Blockhead is an American Hip Hop producer based in Manhattan, New York. Aside from his solo efforts released on the Ninja Tune label, he is most associated with producing for Aesop Rock, a rapper for the Definitive Jux independent hip hop label. He has also previously worked with rappers S.A. Smash, Slug, and Murs, and is also member of the hip hop/comedy group Party Fun Action Committee. He is the son of Sidney Simon, who is a well known sculptor in New York City.
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Download The New Vaudeville Band – Winchester Cathedral Album
One of the oddest one-hit wonders of the ’60s, the New Vaudeville Band — true to their name — drew from the swinging vaudeville, trad jazz, and British music hall styles of the ’20s and ’30s to create a distinctively anachronistic brand of novelty pop. The group was masterminded by producer/songwriter Geoff Stephens, who in 1966 convened a group of mostly anonymous studio musicians (including drummer Henry Harrison) to record a jaunty, old-timey British number he’d written called “Winchester Cathedral.” Though Stephens was credited as the vocalist on the track, it was later confirmed to be sung by ex-Ivy League/Flowerpot Men/First Class vocalist John Carter, who sang through his hands to simulate the sound of a megaphone (as on old Rudy Vallee records). “Winchester Cathedral” was an enormous hit, climbing into the British Top Five and going all the way to number one in America, where it also won a Grammy. Stephens suddenly needed a band for touring purposes and at first invited the similarly backward-looking Bonzo Dog Doo Dah Band to serve as the living, breathing New Vaudeville Band. Collectively, the group declined, but their saxophonist Bob “Pops” Kerr signed on, joining a lineup that featured Harrison, guitarist Mick Wilsher, keyboardist Stan Haywood, trombonist Hugh “Shuggy” Watts, bassists Neil Korner and Chris Eddy, and new vocalist Alan Klein, who performed under the alias Tristram, Seventh Earl of Cricklewood. The band issued its debut album — titled, naturally, Winchester Cathedral — in 1967, and though they were one-hit wonders in the States (in spite of their touring success there), they notched two more popular singles in the U.K. that year: the Top Ten “Peek-a-Boo” and the Top 20 “Finchley Central.” The latter song became the title track of their second album, released by Fontana toward the end of the year. In 1968, the group played a major role on the film soundtrack The Bliss of Mrs. Blossom, but their novelty was beginning to wear off with the record-buying public. The band retreated to the English cabaret circuit, where they eked out a profitable (if lower-profile) existence for some time to come; they also played Las Vegas on occasion and released U.K.-only singles in 1973 and 1976. With numerous personnel shifts in its declining years, the group finally broke up for good in 1988. Kerr, meanwhile, kept the flame of British eccentricity burning with his own Bob Kerr’s Whoopee Band
Download Pat Travers Albums
Download Heat in the Street
Download Makin’ Magic
Download Power Trio Vol.2
Download P.T. Power Trio
Download Putting It Straight
Download BBC Radio 1 Live in Concert
Download Blues Tracks 2
Download Best of the Blues Plus Live
Download Lookin’ Up
Download Halfway to Somewhere
Download Blues Magnet
Download Crash and Burn
Download Just a Touch
Download Blues Tracks
Download Boom Boom
Download The Best of Pat Travers
Pat Travers – History of Band
Pat Travers was born in Toronto, Canada on April 12, 1954. Soon after picking up the guitar at age 12 Pat saw the legend Jimi Hendrix perform in Ottawa. This obvious inspirational concert must have sparked the young Pat to go after the dream of becoming a star like so many of his early influences. Inspired by such guitarists as Hendrix, Jeff Beck, Eric Clapton and Jimmy Page, Pat began playing in bands early in his teens. His first bands were “Red Hot” and “Merge” who played in Quebec area clubs. While the early years were hard, they would eventually pay off in the form of improved musicianship, style, and exposure.
While performing with Merge, he was noticed by the 50’s rock artist Ronnie Hawkins who soon had Pat off on the road performing with him. While Hawkins music was mostly old rock and roll, country and rockabilly, Pat used this experience to hone his skills and voice as Hawkins lead guitarist. After a year on the road with Hawkins, Pat traded in the tuxedoes and ties to go after his true dream, to have his own band and become a star.
