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P for Performance, E for Elegance, A for Art, N for Nonsense, U for Uniqueness, and T for Talent
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Forthcoming for 2015 – “Under the Influence” a brand new documentary that tells the story of Hip Hop, Soul and Reggae in the UK through the eyes of it’s music pioneers
Under The Influence is still in production, we have released the trailer to get the public's point of view and input
Please answer to following questions:
Who do you think should be interviewed?
What is your UK Hip Hop Top Ten?
Who are the biggest icons in UK Hip Hop?
What was the biggest year for UK Hip Hop?
Tell us your favourite UK Hip Hop story?
What UK Hip Hop events do you miss?
Do you own archive content from oldschool UK hip hop events that you can share with us for our documentary – video, photo, audio?
Which American artists/producers are under the influence of UK black music?
“Grime would never exist without UK Hip Hop”. True? Tell us your opinion
Which hip hop act was the first to rap in their own London accents?
and follow us on @UTInfluenceDoc for updates

Introducing Sound Tracks by Jimmy Page: a special edition box set bringing together JP’s extraordinary compositions for the films Lucifer Rising and Death Wish II along with additional archive material for the first time.
The quadruple box set is available to pre-order now and new discs Lucifer Rising: The Second Coming and Death Wish II: Expansion include rare, never-before-heard tracks.
Speaking about the release, Jimmy explains; “The archive material and work included here serve as an illustration of the ongoing process at the time of these two projects.”
Recorded at Jimmy's home studio in Plumpton and The Sol studio in Cookham in the late seventies and early eighties, Sound Tracks features an all-new booklet containing a written track-by-track insight by Jimmy Page for the archive material amidst a stunning collection of original artwork across 36 pages. The quadruple gatefold CD case and booklet is housed inside a soft-touch matt black slipcase
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The 2014-15 Louisville Leopard Percussionists rehearsing Kashmir, The Ocean, and Immigrant Song by Led Zeppelin.
The Louisville Leopard Percussionists began in 1993. They are a performing ensemble of approximately 55 student musicians, ages 7-12, living in and around Louisville, Kentucky. Each student learns and acquires proficiency on several instruments, such as marimbas, xylophone, vibraphone, drum set, timbales, congas, bongos and piano

Full story
HERE

Miles Davis - Trumpet
Gary Bartz - Soprano and alto sax
Chick Corea - Electric piano
Keith Jarrett - Organ, electric piano
Dave Holland - Electric and acoustic bass
Jack DeJohnette - Drums
Airto Moriera - Percussion
1 Directions 09:31
2 Bitches Brew 09:15
3The Mask 03:55
4 It's About That Time 07:13
5 Sanctuary 01:53
6 Spanish Key 05:42
7 The Theme 00:48
8 Miles Runs the Voodoo Down 04:39
9 Bill Graham Outro
Other than his appearance at the Isle of Wight Festival later this same month, this Tanglewood performance was possibly the largest audience that Miles Davis had encountered up to this point. His extraordinary band, containing many soon to be legendary musicians, was all deeply immersed in the early experiments into electric instrumentation. This incendiary performance captures Miles embracing a rock dynamic in his music that was more electric, more funky, more rhythmic, and simply more "out there" than anything that had proceeded it.
Much of the material performed this night derives from Miles' studio sessions during the groundbreaking In a Silent Way and Bitches Brew album sessions. Because the performance remains one long continuous suite, it allows one to follow the flow and logic of the music over an extended period of time. This continual flow, devoid of announcements identifying the songs, often left critics and some listeners confused, but focused listening reveals that distinct changes are taking place. Miles is thoroughly in control of the musical direction at all times, whether he is in the forefront or not. Miles guides the music back to particular vamps or themes, continually bringing focus to the group improvisations. The swift and agile response of the musicians to Miles' cues and coded phrases is truly remarkable and is a primary reason for the relentless intensity of this music.
Apart from the set ending cue of "The Theme," little of this music derives from Miles' jazz period, nor does it fall into the free jazz category that it is so often mistakenly associated with. This music is much funkier, often comprised of deep, one-chord, cyclical grooves that have little in common with jazz. As he had done several times in the past, Miles was forging into uncharted territory and creating a shift in modern music that would influence countless musicians.
The audience seemed to recognize and appreciate this and they achieve the rare occurrence of bringing Miles back to the stage for an encore (something that rarely ever happened during this era). The encore, a rather short, focused take on "Miles Runs the Voodoo Down," features Corea playing the main riff like a hard rock musician, with Holland's deep bluesy bass line and the rest of the group's dynamic falling somewhere between Led Zeppelin and Jimi Hendrix - and they achieve this without any electric guitars!
While sometimes difficult, often challenging and unquestionably intense, this night's performance is one of the most intriguing of Miles' lengthy career. It's one of those rare performances with boundless depth that continually rewards repeated listening.

