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But the legacy went virtually unnoticed. We should be ashamed. Perhaps Dream Warriors misjudged their demographic, as the CD retains a childlike sense of fun and refreshing lyrical tameness. The dual MCs make the usual threats of lyrical domination via imagery swiped liberally from Star 68 Dummy Run Wars, superhero comics, Dungeons and Dragons and other mythologies. King Lou and Capital Q assure the listener that they are hard, but deliver their boasts as if they are holding back to prevent injury. But in a genre steeped in fantasy violence, Dream Warriors, by virtue of the name alone, were up front about their imaginary action heroism.

Their rubbery funk, spaced-out sound effects and hiccuppy rhythms simply add to the reverie of it all. These recordings remind me of not only being a big goof but also not caring what anyone thinks—simply shouting and remembering odd mottoes, onomatopoeia, and non sequiturs. I am unabashed and ecstatic when I say that this album is now among my favorite records ever up to this point, at least. I can listen to these recordings for hours, and I have, and I do: some innate Stone Age drive to which I am duly and truly enslaved. I hear something new each time I listen to them.

Jesus W. Christwads of Nazareth in a handbasket and then some plus extra! I like them more and more. They grow on me like the mange. I picked up the Canadian pressing on Attic Records, which was given the appropriate title, Blatantly Offensive. While never hugely popular, the band had plenty of adolescent boys who swore by their potty-mouth power-pop. I feel safe in assuming that the Mentors, Anti Nowhere League and Pork Dukes, among many others, were all influenced to write sick absurd lyrics after grooving to Wayne.

The reason I feel so strongly about the merits of the first Electric Chairs album, though, is that the songs were so strong despite the silly situations so cleverly described. Things get weirder, and funnier. Weird as he was, Roky was still a musician of great natural gifts, possessed of a sweetly emotive Texas wail and a Hollyesque melodic touch. Folks in Austin knew if he could be disciplined, coddled, coaxed, and tolerated, there was almost certainly a great record in him. Each tune is a nightmare in miniature, simple and memorable as the slavering thing that lived in your nursery closet.

Every tune is a killer. Roky has recorded intermittently since , but never as successfully. Esquerita probably would have languished in obscurity had it not been the right place at the right time. An LP and several singles followed. It sold so poorly upon release that original copies are rarely seen today. Fortunately the digital age has brought about a renaissance for Esquerita, who is now openly acknowledged as one of the greats, and the original album has been reissued on CD, along with a plethora of unreleased material.

Deke Dickerson eX-Girl 73 EX-GIRL Heppoco Pou Paranoiz, Japan, The interesting thing about eX-Girl is not that they made music light-years beyond that of the average cute nineties Japanese girl pop band; the interesting thing is that they stopped being nearly as interesting once the average cute Japanese girl left the group. Maybe somebody told them they did. It was precisely the struggle amongst the three virtues of rock, art, and pop on their debut that made their music pull and catch on the ear.

By , Chihiro left the group, and while the band today is enjoying further success, the messy magic of their earlier music is gone. Never underestimate the power of the Cute Pop Girl. Extremely enjoyable. Once you become accustomed to the fact that most of his songs are about zombies and various forms of demonic possession, you can appreciate what a magnificent singer Exuma is. His lower register recalls Fred Neil. Underlying their sixties pop sensibility and urgent seventies punk is an underdog consciousness and approachable vulnerability.

Coating the racing thoughts and dashing words are astute ruminations traversing inner and outer spaces—frequently in the same song. The Fastbacks have always hoped for something better than the daily dreck for both themselves and their listeners. By taking this challenging course, they succeeded not by clearing every obstacle, but by knocking down some rails and galloping resiliently on as runaway dark horse favorites.

But their second album is even better. The Feelies embodied the contradictory aesthetics of punk simplicity and folk-rock songcraft. Their three-chord folk tunes are layered with gazillions of acoustic guitars and Velvet Underground—inspired lead guitar. What kills me is the sound: carefully arranged without being fussy, complex without losing that off-the-cuff relaxed feel, simultaneously urban and earthy. This is a Hoboken pastorale. Despite their jam-band structure two drummers!

Nothing else works up such a head of steam, but the album nevertheless manages to rock throughout. The result was a sort of Schoolhouse Rock for timid auto-jocks, a catchy set of rules and prohibitions meant to instill a sense of cautious confidence in young drivers. Frenetic banjos build to a nervous climax as the hip parental narrators fuss about hotheads, wheel-squealers and other car-creeps. There are no performer credits, but the label states that Lou Adessa and Vince Benay composed the songs. Think about what you may know of the best work of X and the Blasters of the time, add Chris D.

One could argue—no, I will argue—that this record is the premier calling card for the transformation of punk rock snottiness into a more literate, musically complex—dare I say mature—rock and roll beast. What reputation the Flesh Eaters still have left in the early eighties history books and with the Ameripunk cognoscenti is likely due to this album, which seems to be slowly gaining subsequent critical steam as an unequalled masterpiece.

That witty ingenious writer of the world-famous Rankin-Bass holiday specials Rudolph the Red-Nosed Reindeer, Frosty the Snowman, and the animated version of The Hobbit is the same man responsible for writing the stories and song lyrics to the first three Strawberry Shortcake cartoons. I would also like to mention the kooky double entendres Romeo Muller subconsciously brings into the mix that are more apparent when just listening to the soundtrack record, rather than when watching the cartoon. Sonic Youth claim to be influenced by her and play on her latest album. Stereolab too recorded with the queer queen.

Elizabeth Ivanovich young generation. In , Fontaine went looking for a more lysergic venture and found a new home with Pierre Barouh. Barouh could have been a mainstream pop composer; he earned fame with his soundtrack to Un homme et une femme. But instead of resting on laurels he created Saravah, his post—May underground label. Brigitte Fontaine est folle is a perfect balance between suave sophisticated pop and strange lyrical contents soaked in a feminine, witchlike hysteria. Jean-Claude Vannier did the arrangements, and boy! After that stroke of genius, Fontaine recorded a quite good if dated free-jazz-meets-chanson album with the Art Ensemble of Chicago and the occasional cool song hidden in your typical anything-goes French agitprop album.