At age 20, Pat with the help of some friends he moved to London in hopes of achieving his dreams. Armed with a Marshall amp, a wah-wha pedal, and a few hours of studio time Pat recorded a demo that soon earned him a recording contract with Polydor. Releasing his debut album “Pat Travers” in April 1976 with Mars Cowling on bass, and Roy Dyke on drums, Pat embarked on a tour of England in support of his debut. Adorned in a red and white jumpsuit displaying the maple leaf of his native Canada, Pat increased his following of fans. Trademarks of his early shows included giving away cardboard replicas of his black Fender Telecaster, playing barefoot, and inviting audience member to play “air guitar” on stage during the show. It was with this accessibility to the fans that Pat became an invited performer to the huge Reading Festival in 1976.
Pat released Makin’ Magic in 1977 and continued to tour again infront of huge crowds. It was after the release of his album “Putting It Straight” that Pat returned to the North America as the trend in the UK was leaning towards the punk rock revolution instead of the hard blues driven rock that Pat was producing.
Enlisting the talents of Tommy Aldridge and Pat Thrall and of course always inspirational Mars Cowling the release of “Heat In the Street” further strengthen his following. The album featured more of Pat’s sometimes elaborate songs which further proved that he wasn’t just a mere air headed guitar hero, but that of an accomplished composer and lyricist. Pat Thrall, a great guitarist as well, quickly rounded out the sound and provided Pat more freedom to do other things like expand his keyboard playing. Besides, Pat Thrall’s influence from his fusion background provided more fuel for Pat to write from. But Pat realized the best way to hear the Pat Travers Band was to hear it live. So, understanding this the band released its first live album “Go For What You Know” in 1979.
Considered one of his best albums and a “must have” for any guitar fan, “Go For What You Know” introduced many more fans to the music of Pat Travers. Some say that it was with this release that PT garnered his largest increase of fans. Since the album received large amounts of radio airplay and with successful tours with some of the biggest bands, Pat soon found himself at the center of attention amongst aspiring guitarists. The album was one of his best seller and still sells well even many years later.
More and more Pat was being considered a guitar hero, a description he himself was less comfortable with. Expressing himself more musically and with tonality Pat prided himself in these areas more than in speed and trickery. While Pat could certainly keep up with the “fastest” guitarists of the era, his first priority was more in the music than showing off what he could do on the guitar. With this rising respect, Pat found himself on the cover of Guitar Player magazine as the feature artist in January 1980.
In 1980 his release of “Crash And Burn” proved to be an expansion of his already excellent composing skills. The songs were more intricate and used a more diverse method of song delivery. Keyboards and vocals are the true highlight of this album as Pat flexed his musicianship muscles. And while not to disappoint his fans, he still plays awesome guitars on such burners as “Snortin’ Whiskey”.
Shortly after the there performance in 1980 at the Reading Festival Pat Thrall and Tommy Aldridge left the band. Not one to sit on his laurels, Pat was back in the studio to record “Radio Active” in 1981. This album marked a slight return to his roots by using the classic power trio format that made him a rising star in the UK. Following the album he embarked on a very successful tour co-headlining with Rainbow.
1982 saw the release of Black Pearl, and in 1984 the release of Hot Shot, and a video related release “Just Another Killer Day”. Several of Pat’s videos were even displayed on MTV.
Mired with problems with management, and with legal problems with Polydor, Pat soon stepped out of the recording industry but continued to tour and kept his contact with the thousands and thousands of fans he had from all the previous years. Once stated as “One forgotten by the industry, but never forgotten by the fans”, Pat still retained his fan base and still thrilled anyone who would come to see him perform.
In 1990 Pat re-entered the recording studio with Mars, Jerry Riggs and Scott Zymowski and released “School of Hard Knocks”, of course a title that could be considered a self appointed reflection on his career. The release not only strengthened his fans who were so glad to hear new PT, but also attracted more new fans.