Jeez Julie Driscoll/Tippetts looks stunning at the beginning of this

Experience the Crumbling World of a 'Righteous Dopefiend'

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Plastic Jesus

The last few years of my life have been incredible, thanks in large part to all of you - so I've been thinking of how to say thank you.
As you can imagine, music has been a central love of my life since I was a teenager and over the years I've been introduced to a lot that has stayed with me. I've collected the majority of that music here – and I thought sharing it with you seemed like one way I could say thanks.
I'm sure some things are under-represented or over-represented, but roughly speaking this is a musical history of my life. Of course a lot of this music has come to me through my friends - thank you to Koushik, Kieran, Jeremy, Gary, Brandon, Jason, Sam, Ketan, Ryan, Toby and many others...
Also, please share music with me that you think I would like but is not included here, in the hope this becomes a dialogue rather than a monologue.
I suggest you listen to this on shuffle as I made no attempt to sequence these tracks - I just entered them as I browsed along the shelves in my record collection. If you see dead links or duplicate songs please tweet me @caribouband.
Due to a fault in youtube's playlist coding if you embed this playlist it will be truncated down to 200 tracks. Hopefully they will resolve that at some point but for now if you want to hear all 1000 songs you need to listen at this link.
I hope you find something to enjoy here. Thanks,
Dan

Model 500 are Juan Atkins, "Mad" Mike Banks, DJ Skurge & Mark Taylor
Digital Solutions Albumstream

Soundtrack by Throbbing Gristle
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The Making of Black Cab’s ‘Games of the XXI Olympiad’

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Tracklist

Written by Peter McDougall and directed by John Mackenzie.
It features Frankie Miller, Gregor Fisher, Ken Hutchison and Hector Nicol.
The plot revolves around the life of Jake McQuillan who lives in the shadow of his dying grandfather, who used to be Greenock's hardest man.
The play was filmed in and around Greenock and Port Glasgow.

Rare 'Doctor Who' synthesiser, EMS Synthi 100, restored in Melbourne after decades in storage

Photoshopping Sound

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Booking hell!

Full albumstream
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Frankie Boyle: Offence and Free Speech

Voice: Emperor Rosko Music: Dub Syndicate

Edition of 50

I've mentioned before how much I liked Doll By Doll. Buying their first single unheard purely for their use of Artaud on the sleeve.
An astonishing live act whether it was the second line up on the left or the latter version which at times saw Jackie dressed as a very imposing Samurai warrior (and was that Claire from Amazulu on bass one time?)
It was a sad day for music when Mr Leven died

Jackie Leven interviewed during the interval of his performance at the Fife Acoustic Music Club + Elegy For Johnny Cash live (Polish Club 22/10/09)

Often cited as one of the greatest albums ever made, John Coltrane's A Love Supreme is revered not just by jazz aficionados but music fans the world over. Fifty years after its release, British saxophonist Courtney Pine explores what makes it such a unique and important record.
John Coltrane intended A Love Supreme to be a spiritual record - a declaration of his religious beliefs and personal spiritual quest. However the album also had a wider cultural significance. It was released in February 1965, just days after black rights activist Malcolm X was assassinated and weeks before Martin Luther King led the March on Alabama, and for many the sound and feel of the music captures perfectly the sadness, confusion and anger of America's growing black consciousness movement.
Courtney visits Gaumont State Theatre in Kilburn, North London, where Coltrane performed on a tour in 1961. He is joined by a trio of leading British jazz saxophonists - Nat Birchall, Finn Peters and Jason Yarde - whose lives have been inspired and shaped by A Love Supreme and the music and spirit of John Coltrane.
Our quartet of musicians explore why the album touches so many and continues to do so with each new generation
LISTEN
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A Love Supreme live in Antibes, France (26/7/65)
John Coltrane, McCoy Tyner, Elvin Jones and Jimmy Garrison
Here's the full audio:

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Although I have to say that my favourite jazz album of all time is Ayler's 'Spiritual Unity' every time I listen to 'A Love Supreme' it always brings to mind the late, great Sean Oliver from Rip, Rig & Panic whose fave jazz album it was and how often we good-naturedly tried to convert each other to our cause