During the eighties, the Japanese rediscovered her. Brigitte Fontaine est folle is a masterpiece with which you cannot go wrong. Even interested parties have had a hard time actually buying a damn Fools Face record. Within the pop underground, however, Fools Face is renowned. By turns confident and vulnerable, Fools Face was always literate, intelligent, musically accomplished, rooted in sixties songcraft but forged in the crucible of seventies punk and new wave. As a happy postscript, the original quintet returned for a splendid reunion CD in , an album that lives up to the promise of Tell America and Public Places.

Tell … someone! Today Brute Force performs frequently at music and comedy venues in the New York area, and recently toured England in support of the reissue of his second album, Extemporaneous. What the stuffed figures in the natural science building in may fail to capture is the sonic gala of vibrant vocals, harmonies galore and Hofner guitar playing found on this album. Studying such arcana as The Kingsmen on Campus and applying action to theory, Freddy Fortune, Michael Maltese and the Phabulous Pallbearers were 84 Roosevelt Franklin the only nineties garage band to give the concept album the old college try and ace it.

Fortune and Maltese demonstrated that Konquering Kampus was not strictly academic. A well-rounded education also includes flip-flops, flipclocks, flip-tops, flip-sides and this record to make things shake and the campus quake. After a clever opening monologue courtesy of the titular Sesame Street character, the listener can count along from one to ten, and work on memorizing the days of the week.

Standard kiddie fare, but it is all delivered atop brass-heavy soul and light funk. Roosevelt Franklin suddenly becomes Marvin Gaye for the preschool set, and it works perfectly. For Roosevelt, despite his purple fabric skin, plastic eyes, and tuft of fuzzy hair, is undeniably a child of the inner city. A primary target market of Sesame Street was the toddler from the projects. Because children were not yet fully exploited as an economic demographic, it is difficult to know how parents reacted to The Year of Roosevelt Franklin.

But it is refreshing to know that there was once a time when children were not spoken down to. Roosevelt tells it like it is. For some of us, his songs may be a refresher course in human relations. Pink caters, with easy mastery and absolute shamelessness, to every nuance of hearty palate and cornfed gut. On this one arcticfever dream of a record, they measured up to the boast. This self-released EP, which predates debut full-length Fugu 1 by four years, is as despicably rare as it is charming.

I was able to obtain a copy directly from Zannad after a Boston performance. Orgiastic, steeped in utter coherence. The result, roundly ignored at the time except by French audiences, was idiosyncratic cabaret music, very much out-of-step with the glam agenda of the period. The songs are steeped in cynicism and wounded pride, with the singer invariably cast as protagonist and tireless bisexual adventurer in each.

Bitterness never sounded so appealing as when set to the updated Weimar Republic strip club tunes heard here, with banjos, trombones and castanets forming an armature of duplicity and sorrow. Lissauer frames these mediations on dissolute behavior with the glossy patina of a Broadway cast recording; his engineer, Leanne Unger, would go on to produce Leonard Cohen, Laurie Anderson and other artists of a similarly confessional bent.

Furey would eventually decamp to France, where he continued to record and graduated to film directing. He married Quebecois film star Carole Laure, whose own RCA solo album was produced by Furey and featured several rewritten versions of songs first heard on Lewis Furey. But although Slim Gaillard is highly revered in some jazz circles, the jive-talking, fast-living Gaillard was really a forties version of a rock and roll hip-hop star. Slim and his bassist Bam Brown absolutely kill the Diamanda Galas 89 audience with their back and forth jive-talk patter.

Simply one of the most exciting live albums ever recorded, this album can be heard in its entirety on the essential Slim compilation CD Laughing in Rhythm—Best of the Verve Years. Saint of the Pit is part two of the trilogy. The lyrics are in French, taken from the poetry of Baudelaire, Nerval, and Corbiere. They could just as easily be in tongues, as Galas croons, howls, whispers, spits, barks, shrieks, and sustains long, seemingly inhuman operatic melismata.

Societal and artistic considerations aside, however, this album strikes a bit deeper under the skin than one might imagine by merely reading about it. It scratches right at the point where the blood runs cold and the chills methodically rush up the spine. Put another way, this is the goddamned scariest record ever made. I tried it once and some troublesome neighbors suddenly became very aloof and non-present. Perhaps this is a more multipurposed album than even Galas imagined. On one album and two EPs, Game Theory soared toward the power pop heights, but sometimes settled for a thin, cheesy Casio rhythm.

The next step was critical. Luckily, that step was Real Nighttime, the album that introduced Game Theory to the college-radio audience. From its Joycean liner notes and opening track, the band walks a fine line between pretension and genius; genius wins out heartily. Produced by the extremely in-vogue Mitch Easter, Nighttime is full of chiming guitars and great pop melodies. Here, the band prove themselves the equal of any of their Paisley Underground cousins, and very nearly up there with Big Star.

Recurring themes involve growing into your own skin, finding a specific life direction, and sorting out what your peers and family assume to be true. Indeed, Nighttime is a virtual concept album about life after college. Especially with this much pretty melancholy. Think again. Yes, I have. Yes, I like it. If lexicographers were ever near the dance floor, that is. But there were other, no less worthy, Scottish indie bands like the Fizzbombs, whose EP captured a band equally transfixed by the Ramones and surf music, and Rote Kapelle, who released some engaging if spotty EPs and singles.

This is particularly unfortunate when considering the Desperadoes. Between and they recorded a series of singles on the Narodnik and Velocity labels. A Cabinet of Curiosities collects a dozen of these neverwere-hits. They are of such uniformly high quality that you could call it a pop Singles Going Steady. Lee Hazlewood associate Suzi Jane Hokum makes a terrific Dorothy, her voice at once jaded, naive and adorably congested.

Start over on Side 1…. The plot tells of Mr. T Robert Hooks , an icy Watts private detective administering an ex parte foot to the ass of an ofay gambling ring. To illustrate this claustrophobicically familiar plot, Gaye wraps a series of trickytickly variations around a muscular main theme, making excursions into hateful soul streets and after 4 A.

Gaye lilts lyrics sparsely explanatory of the truly deep shit our antihero is in. Gentry was raised in Mississippi, studied philosophy at UCLA and worked as a Vegas showgirl, and these apparently contradictory experiences prove surprisingly cohesive in her art. Her second album is an utterly original dip into rich, conflicted pools of sophistication and simplicity, each of the twelve songs offering one facet of Southern experience.

The regional portraiture is imbued with a rich psychological understanding and a streak of dark humor, her voice is warm and knowing, and the arrangements—ostensibly by Jimmie Haskel and Shorty Rogers, though Gentry claimed in interviews that she actually produced and arranged all her Capitol recordings—are terrific. This sad, drear little record is, well, usually too sad and drear for listening pleasure.