After a successful tour in support of “School of Hard Knocks” in the UK, Pat once again toured the US and Canada where a concert in the town of his birthplace was recorded in 1990 and released as “Boom Boom, Live at the Diamond Club”. This album proved once again that PT is one to be reckoned with live, favoring the live environment instead of the trickery of the studio. It has been said that “live is where you separate the men from the boys”, and this release proves it. A video of the same show was also released and is well worth getting for any fan.
Since PT fans demanded more, and after thousands of requests on the BBC to replay Pat’s performances from the 1977 and 1980 Reading Festivals the BBC released “Pat Travers – BBC Live in Concert”. As one of the most requested archives in the BBC library it was released on Windsong in 1992 and is of course another of the “must haves” for any true fan.
This new found interest in his music prompted former record company nemesis Polydor to release “The Best of Pat Travers” in 1990, which also was the first release of his material on CD. In addition, Anthology Volume One and Two, a two CD set was also release in the UK and features even more of his material in the CD format. Soon other PT Classics, “Go For What You Know”, “Crash and Burn” were also released in the US on CD. Imports were released in Japan of “Heat in the Street”, and “Putting it Straight” was released in the UK.
Having been without a US based recording label for many years Pat soon signed with Mike Varney’s Blues Bureau International label in the US. The release of “Blues Tracks” in 1993 further expanded Pat’s library of sound. The songs are from the “greats” of the blues, many of who were influences of Pat’s, but Pat’ puts his flare and flavor to these great songs. Following Blues Tracks Pat issued Just a Touch, Blues Magnet, Halfway To Somewhere, Lookin’ Up, Best Of Blues + Live, Blues Tracks 2 and his latest release “Don’t Feed The Alligators” issued in 2000.
Pat’s Blues Bureau years are perhaps his most significant in that he has worked with many musicians and the songs feature more of the classic blues based guitar that fans crave. Some what of a return to the sounds and style that made us pure Travers fans in the first place.
While touring and supporting the latest releases Pat has been impressing old fans as well as new ones all over the US and Europe. Recent tours have featured such well known guitarists as Jeff Watson of Night Ranger, Rick Derringer, and Tim Keiffer of Cinderella. Touring musicians during the early Blues Bureau years included Sean “Cannon” Shannon, bassist Dave La Rue and bassist Kevin Rian. Pat punched out the tunes before adoring fans, in small clubs and stadiums with the same intensity he always had. Irregardless of the crowd size, Pat puts out the same effort night after grueling night.
In retrospect, Pat is gaining a resurgence in his career. After overcoming many problems that would have made most to give it up, Pat still pushes on. Which is much to the appreciation of the fans who continue to follow. Not only does Pat find himself once again climbing towards the top, he can also enjoy it with those that are close to him, his famaily. Pat’s wife Monica sings backup on many of Pat’s songs both in studio and live. His children Amanda and Elijah have inspired songs and certainly help to excite and inspire Pat to keep doing what he does best, and that is of course making some of the best music possible.
The Pat Travers Band continues to tour around the world, “Makin’ Magic” for their die hard fans. While Pat’s had some great musicians working with him on past tours he is currently working, recording and touring with Kirk Mckimm (Guitar) Randy Lane (drums) and Frank Rizzo McDaniel (bass). This band has a great time playing together, and it shows in what they bring to the stage night after night. They provide a nice, tight rockin’ platform for PT to lay down his signature licks against.
Much to the pleasure of his fans in 2001 – Pat has made available a LIVE recording of a very rare solo appearance, “Pat Travers Solo”. This CD includes the first time ever that Pat has done an acoustic set. It was recorded live at Nils Lofgren’s Guitar Bar in Henderson, Nevada.
2001 also saw Pat Travers join the “Voices of Classic Rock” tour, featuring a wide arrangement of musicians from the major bands of the ?70’s and ?80’s. Among them are the likes of bassist Glenn Hughes and vocalist Joe Lynn Turner of Deep Purple, John Cafferty, Spencer Davis, and Gary U.S. Bond, to name but a few. This tour features each artist doing two or three of their signature tunes. On this tour, PT is playing “Boom Boom”, “Snorting Whiskey”, and “HotShot”, as well as doing much of the lead guitar work on the other songs..
