-By – Don Van Vliet, Herb Bermann
7 Yellow Brick Road 2:28
Percussion [Additional] – Taj Mahal
Written-By – Don Van Vliet, Herb Bermann
8 Abba Zaba 2:44
Percussion [Additional] – Milt Holland
Written-By – Don Van Vliet
9 Plastic Factory 3:08
Written-By – Don Van Vliet, Herb Bermann, Jerry Handley
10 Where There's Woman 2:09
Written-By – Don Van Vliet, Herb Bermann
11 Grown So Ugly 2:27
Written-By – Robert Pete Williams
12 Autumn's Child 4:02
Guitar – Russ Titelman
Theremin [Probably Played] – Sam Hoffman
Written-By – Don Van Vliet, Herb Bermann
Bonus Tracks
13 Safe As Milk (Take 5) 4:13
Written-By – Don Van Vliet
14 On Tomorrow 6:56
Written-By – Don Van Vliet
15 Big Black Baby Shoes 4:50
Written-By – Don Van Vliet
16 Flower Pot 3:55
Written-By – Don Van Vliet
17 Dirty Blue Gene 2:43
Written-By – Don Van Vliet
18 Trust Us (Take 9) 7:22
Written-By – Don Van Vliet
19 Korn Ring Finger 7:26
Written-By – Don Van Vliet
Credits:
Arranged By – Don Van Vliet (tracks: 2 to 10, 12 to 19), Ry Cooder (tracks: 1, 11)
Bass – Jerry Handley, Ry Cooder (tracks: 8, 11)
Drums – John French
Guitar – Alex St. Clair Snouffer, Jeff Cotton (tracks: 13 to 19), Ry Cooder (tracks: 1 to 12)
Marimba [Bass] – Captain Beefheart (tracks: 1 to 12)
Mastered By – Elliott Federman
Shenai [Shinei] – Captain Beefheart (tracks: 13 to 19)
Vocals, Harmonica – Captain Beefheart

CAPTAIN BEEFHEART & HIS MAGIC BAND - Strictly Personal (1968-1994) FLAC (image+.cue), lossless

Considered by many to be a substandard effort due to the circumstances of its release (producer Bob Krasnow, the owner of Blue Thumb, the label which debuted with this album, remixed the album while Don Van Vliet and crew were off on a European tour, adding extraneous sound effects like heartbeats and excessive use of psychedelic-era clichés like out-of-phase stereo panning and flanging), 1968's Strictly Personal is actually a terrific album, every bit the equal of Safe As Milk and Trout Mask Replica. Opening with "Ah Feel Like Ahcid," an a cappella blues workout with its roots in Son House's "Death Letter," the brief (barely 35 minutes) album is at the same time simpler and weirder than Safe As Milk had been. Working without another songwriter or arranger for the first time, Captain Beefheart strips his idiosyncratic blues down to the bone, with several of the songs (especially "Son of Mirror Man/Mere Man") having little in the way of lyrics or chords beyond the most primeval stomp. Krasnow's unfortunate sound effects and phasing do detract from the album at points, but the strength of the performances, especially those of drummer John French, make his efforts little more than superfluous window dressing. Strictly Personal is a fascinating, underrated release. by Stewart Mason 
Tracklist:
1 Ah Feel Like Ahcid 3:05
2 Safe As Milk 5:27
3 Trust Us 8:09
4 Son Of Mirror Man - Mere Man 5:20
5 On Tomorrow 3:26
6 Beatle Bones 'N' Smokin' Stones 3:17
7 Gimme Dat Harp Boy 5:04
8 Kandy Korn 5:06
Credits:
Arranged By, Lead Vocals, Harmonica [Mouth Harp], Written-By – Don Van Vliet
Bass – Jerry Handley
Drums – John French
Mark Marcellino Keyboards
Guitar – Alex St. Claire, Jeff Cotton

CAPTAIN BEEFHEART & THE MAGIC BAND - Trout Mask Replica (1969-2013) FLAC (tracks+.cue), lossless

Trout Mask Replica is Captain Beefheart's masterpiece, a fascinating, stunningly imaginative work that still sounds like little else in the rock & roll canon. Given total creative control by producer and friend Frank Zappa, Beefheart and his Magic Band rehearsed the material for this 28-song double album for over a year, wedding minimalistic R&B, blues, and garage rock to free jazz and avant-garde experimentalism. Atonal, sometimes singsong melodies; jagged, intricately constructed dual-guitar parts; stuttering, complicated rhythmic interaction -- all of these elements float out seemingly at random, often without completely interlocking, while Beefheart groans his surrealist poetry in a throaty Howlin' Wolf growl. The disjointedness is perhaps partly unintentional -- reportedly, Beefheart's refusal to wear headphones while recording his vocals caused him to sing in time with studio reverberations, not the actual backing tracks -- but by all accounts, the music and arrangements were carefully scripted by the Captain (aided by John "Drumbo" French), which makes the results even more remarkable. As one might expect from music so complex and, to many ears, inaccessible, the influence of Trout Mask Replica was felt more in spirit than in direct copycatting, as a catalyst rather than a literal musical starting point. However, its inspiring reimagining of what was possible in a rock context laid the groundwork for countless future experiments in rock surrealism, especially during the punk/new wave era. by Steve Huey  
Tracklist:
1 Frownland 1:39
2 The Dust Blows Forward 'N The Dust Blows Back 1:53
3 Dachau Blues 2:21
4 Ella Guru 2:23
Effects [Flesh Horn] – Antennae Jimmy Semens
5 Hair Pie: Bake 1 4:57
6 Moonlight On Vermont 3:55
7 Pachuco Cadaver 4:37
8 Bills Corpse 1:47
9 Sweet Sweet Bulbs 2:17
10 Neon Meate Dream Of A Octafish 2:25
11 China Pig 3:56
Guitar – Doug Moon
12 My Human Gets Me Blues 2:42
13 Dali's Car 1:25
14 Hair Pie: Bake 2 2:23
15 Pena 2:31
Lead Vocals – Antennae Jimmy Semens
16 Well 2:05
17 When Big Joan Sets Up 5:19
18 Fallin' Ditch 2:03
19 Sugar 'N Spikes 2:29
20 Ant Man Bee 3:55
Horn [Simran Horn], Musette – Captain Beefheart
21 Orange Claw Hammer 3:35
22 Wild Life 3:07
23 She's Too Much For My Mirror 1:42
24 Hobo Chang Ba 2:01
25 The Blimp (Mousetrapreplica) 2:04
26 Steal Softly Thru Snow 2:13
27 Old Fart At Play 1:54
28 Veteran's Day Poppy 4:30
Credits:
Arranged By, Written-By, Lyrics By – Don Van Vliet
Bass Clarinet, Tenor Saxophone, Soprano Saxophone, Vocals – Captain Beefheart
Bass Clarinet, Vocals – The Mascara Snake
Bass, Narrator – Rockette Morton
Drums – Drumbo
Producer – Frank Zappa
Slide Guitar [Glass Finger], Flute – Zoot Horn Rollo
Slide Guitar [Steel-appendage] – Antennae Jimmy Semens