This one is mostly just a stone drag. So why am I proselytizing for it? The record has been seemingly lost to time, and criminally remains out of print and unavailable on CD. Trained classically at Julliard, he was a pianist of immense talent, but eventually the life of boogie woogie, fast women and hard drugs took him to the dark side, where he would stay the rest of his life. His recordings were infrequent and sporadic over a nearly forty-year career, but often brilliant. Such was the case with his first album released on the obscure Musicraft label. Boogie Woogie in Blue can be found easily, reissued on a budget CD that seems to be perpetually for sale on eBay.

If your tastes run The Go-Betweens 99 to drug-addled genius with manic highs and incomprehensible lows, check it out. Their best songs are cathedrals of melody, instrumentation and wordplay. Idiosyncratic to the end, they have avoided the typical crappiness of reunited bands. The sound of impact was singular, an arrhythmic folkish freakout that seemed lumpy and broken even by psychedelic standards.

Clearly this band had been dropped on its head. In fact, a lone guitar chord marches drunkenly to the beat of elephantine drums and maracas, as a gentle waft of lyrics and hobo harmonica slip through the monotony. In their heyday, the Godz were called brilliantly inept and compared to such luminaries as the Mothers, Holy Modal Rounders and the aforementioned Fugs the latter two label mates on the legendary ESP imprint. Thing is, the Godz were even more plodding and primitive, belonging more to the proto-punk world of the Monks than the strict longhair set.

Even now, the record sounds strange, both hopelessly amateur and sublime, even mystical. The choice was left to the fans. His pocket dramas turned on commonplace details—a note left to a milkman, queuing up for the bus, the concession stand at a Saturday matinee—and he scored each scene with his distinctively lush, pensive, minor-key melodies.

Throughout, Graham identified unfashionably with parents and pawnbrokers, girls pawed at by loutish lads, and loners forever on the outside looking in. Not for Graham the typical cave-stomping, garage rock misogyny of the sixties. On track after track, Graham balances the closely observed detail of his lyrics against the poignancy of the music. As the curtain came down on the sixties, Graham staged his masterpiece.

I think. Search this one out. The Gun Club had a long career after this album and never hit this mark again. The rhythm section of Rob Ritter and Terry Graham hounds Jeffrey Lee through the scrub pine, chasing down the hollow keen of his voice. The sex beat hammers away like an all-day speed freak. This record forges the earliest link between punk and blues. For hippies the blues represented a base truth and authenticity. Get it because he knew his special rider in the dark, and he had a band that could preach the blues in hell.

This record wins you not on originality, but just for sounding so damn good. From Brooklyn-not-Manhattan, these guys are clearly devotees of late-period Velvet Underground all the way. This is the compan- Butch Hancock ion album or follow-up to Loaded that Lou and Doug never got around to. Sometimes it drives on piano, sometimes organ, sometimes acoustic guitar, sometimes clean electric, sometimes even tambourine.

Working without a drummer for the first time on their third album, the husband and wife team of Brett and Rennie Sparks made a quiet masterpiece. Death and loss are everywhere on this album, random and sad and even darkly funny. A giant dies from a blister on his toe. Lovers share a suicide pact.

Boys throw stones at a swan. Born in Captivity was the acoustic demo Harper cut in preparation for Work of Heart, but I prefer it to the overproduced finished product. Nobody writes more truly about passionate love. As a final ringing endorsement, I used to play this in the used bookstore where I worked. Every time I popped it on, people asked me what it was and how to get it. Just looking at the sleeve, I could tell it was something special. The cover shows a small, old wooden door right next to a brick wall. Apparently Strand was in the throes of heroin addiction; this record was him exorcising his demons.

Subsequent singles and album tracks were equally spotless. Though the Stones evolved and Beatles revolved, the Hermits strayed nary a foot from their original happy course. In that could cost a career. But almost everything else delights. All in vain. By , fans of cheerful pop had turned to the Monkees, while more progressive fans had long written the band off. Blaze only reached 75 in America, while Britain passed altogether. Excepting a soundtrack, America saw no further Hermits studio albums.

In subsequent years, Blaze has been reassessed, appreciated, and even regarded as their magnum opus. Creepy hippie come-on as outsider art. Soul music for the very drunk. One maddening thing about buying Brit pop LPs that date from before is that although the U. Thus, while the U. He was everything a boy of nine would love. The otherworldly echo of The Honeycombs seemed odd compared to other sounds of , and the record teemed with emotional breakdowns and romantic obsessions. The Honeycombs is a series of songs dealing with total romantic failure. Meek was a genius not only at making space age sounds, but also at capturing a certain emotional strain that fitted so perfectly in his personal life.

He then shot himself and that was the end of the Honeycombs. Not all of them were going to stick in pop lore, not all were going to change the world. But they could still be pretty great. This came out in , and sounds it—suffused with that slightly doped, sunny even when fretful, back-to-the-country feel with occasional light boogie tendencies. The elements of the time infected such obscurities as McGuiness Flint and stars like America.

As full of mellow pleasures as it is, there is not a hell of a lot of unique personality on this record. But it is perhaps all the more worthy of mention for that, standing as an example of how inexhaustible the pleasures of loping, melodic pop rock could be once the template was invented.

They harmonized like a barbershop quartet and wrote funny and cynical lyrics set to catchy jangle-pop melodies. Yet few people outside of the United Kingdom have ever heard them. The Housemartins forged a radio-friendly guitar-pop sound akin to their postpunk peers the Smiths and Aztec Camera. Swinging further left than the antiThatcher Labor Party, they openly encouraged Marxism. Then in the same breath they embraced Christianity. By the time the sophomore album arrived in , American Top 40 radio was sliding into a pop-metal and teen fluff wasteland.

There was no room for a band like the Housemartins. With a new drummer, the group enjoyed a couple more English hits and seemed to be expanding their sound and perfecting songwriting abilities. All four members moved on to different projects. Most of these offshoot projects garnered more success than the Housemartins ever did.

Airplay on college radio? What should have been a sparkling entry into mainstream success instead became one of the best pop secrets of Ron Fountenberry, the musician who is, more or less, The Incredible Moses Leroy, challenges music career expectations. His day job is substitute teaching. He cites eighties radio, comic books, and his great-grandfather—the Moses Leroy of the band moniker—as influences.