Drunvalo Melchizedek – album:Merkaba Meditation(2000)
Click for download Drunvalo Melchizedek mp3
|1||Meditation Breaths 1-17|
|3||Unity Breath Meditation|
While in Vancouver, my wife and I decided we wanted to know about meditation, so we started studying with a Hindu teacher who lived in the area. We were very serious in wanting to understand what meditation was about. We had made white silk robes with hoods and were very serious about this new endeavor we had begun.
Then, one day, after practicing meditation for about four or five months, two tall angels about ten feet high appeared in our room! They were right there. One was green and one was purple. We could see through their transparent bodies, but they were definitely there. We did not expect this appearance to take place. We were just following the instructions that our Hindu teacher was giving us. I don’t believe he fully understood as he kept asking us many questions and he didn’t seem to understand either. From that moment on, my life was never the same. It wasn’t even close.
The first words the angels said were, “We are you.” I had no idea what they meant. I said, “You’re me?” Then, slowly they began to teach me various things about myself and the world, and about the nature of consciousness … until finally my heart just completely opened to them. I could feel tremendous love from them which totally changed my life.
Over a period of many years, they led me to about seventy different teachers. They would actually tell me the address and the phone number of the teacher I was to go see. They would tell me either to call first or just show up at his or her house. So I would do this — and it would always be the right person! Then I would be instructed to stay with that person for a certain length of time.
Sometimes, right in the middle of a particular teaching, the angels would say, “Okay, you’re done. Leave.”I remember when they sent me to Ram Dass. I hung out in his house for about three days wondering what the heck I was doing there; then one day I went to touch him on the shoulder to say something and I got a zap that practically knocked me on the floor. And that was it — the angels said, “That’s it. “You can leave now.” And I said, “Okay.” Ram Dass and I became friends, but whatever I was supposed to learn from him was over within that one second.
The teachings of Neem Karoli Baba, Ram Dass’s teacher, are very important to me. It was his belief that “the best form to see God is in every form”. I’ve also been exposed to Yogananda’s work and cherish who he was. And later we’ll be talking about Sri Yukteswar and some of his work. I’ve been intensely involved in almost all the major religions. I’ve resisted the Sikhs, because I do not believe that military preparation is necessary, but I’ve studied and practiced almost all the rest of them, Muslim, Jewish, Christian, Hindu, Tibetan Buddhist. I’ve deeply studied Taoism & Sufism — spent eleven years with Sufism. Through all this, the most powerful teachers for me, however, have been the Native American Indians. It was the Indians who opened the doorway for all my spiritual growth to take place. They’ve been a very powerful influence in my life.
All the world’s religions are speaking of the same Reality. They have different words, different concepts and ideas, but there’s really only one Reality, and there’s only one Spirit moving through all life. There might be different techniques to get there, but there’s only that is real, and when you’re there you know it. Whatever you want to call it — you can give it different names — it’s all the same thing.
I got my degree in 1970. Then, after being in Viet Nam and looking at what was happening in our country at that time, I finally said, “I’ve had it! This is it! I don’t know how long I’m going to live or what’s going to happen, but I’m just going to be happy and do what I’ve always wanted to do. “And I decided to get away from everything and go live in the mountains, like I had always wanted to do.
So I left the United States and went to Canada, not knowing there would be ten of thousands of Vietnam war protesters following me a year later. I married a woman named Renee and the two of us went way back into the middle of nowhere, and found a little house on a lake called Kootenay Lake. We were a long way away from anything. You had to walk four miles from the nearest road to get to my house. So we were really isolated. And I began to live my life exactly like I had always wanted to live. I had always wanted to see if I could live on nothing; so I gave it a try.
It was a little scary at first, but it got easier as time went on, and pretty soon I became adept at natural living. I lived a wonderful and full life on basically no money. After a while I realized, hey, this is a lot easier than holding a job in a city! I only had to work hard for about three hours a day, then I had the rest of the time off. It was great. I could play music and run around and have a good ol’ time. And that’s exactly what I did. I had fun. I played music about ten hours a day, with lots of friends who came from miles around. Our place had gained quite a reputation by then. An average of about eleven people per day showed up to play music and enjoy — and we just had fun.
And in this act, which is very important to my understanding now, I discovered something about myself. It was from this — returning to my inner child is how I phrase it these days — that my inner child was released, and in that releasing, something happened to me, which was the catalyst that led into my life as it is today.
Drunvalo is the author of three books including The Ancient Secrets of the Flower of Life, Volumes I and II and his newest one, Living in the Heart. These books have been published in 29 languages and reach out to over one hundred countries throughout the world.
Drunvalo also founded the Flower of Life Workshops with over 300 trained and certified facilitators teaching in over sixty countries.
He is the Editor-in-Chief of the international Internet magazine, Spirit of Ma’at, http://www.spiritofmaat.com with over 1 million viewers each year.
Drunvalo is a world traveler and has given workshops, seminars and lectures on sacred geometry, human energy fields, spirituality, meditation and living in the heart in 45 countries.
His meditation with the angels and his work with prana and energy healing has helped tens of thousands of people. Drunvalo has expressed that healing in these areas are of extreme importance for the difficulties with one’s own body often stops us from continuing on our spiritual path. His research on the 3rd dimension with natural products and methods to help heal Mother Earth and all life forms is also a major focus in his life.
I majored in physics and minored in mathematics at the University of California at Berkeley until I was just about to receive my diploma. I only needed one more quarter to graduate. I decided I didn’t want the degree because I discovered something about physicists themselves that turned me off to the idea of becoming involved in a science that I realized was no science at all. This in itself could be a book, but the ‘why’ of it is related to the same subject that we talk about with archeologists. Physicists, just like archeologists, will turn their heads to the Truth if it means too much of a change too fast. Perhaps the real truth is that this is human nature. So I switched to the other side of my brain and started majoring in fine arts. My counselors thought I was nuts. “You’re going to give up a physics degree?” they asked. But I didn’t need it, didn’t want it. Then to graduate I had to go for two more years majoring in fine arts. Finally, I was in my last quarter before getting my degree in fine arts, thinking “I don’t know if I can do this. I’m so tired. I just can hardly handle this.”
Then Kent State happened. The whole school system across the United States closed down, and they gave all the students straight Bs and let them go. So I got my fine arts degree without having to finish the last little bit.
My changing majors makes sense now, because when you study the ancient writings, you find out that the people of the time perceived art, science and religion as being interwoven, interconnected. So the programming that I was putting myself through was appropriate for what I’m doing now.
ABBA GOLD – Greatest Hits.
At the time the CD was released, it had been almost ten years since ABBA had come to an end. General interest in the band had declined, though a dedicated worldwide fan base continued to love ABBA and enjoy their music.
It’s astounding that this simple compilation CD, which at the time seemed to be just another in a long line of quickly thrown together ABBA CDs that had flooded the market over the previous ten years, would kickstart a global revival and reevaluation of the band, and would become not only ABBA’s biggest selling album, but one of the biggest selling albums of all time.
The revival had actually been building up over the previous five years, with ABBA music playing in trendy clubs, theme nights, and a growing fan club. But the release of the compilation, along with Erasure’s cover EP Abba-esqueand the international break-through of tribute band Björn Again, saw the revival explode to the general population.
The premise is simple – 19 ABBA hits on one single CD.
I’ve never been a particular fan of the compilation. The running order seems fairly random and arbitrary. There are at least two songs that don’t really belong as they don’t fit into the context of “ABBA’s greatest hits” – ’Lay All Your Love On Me’ (a limited release 12 inch single) and ‘Thank You For The Music’ (a single A side in just a few countries, mostly to promote compilation albums in 1983). International chart-topping hits ‘Ring Ring’, ‘I Do, I Do, I Do, I Do, I Do’ or ‘Summer Night City’ seem better qualified for inclusion.
Still, ABBA GOLD has been a phenomenal success, having sold something like 26 million copies and introducing a whole new generation of ABBA fans.
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