With that knowledge, how can you not love Electric Pocket Radio? Here are thirteen stopovers on a tour of a cheery, post-imperial England, often overcast with black gusts of acidhead Thackeray. There are more vignettes and snatches of groaning tune. Bad luck and explosions predominate. The chirpy, Kinky finale rolls by like a filigreed hearse, and you are let off far from home. The Race held onto Lynne for one more try. Sales and group career advancement registered a tick but little north of bupkes.

Historically, American art pop bands like Talking Heads and Pylon have catered to young aesthetes by sinking a ropy bassline and backbeat under their skittery guitars and gnomic yelps. The Individuals were just such an art school party band. They emerged from the same Hoboken scene that produced the Bongos and the dBs, but owe more to the Feelies. Their entire discography amounts to one single, one lesser EP, and this entirely perfect LP. Their sound reflects The Jacksons the early eighties college-rock era and would not sound unprecedented to fans of Crazy Rhythms or Stands for Decibels or More Songs about Buildings and Food: astringent harmonies, call and response vocals so casual they sound like two people holding a conversation in different rooms, the danceable groove, the jittery, jangly, angular guitars.

She just wants her boyfriend to grow his hair a little bit longer. The Individuals rigged smart, offhand arrangements—loose, grooving, sharp and distinctive. Janet Wygal locked up a meaty bass groove with her brother Doug on drums, Glenn chopped up the rhythm, and Jon Klages blistered the whole thing with shimmers and shards of guitar. Klages recorded a solo album backed by not-quite-yet Yo La Tengo. But Fields was their best work: your good, smart friend of twenty years who never got boring. Hey, I like those two Michael solo classics as much as anyone, but the shame of it is that I think Triumph is better.

Triumph has it all: great songs, flawless production and beautiful harmonies—all provided by the Bros themselves. This divide in their collective destiny is all the more tragic to anyone who saw the Jacksons perform together as a group for the first time in ages in that Tribute to Michael Jackson TV special. Not only because they were so fantastic, but because Michael has become such a shell of his former self that his brothers were carrying him for a change! The record stands as one of the strangest aural concoctions ever, veering wildly between collaged sound effects, early electronic noise, tape loop composition, proto-hippie percussion jams remember, this was the year Elvis first walked into Sun Records!

These include a deadpan interrogation of a schizophrenic about his association with Al Capone, a mini-lecture on the various forms of Indian raga and the jive mutterings of a highly influential faux-hipster named Shorty Petterstein. It was as if cacophonous novelty purveyor Spike Jones had been torn into his constituent parts and sprinkled liberally The James Gang with herbs—postmodernism in all its indeterminate glory, decades before anyone bothered to lay out a formula. Of course the response was almost nil, but Shorty Petterstein took on a life of his own: Ralph Gleason adopted the persona in his syndicated music column and the Petterstein routines were reissued as a comedy single by Fantasy Records to wide acclaim.

Jacobs moved on, to five years of sitar study under Ali Akbar Khan, among other adventures. Jacobs is alive and kicking and enduring a resurgence of interest in his work, including a number of other reissues and compilations of unreleased material. This was a band that not only created beautifully crafted, unforgettable, captivating gems of their own, but also paid homage to their musical contemporaries with cover songs that still managed to sound original instead of redundant.

They played kick-ass solos without sounding like annoying showy wank-offs, and that is a rare gift that could only have been a blessing from heaven. Rock and roll, not to mention society in general, was undergoing a radical conniption which would forever wipe clean, and then redraw, boundaries both artistic and altruistic. Jan Berry and Dean O.

Torrence commemorated these psycho-seismic upheavals by producing the most subversively potent statement during the hallowed year of Revolver, Pet Sounds and Blonde on Blonde. With that stupefying thought in mind, let us instead repair to our collective BatPlayers to cue up Jan and Dean Meet Batman with newfound appreciation, as brought to you by the only Dynamic Duo that ever really mattered.

Jandek is like an alien trying to play music after hearing it described to him once. Blue Corpse is his masterpiece. His lyrics reveal a man suffering from a pain so oblique that the listener must simply allow him to revel in his misery. However, Blue Corpse shows Jandek at his most reflective and strangely accessible. You should listen to him; you may never hear music the same way again. It took one hell of a conductor to follow the best beats this side of John French.

Or any time! When you see it in the store, check out the back cover: there they are in all their glory, some kind of pajama-wearing hippiepirates, with bonus muskets, pistols, and a sound that kills. Born in fifties London, Jeanette after stops in Chicago and California heads back to her parental hometown of Barcelona. Slowly but steadily, the Franquist regime loosens its hold at least for urbanites and the local scenes crave Brit and Yankee pop sounds. Our teenybopper begins as frontgirl for the clean-cut band Pic-Nic. Existential and erotic in a David Hamiltonesque Lolita way, the LP, sung in French and Spanish, is tender, perverse, full of youthful hope.

Its strong yet restrained emotional power will change your life, believe me. Brian Doherty See also: Joe E. Johnny, with his rockabilly pompadour, is playing guitar left-handed and doing a split. The sax player and the other guitarist there is no bass player are also crouched down on the floor, scuffing up their suits. Even the drummer is striking a pose. Otis, for his part, is standing flat-footed, mic in hand, holding up the wall.

No one knew it, but within a few years it would be Johnny Jenkins and the Pinetoppers who would be upstaged. Otis became the star. Music was strictly a part-time love for this legendary guitarist who influenced Jimi Hendrix but still continued to work day jobs. Prior to recording this album, his discography consisted of a few scant 45s.

Out of nowhere, he emerged with Ton-Ton Macoute! Slide guitars and cryptic background vocals slithered all over the record. He returned in the mid-nineties when a revived Capricorn not only reissued Ton-Ton Macoute! He was a lot more earthbound this time out—no psychedelic swamp music, just basic Southern blues. But the otherworldly sound of Ton-Ton Macoute! Black Sabbath operated best in a welter of terror and preachment, Blue Cheer was louder than God and said less than Leviticus, but Josefus spoke with the flat contempt of a plain American watching his neighbor die.

The heaviest blues rock in Houston, Josefus was a fabled free-show monster that toured with Grand Funk Railroad and ZZ Top within a few months of their first gig. A demo album went begging, but Dead Man was selfreleased on the flyspeck Hookah label, winding up in Texas record shops the same day as Let It Be and outselling it.

All seven tracks are snotty and casually punk as only Southern boys are and Iggy Pop can only dream of being. Billy as an extended psych-blues universe of terror finally shrinking to a crust of resignation and a bullet. Attracted to a colorful picture disc, I looked closer. It had no sleeve, just the disc in a plastic bag. Freaks all, they appear to be glowing from some evil inner fire, framed by a sick red sky.

The players are mostly named as aliases. These the alert listener can easily deselect, while playing the really great ones over and over. Neal might have sounded amateurish if not for his supremely unselfconscious delivery, at best eclipsing Reg Presley of the Troggs for pure lack of pretension. Lyrically they never stray from three concepts: sex, rock and money.

The sex is as obvious and basic as a sidewalk proposition at closing time, but the Paul Kantner main theme is wanting money. This record was so anachronistic in that the only way to explain it was that the band must have been placed in cryo around and thawed out right there in the studio. Nothing is more a matter of passionate preference than science fiction. It means everything to its devotees; it is as understood and welcome as an oozy rash to those opposed.

The only rock album thusly honored! Blows Against the Empire.

RELAXING PIANO Disney Piano Collection 3 HOUR LONG (Piano Covered by kno)

Blows had some sleepy merits, but musically and melodically it was so thinly arty-druggy-acoustic that it was transparent. By , Kantner junked up and pop-rocked his science fiction with this barely noted sequel, allegedly a soundtrack to a novel that never surfaced. In so doing, he made the ultimate science fiction record—this one should have won a Hugo. Like the genre at its most fun and funky not necessarily its most serious and literary , this album is fanatical, crass, over the top, direct, visionary and delightful.

But for those who do, this will be a beloved treat—a special record just for you. But KaS Product got even less mainstream recognition than its peers and never outgrew its status as a footnote, albeit a rather fascinating one. A lot of early-eighties singers tried to sound as cold and detached as possible, but Soyoc sounded as if she could barely contain herself. On Try Out her vocals are all over the map, furiously hysterical one second, dangerously seductive the next.

While all this drama unraveled in the forefront, Spatsz kept the machines percolating wildly in the back. Live, he stood expressionless, half-hidden behind his asymmetrical, Phil Oakey-like haircut. Though hindsight would lead to classification of KaS Product as pioneers of synthetic noir, the duo was above all an unclassifiable entity. The number of self-proclaimed sixties pop heads that I have turned on to this album is scary. It really seems to have missed the past two almost three decades of sixties revivals, having not been reissued or touted roundly by the tastemakers.

Kim poses as a pensive dandy in the park, rocking a collapsible stool and giant, esoteric breed of dog! He sings like a shaman muttering magical spells under his breath. Forming in January, by summer they played their first show at Hyde Park opening for the Stones, soon after their debut hit Top 30 on both sides of the Atlantic. They had no place to go but down. Indeed, by the end of the year all key members except guitarist Fripp had bailed. The result was the uniquely unusual and forward-looking Lizard. This is one nasty trip.

Classical Music Scores

Nightmarish, claustrophobic, and unpredictable, the album is conceptual in that several of the songs seem to be about collapse, either internal or societal. One can find new surprises with every listen, no matter how often you visit. This version of the band never toured, and Lizard largely became the forgotten Crimson album. For fans of the crazier side of experimental rock, from kraut to Branca and back, this album could be a hidden treasure in your collection.

Defiantly out-of-step in its time, Muswell remains remarkable today not only for its sound but for its weird and utterly wonderful undercurrent of deceit, deception, and conspiracies set against the seedy backdrop of postWWII Britain. John directing Side 1 of Blonde on Blonde.

Muswell Hillbillies sank without much of a trace on its arrival, and characteristically, the band self-sabotaged the entire proceedings by mounting a drunken and debauched world tour. Not just because they are one of the only bands Hawkwind being the only other one that comes to mind that sings songs about subatomic particles. Not just because a well-placed rumor in a prominent magazine started months of wild speculation that Klaatu was really a secretly re-formed Beatles in disguise.

I love all these tidbits, but what I love most is how the Great White Northern goofs behind this sterling slab of sugary pleasure manage to compress a brilliant history of pop music into forty minutes or less, filling it with humor, obscure references, backwards masking, and even a Morse code solo.

As the true identities of the band members surfaced, Klaatu suffered the same fate another Beatles conjurer called the Knack was about to suffer: a massive, relentless backlash. And with punk bringing rock music back to its roots, overblown pop productions went out of style. Indisputably the greatest all-woman electro-funk band of the early eighties, Klymaxx brought audacious attitude to the dance floor. They got over on personality, smarts, and hooks.

Electro-funk arrived as the last innovation in black dance rhythms before hip-hop loops became the chassis of choice for Urban Contemporary. The era was funky but geek: Prince rocked the drum machine, Larry Blackmon strapped on his codpiece, and even George Clinton played Computer Games. This record threw off three hits, two dance club classics, and one early quiet storm ballad. The chorus spawned an earworm so potent that women still mutter it as they exit for a bathroom break twenty years later. Bernadette Cooper flashed the full array of her formidable diva quips here.

The other tracks were fun but less essential. There was no set up, no hype and no turning back. Henceforth Blastronaut sat alongside Ziggy Stardust and Slider, seemingly self-assured that the calendar would never turn past As far as I know, this is the only band that tried its hand at being an alternative universe Kinks. This is the first album the Leopards put out and I would imagine Moon was a vanity label.

It was definitely a small independent. The band made nary a ripple in the rock world with this debut and fared little better with their Voxx release, Magic Still Exists. Things get more derivative when there are more elements involved, especially if the elements are unrelated to each other.

If a band chooses the name Large Marge after some other outfit had success using the name Big Bertha, it is pretty likely that the new group is jumping on a band wagon. Which of the following are just coincidentally similar? There are three ultimate convincers, tracks that, even standing alone, could lift any album out of the margins. Prone to drunken self-pity record sessions at four in the morning? Meet your new star. Mesmerizer is the document of one of these shows, recorded on cassette by Flesh Eater Chris D.

Maybe a band this tight and moody was nothing special on the Sydney scene, but they must have blown their L. Unfortunately, the usual band problems intruded—mental illness, money, the singer getting a day job to pay rent on the communal flat—and the Killers called it quits. The members eventually wound their way back to Australia, where they still occasionally play as the Lipstick Killers. When I saw them open for Radio Birdman in they fulfilled every promise of Mesmerizer and more.

Three Gonzalez contributions are instrumentals featuring brittle guitar attacks over frantically loping backing. Los Locos Del Ritmo subsequently produced many fine albums although only two more with Tono, who died at twenty-one, reportedly of larynx cancer , but never as completely visionary an album as ROCK! If only their vision had come to pass. It is a candy store of beats from worlds old and new, both pre- and post-Columbian.

The music of Veracruz known as Jarocho is characterized by a variety of stringed instruments. Unfortunately, this album has never been re-released since its original pressing, so if you ever see one at a secondhand shop, grab it! But once they do, and you go from smiling at the cleverness in songs named after shampoo ingredients and the high- and low-culture references throughout this is surely the only album ever to namecheck Aubrey Beardsley, Alexander the Great, and L.

It is a place that exists exclusively in fiction and nostalgia, but you can visit when this record is playing. With just drums, saxophone, and a Hammond B3, Merlin and his trio bop and grind through twelve cuts of jazzy rhythm and blues. There is burlesque and boozy romance and nearly every song wiggles and giggles like a tipsy cigarette girl, pulling even reluctant feet onto the dance floor.

No release date is provided. There is no photograph of the band. Michel Magne was unique too: a successful arranger and composer of movie soundtracks, he wrote a number of popular scores starring French pop icons Belmondo, Bardot and some international films too. He decided to use his knowledge and hospitality to create the most avant-garde recording studio of its time. It became the home of some incredible sound research. With all these facilities at hand, the maestro was ready to fulfill his personal artistic ambition with Moshe Mouse Crucifixion.

The sleeve says it all: it depicts a Mickey Mouse look-alike underground comixstyle crucified, draped in an American flag while tiny G. The music can be described as a mix of Eastern Funk, Gregorian plainchant on acid and seventies French-flavored lunacy. This fairy tale for adults is really too weird to be true and will puzzle many. What are they thinking of? Free creativity, I answer. Sadly, Michel Magne went broke, and in committed suicide Kurt Cobain—style.

This is a record and a composer craving rediscovery. I was just getting into the artwork of Edward Gorey and the music of several of the musicians involved with this project at the very time everything came together. It has certainly never been a work that enjoyed a large audience, though I would think most any Gorey aficionado would deem this required listening. Robert Wyatt is the perfect voice for this project.

Without their impeccable performances the experience of this album would not have been so richly rewarding. Some of the other recordings of these talented envelope pushers are so esoteric it is not surprising how small a body of adventurous souls swear by them. However, artifacts excavated at thrift stores today hint that a less rock-us revolution was also raging by The Argentinean piano prodigy was set up with a band of young, cool classicals christened the Unbelievables and these dukes of doily rock were dispatched to tour with Donovan.

So do band members, who insist Mariano was their leader and have the anecdotes to prove it. The Upper Crust would be proud. Yet in many ways it is an equal achievement. Its lyrics are a singular mix of protest and uplift, another Mayfield signature. Plus, the cover and inner sleeve art tell a time-evocative story, from an era when album art really mattered. Sad and near-graven, the dean stamped a C mark on this album, flabbergasting the vulgar. Rebuked, the dean rolled another sheet into the typewriter and resumed his lonely Emersonian duty.

Paul McCartney has spent the better part of the decade with Wings, experiencing near-Beatles levels of success. Back to the Egg suffered mixed reviews and lackluster sales. McCartney foolishly attempted to smuggle drugs into Japan. Shortly after, Wings imploded. Both albums find McCartney reacting to stress with solitude, and are rewarding in low-key ways. One of the joys of McCartney II is its sheer unpredictability. Lou Adler and the Dunhill family are lurking throughout all this. Unquestionably one of the greatest commercial pop hacks, the man who saw the Eve and lived to write about it.

His later stuff, on Measure of Pleasure — P.

Which method of viewing music should I use?

McCarty K. Oh, when K. Her love and respect for his work lets her husk the rinky-dink production of his own recordings, and extract these sweet kernels. Emotionally this works, though lyrically the song attempts a more elusive subject than passing romance. In song after song, K. McCarty unearths both the melody and the naked, smart, defiant, rapt lyrics of Daniel Johnston. After five years of creating songs in a drug-induced haze, Dave Mustaine and David Ellefson bravely The Mekons managed to get their shit together with what brain cells they still had left and produce this sizzling record.

Rust in Peace is a masterpiece aimed at intelligent human beings who refuse to bury their heads in the sand when confronted with the unsavory political, sociological and psychological events that happen in our world. Although the album was praised by the mainstream press upon release, the overwhelming media hype over grunge buried thrash and the whole metal scene. Unbelievably, the fine art of this historically significant, beautifully crafted record is still ignored and unappreciated by both the snooty record-collecting music geeks and the clueless mainstream music journalists of today.

Out Of Our Heads! Lyrically, the Mekons have crafted the answer album to September 11th, although the event is never mentioned. Lyrically, the songs explore topics like historian E. Hayden Childs The Edge of the World Sin, Innovations and breakthroughs get the headlines, but consolidations and refinements can be just as important.

Fear and Whiskey was the album on which the Mekons first defined their postpunk sound, and it helped inspire a whole generation of musicians to explore the porous boundaries between country and punk. A large part of that is the inclusion of vocalist Sally Timms. Another part is that the band had coalesced around a core group of musicians, and their increased fluency in their new idiom shows, helped along by improved production.

In the middle of the ruins, the band forms its own community of the lost and forgotten. Verily, a more lethal high-pitched air raid siren of an up-tempo pop voice has never been heard on the airwaves—and yet, on the best slow album tracks, it is also a positively gorgeous neo-girlgroup layered-femme-vocal-group sound. The thumbnail history of MOTR is not unlike Slade or Hawkind or any former sixties beatgroup vets who persevered into the seventies and eventual Kylie Minogue chart success.

Drummer Ken Andrew and brothers Ian and Eric McCredie had served time in Glasgow beat groups the Talismen Beat Unit, the Dominos and the Electrons, which evolved into a more loungy act the Part 3, renamed Part Four when Sally joined, renamed yet again Los Caracas to match the popularity of their half-dozen Latin Pop numbers and with new stage costumes to match. Okay then, an upcoming booking in Argentina necessitated another name change to Middle of the Road , with five weeks of work in Italy scheduled first. By sheer volume of strong tracks and worldwide hits except in America I hereby deem MOTR the 2 pre-Leif bubblepop act, and of course the reallife Archies band that only Sally Carr could have fronted.

Oh, and their taped TOTP appearances? But at the end of her contract with SAW, Kylie was restless, so she signed with the British dance label deConstruction and went to work on the second phase of her career. Recorded during her relationship with video director Stephane Sednaoui, Impossible Princess is an unsettled piece of work.

The results can be as frustratingly uneven as they can be absolutely brilliant. Ray Rough Trade, Personal canons can be built on pure coincidence. Miracle Legion never meant much to me before or since this record, which is somewhat anomalous in their R. Mitating career. But the record has plenty of uncredited piano, strings, drums, and electric bass as well. This was a favorite from my college years, and what I loved about it was that it was a soothing pile of—completely convincing, compelling, and winning—romantic goo.

Fox But returning to it when older and more jaded, I found more that is wonderful and compelling and still forms a queer sort of conceptual unified whole—something about summer life in the south, though that subject is never explicitly mentioned. The romantic parts are redolent of a warm morning, full of promise and with some receding-into-smoke memories of the sultry night before. And it all sounds sweet and mysterious and nostalgic right from the start. Brian Doherty MR. FOX Mr. Fox Transatlantic, Mr. Fox was a Yorkshire-based folk-rock band formed by the husband-andwife team of Bob and Carole Pegg.

Rather than prowling through the Child Ballads and old broadsheets for material from the misty mists of time, they concocted originals inspired by local folklore. With their dramatic arrangements, the band aimed to evoke the sounds of rural traditional Englishness brass bands, Morris dance music , woven in with medieval and baroque elements and instrumentation.

The resulting concoction is pleasantly psychedelic. Fox was known for either blowing people away with their shows of which this album—essentially a taped performance—is a good example or bombing completely. Unfortunately for Mr. Fox, they crashed and burned while Steeleye Span pulled out a truly impressive performance.

Thus did the trajectory of English folk-rock follow off Steeleyeward and Fairport Conventionally into the future. After their second album, The Gipsy, the band splintered. Bob Pegg recorded a few solo albums and now does storytelling and songwriting workshops for children. Carole Pegg recorded one album and briefly joined Graham Bond in the band Magus. She went on to become an ethnomusicologist. Though their live performances were full of nervous even paranoid energy, their self-released album was comparatively sedate.

Naturally, their album sank without a trace.

Lost in the Grooves: Scram's Capricious Guide to the Music You Missed

If you were lucky, you might have found it in the punk section of your favorite record store. But the world has caught up with them somewhat by now. One could easily classify Monitor as retro or loungecore. They have that cartoony, non-rock, informed-by-easy-listening vibe that our ears have since been trained to accept. But Monitor was too dark for the cocktail hour. With its slow, delib- Monty Python erate tempos and eerie muttered vocals, the album sounds more like a series of incantations than a collection of pop tunes.

Within a year, Monitor themselves were gone. Take Kissinger. Shortly before the release of the disc, Graham Chapman died, which brings home the glum point that in the group had pretty well run its course. Taken as a retrospective, Sings is a good one with a lot of funny moments. The Spam and the lumberjacks are here too, in case you never did find yourself on that low stone wall.

Kevin Carhart Bob Mosley The following is an excerpt from the review that appeared in the September issue of Creem. Gorgeous falsetto singing! For my money, Mosley has to be one of the most impressive shouting rockers ever. The best music on this album has an edge that few rock artists ever achieve. Coming as it does five whole years after the first Grape LP, Bob Mosley has to be the surprise album of the year. For the first time, I have to admit that Cass Elliot was an excellent harmony singer. Fact is, this album has a lot of great group-singing.

In an early folk-rock sort of way. Or something. Like disco in mid-seventies America, soukous ran amuck throughout Africa, trampling local dance music. The movement spawned huge stars, notably Franco and Tabu Ley Rochereau, respectively the Stones and Beatles of the form. There is Randy Newman, of course, and Ron Nagle, who is currently prevented from recording by contractual hassles. Mull, like Nagle, is also an artist, and, like Nagle again, his art is about as crazy as his songwriting.

At the close of the show, viewers were allowed to eat their favorite painting. And Mull did his own airbrush album cover. But the songs, the songs! And the music! Mull, it appears, is headed for stardom whether you go out and buy his album or not. Enjoy these works from the classical and romantic eras with a wide selection from classical piano melodies bringing profound inner peace and relaxation. Expand your mind and embark on an aural journey with classical piano trio featuring the piano and often accompanied by violin and cello. An amazing mix of solo classical guitar from superb artists allows relaxation by moving you to a tranquil and romantic mood.

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This is a selection of his very best works. It is believed that some of his compositions presented at differing frequencies promote healing and brain development. He is considered one of the great masters of Romantic music and has been called "the poet of the piano. He is recognized as one of the greatest Baroque composers. His beautiful up tempo music could help to relieve depression by creating a positive environment. He is acknowledged as one of the giants of classical music. He remains one of the most famous and influential of all composers. He was one of the greatest composers in the history of music, left an incomparable work of perfection.

His structured mind was of a prophetic nature and his sacred and secular music asserted his nobility. He is one of the greatest composers of the Romantic era. He thoroughly committed to the idea of music being composed to the feelings, thoughts and impressions garnered by a sensitive spirit on his journey through life. He was a German born British Baroque composer well known for his oratorios, operas, anthems and organ concertos.

He was a prolific Austrian composer of the Classical period. Great Austrian composer. His output consists of over secular vocal works, 7 complete symphonies, sacred music, operas and a large body of chamber and piano music. He was a French composer and pianist. His work was a precursor to later artistic movements such as minimalism, repetitive music, and the Theatre of the Absurd. He was a Russian composer whose works are among the most popular theatrical music in the classical repertoir.

Great German composer and pianist who composed for piano, chamber ensembles, orchestra, voice and chorus. A unique journey of the very best themes and scores in cinema music, allowing for relaxation and lucid dreaming. An easy-going, diverse music from the great Hollywood musicals, perfect for general listening situations that are viable for all age groups and audiences. Elegant ballet music full of uplifting and relaxing tunes taking you out of this world into the next realm. Features the most well-known songs from the giants of opera that highlight melodic vocals, strong tenors and angelic sopranos.

Tune in to soothe the mind and body. Sublime and calm yet capricious and amusing, this elegant music sets a mood that is both sophisticated and lighthearted, allowing the listener to transcend the worries of the day. Unwind with an excellent mix of downtempo music mainly for a single singer and piano. This musical art form isnpired by setting of German poems to music championed by the likes of Schumann, Brahms, Mahler and more. Let go of the concerns of the day and relax with the best Overtures.

Originally introductions to opera, evolved through great composers as self-existing instrumentals. Choral works to chill out which transports you to an world of timeless beauty, performed by large choirs. Embark on a serene musical journey through unparalleled Orchestral works performed by the most accomplished orchestras of our time. Offers the most sublime selection of jazz from classic to contemporary improving mood and leaving the listener revitalized. Vocal legends and modern jazz singers in smooth vocal jazz melodies reinvent and create new standards in jazz music.

The mid-tempo jazz voices enhance relaxation. Piano jazz honors the integral role that the piano has in the history of jazz. This channel offers a wide selection from jazz piano melodies bringing profound inner peace and inducing relaxation. Discover how easy it can be to relax, with the best selection of beautiful Jazz ballads.

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Mellow, acoustic blues with a sparkling essence, captivating the rhythm and the blues inside you. An adult-oriented soulful mix with flowing rhythms and sensual melodies, perfect for creating a smooth atmosphere. Country vocal music with soulful songs that speak to the heartland. Lots of guitars, catchy lyrics and varied rhythms, featuring a mix of traditional and contemporary types of country music. A best mix of smooth folk music from classic to contemporary full of sweet harmonies improving general mood through a unique music journey.

A great mix of music from all over the world, which overcomes boundaries, brings people together, and creates a positive atmosphere. The Age of Oldies is back! Set your spirits free and become one with the music. Turn on and tune in to a lively mix of 's for your listening pleasure. Fado is currently a world wide known symbol of Portugal. It is ingrained in the Portuguese soul, with no distinctions to be made. Fado is generally known for how expressive in nature it is. Discover the wide variety of relaxing music from Hawaii with an array of traditional and popular styles, from native Hawaiian music to modern.

Cuban representative sounds from yesterday and today enables you to easily access the inner peace relax and unwind. A unique mix of Jazz, soft rock, folk and world music, combined with vocal legends and modern singers to uplift your mood through a unique musical journey. An amazing mix of Celtic music of Ireland, Scotland, Cape Breton and Brittany, featuring both vocal and instrumental music. Enjoy a vibrant mix of serene, tranquil, stimulating positive feelings.

For the lovers of Indie, these mid-tempo, easygoing ballads from the most favorite indie artists will help you get through the long busy days. Perfect for rainy days and mellow moments! The most romantic ballads of history creates a healing, mentally cleansing and stress-free environment. Beautiful narrative songs and poetry from the rural to the urban outskirts. The accordion and the bajo sexto are the most characteristic instruments. Roots reggae deals with the everyday lives and aspirations of the artists concerned. Relax and renew with this ultimate subgenre of reggae music selected by Radio Art.

From the country which contributed most to the birth of music, an amazing mix of music from new and established Greek artists that enhance a strong cultural mentality, is pleasant to the ears and is rich in harmonics. Manos Hadjidakis and Mikis Theodorakis are the greatest Greek music composers. They moved the earthiest strains of Greek folk and popular song into respected art forms. This is a selective tribute of their music works. An upscale mix of feel good songs of Greek Art Music captivating happiness and pleasure inside you.

This channel will instantly put you in a good mood. Velvety melodies of delicately Greek Art Music with happy grooves and silky smooth vocals guide Kids on a ethereal journey. Join us on an adventure through the best loved Disney scores of all time. Music from early classics to recent releases will take our young and adult listeners on a musical journey. Sitting in Cafe De Flore and taking your coffee while a magic voice sings in the street attracting your attention and enjoying the moment.

Throw a coin in Fontana di Trevi fountain and listen what the music water whispers to you. Now's the time to get mellow until the lights go out Low tempo meditative music. This is a great selection of music from contemporary Japanese Artists. Feel it as a bridge between the essential nature soul of human beings and the essential nature spirit of the cosmos.

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Listening choice to unwind to after or during a busy day. Envelop yourself in luxurious musical surroundings where your body, mind and spirit can refresh, replenish, and renew. Give yourself the rejuvenation your body, mind and spirit need with this powerfully smooth lounge relaxing music.

Relax and unwind with the smoothest lounge relaxing vocal sounds of Ibiza. Flamenco is the most famous style of dance and music in Spain. It's extremely passionate with great use of the arms and rhythmical stamping of the Flamenco dancer's feet. Let yourself go, escape into the sensory world of the best Salsa dance music which was internationalized outside Cuba. Rhythm is the heart. The idea is the spirit. The voice is the soul. Enjoy with the sweet flavors of Brazil! Let the songs begin, let the music play, Saltsa-Bachata-Cuban-Raggaeton and many others exotic sounds like a jewel in the sun.

Nice and beautiful, sensual and sublime, it captures the essence of Latin countries. Sensual and dramatic, Tango music is the epitome of romantic dance music. Listen to the masters of Tango as they take you on an epic sonic adventure through the realms of this exotic musical art form. Rousing Swing Jazz instrumentals, in various formats including Big Band and smaller ensembles that will make your feet move to the frenzied swing groove of this fun music.

Strong classical music executions ideal for those who love to make exercise accompanied with classical music perfect for a cardio workout session. Need a serious pick-me-up for your day and even for your workout session.

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This is just a mix of Pop-Rock- Country with new groves. Packed with only happy songs. This music will make everything better. Powerful edgy up tempo alternative Indie and Rock from some of today's hottest emerging, independent, Rock bands. If you like feel-good vibes, this channel is for your workout session. Beach Waves. Beach wave sounds are ideal for relaxation, reading, meditation, sleep, study and yoga, reduce stress and anxiety. This sparkly truly natural stream sounds help working, concentration and reducing tinnitus.

Ideal peaceful background for working, resting, studying, meditation, pampering, spa, massage, yoga, zen, sleep, Pilates, or whatever someone needs. This relaxing sound of strong howling wind in winter can mask background noise as well as put you in the mood for sleep or relaxing. City rain to relax and relieve stress at the end of a long day, or even to fall asleep. Perfect as relaxing help concentration as well. Booming Thunder Sounds to help you relax and fall asleep fast, useful for cancelling out tinnitus symptoms and blocking unwanted noise from the neighbour.