* Well, vibes has expanded into a private blog, which contains many things not posted on the Vibes Blog, It's full of goodies!!! More Flac and/ or Wav. Newer albums.
Well, I would like to invite some of the regular commentators to join in the fun in the Club. I am sorry but you need to have google account, it seems there is no way around this obstacle sorry. *
* People that have regularly commented on the Vibes site are very welcome, I have a list of names (about 20), just need your email details to be able to send you the link to gain entrance to the Club!! A private blog is limited to 100 people so, be quick. *
* Don't want to post the list here, but if you would like to enter the Vibes Club then it's simple as making a comment using the name you normally use here on Vibes either via your google account, name/url or anonymous with a name added to the comment and your email address. We won't post your detail on this post, we will take your email address and delete the comment. Or you can email us your name and email address to the site email 4vibessite (at) pronton.me, replacing the (at) with @ as simple as that. *
* You will be made an author, which means you will be able to share music there as well if you wish, but only in the following Formats, Flac, Wav or mp3 320. *
* If you apply to join and don't receive an email inviting you to join the Club, then sorry but you have been unsuccessful, but keep commenting and try again in a couple weeks / months and you might be successful. Once there are 100 members then unless someone leaves or is kicked out, then sorry we are unable to add any more people, *
Don't forget we don't publish anonymous comments on Vibes, to get your comment published you need to add a name on the comment. I have deleted maybe 20 anonymous in the last 7 to 10 days. I say on the site to the right this, and there is a translate option on the site as well.
Symposium were a Punk pop band from London, England. Active from 1994 to 2000. Reformed in 2022. Band members, Ross Cummins (vocals), Hagop Tchaparian (guitar), Joe Birch (drums), William McGonagle (guitar) and Wojtek Godzisz (bass).
When England's Rajinder Rai, better known as Panjabi MC, made his international breakthrough complete with "Mundian to Bach Ke" ("Beware of the Boys") during 2002 and 2003, the song was several years old. His professional career was even older, reaching back to 1993, when Ninder Johal of the Nachural label heard his desi/hip-hop hybrid remix of Kuldip Manak's "Ghariah Milan De" and signed him for a handful of releases. And well before that, the MC was honing his skills as a freestyler; as he began to record more of his own tracks, he began utilizing desi samples and eventually incorporated live musicians.
A first single, "Rootz," was released officially on an independent, but it was banned -- allegedly due to politics within the bhangra music industry. A steady release schedule throughout the '90s -- including the albums Souled Out, Another Sellout, Grass Roots, and Legalised -- made Panjabi MC one of the most prominent names in bhangra. "Mundian to Bach Ke," recognized immediately for its use of the dynamic bassline from the Knight Rider theme song (used similarly in Timbaland & Magoo's "Clock Strikes" and Busta Rhymes' "Fire It Up," both of which were released earlier) in addition to its incorporation of the traditional dhol (drums) and tumbi (one-string guitar) instruments, became successful across the globe, placing the MC on the U.K.'s Top of the Pops program while leading to a Jay-Z remix. (AllMusic)
Frank Zappa - 1970 - Funky Nothingness (2023) @320
Funky Nothingness is Prime Frank Zappa
Especially if you’re a fan of that Hot Rats/Chunga’s Revenge era
For some, the generosity of the Zappa Family Trust has reached critical mass.
Yet where others might grimace at the idea of another collection of unreleased Frank to lighten their wallets, I say pick your battles but by all means don’t let that stop Ahmet and Diva from flooding the market with their dad’s genius.
Funky Nothingness is an especially tasty treat for those FZ fans with a particular affinity for the Hot Rats/Chunga’s Revenge era. In fact, these sessions are considered to be the bridge connecting Rats and Chunga, 25 unreleased and incredibly rare tracks, recently unearthed from the Vault after more than five decades, recorded shortly after Zappa’s groundbreaking solo debut, Hot Rats, with several of the same musicians.
The sessions, which took place primarily in February and March 1970 at the newly opened Record Plant in Los Angeles, included the five-piece band of Mothers member Ian Underwood (keyboard, saxophone, rhythm guitar), violinist and vocalist Don “Sugarcane” Harris, Wrecking Crew bassist Max Bennett, drummer Aynsley Dunbar and Zappa on guitar, vocals and percussion as well as production duties.
Together the group recorded hours’ worth of original material, including covers and extended improvisations that drew from Zappa’s R&B and blues roots, while blending influences of the emerging jazz fusion scene and groups like Santana and Return To Forever. Largely instrumental, these recordings showcased the guitarist’s virtuosity, while offering what could have easily been the sequel to Hot Rats, had it ever been released.
“Funky Nothingness, as an album, is special in that it features at least three written compositions, three cover versions and multiple instrumental jam-oriented segments, all previously unreleased,” explains longtime Zappa vaultmeister Joe Travers, who co-produced the set with Ahmet. “It’s very rare to find that amount of music from one set of sessions that has gone unheard for such a long period of time.”
An accompanying 28-page booklet includes photos from the recording sessions by photographer John Williams plus liner notes and an individual track-by-track by Travers. Disc 1 features Zappa’s vintage mixes alongside several modern mixes by Craig Parker Adams who also mixed the bonus material on Discs 2 and 3, which includes multiple takes on such Disc 1 highlights as “Chunga’s Revenge,” “Twinkle Tits” and “The Clap.”. All audio was mastered by John Polito at Audio Mechanics. In all, the 25-track collection includes 23 unreleased tracks totaling nearly three and a half hours of never-before-heard music.
“With archival releases from the vault, it is normal to find different arrangements of past tunes featured in live concerts and studio settings with other bands, but actual NEW compositions are few and far between, especially from within Zappa’s golden years of the ‘60s and ‘70s,” explains Travers. “Funky Nothingness delivers on all fronts, showcasing Zappa’s love for rhythm and blues, picking up where Hot Rats left off with extended instrumental work-outs fusing rock, jazz and classical elements into music that can only be described as ZAPPA. The guitar work and virtuoso musicianship are in full effect.”
Tracklis
CD 1: Funky Nothingness – The Album
Funky Nothingness
Tommy/Vincent Duo I
Love Will Make Your Mind Go Wild
I’m A Rollin’ Stone
Chunga’s Revenge (Basement Version)
Basement Jam
Work With Me Annie / Annie Had A Baby
Tommy/Vincent Duo II
Sharleena (1970 Record Plant Mix)
Khaki Sack
Twinkle Tits
CD 2: Zappa/Hot Rats ’70 Session Masters and Bonus Nothingness
Chunga’s Revenge (Take 5)
Love Will Make Your Mind Go Wild (Take 4)
Transylvania Boogie (Unedited Master)
Sharleena (Unedited Master)
Work With Me Annie/Annie Had A Baby (Alternate Edit)
Twinkle Tits (Take 1, False Start)
Twinkle Tits (Take 2)
CD 3: Zappa/Hot Rats ’70 Session Masters and Bonus Nothingness
So it my (Reb) turn to open this Box 42, with my selections from 1 to 8, then comes Andy's tunes with a sea theme from 9 to 16 and finally comes Concha's selections from 17 to 24. It's the normal mix of decades and genres of music, with alternative and covers versions included for your pleasure.
I made this compilation for a mate, many years ago, in glorious Flac, re discovered it yesterday in my HD, after talking with him, and he said he still had it and listen to it still. So checked the tracks were all real flac and thought I would share here with you all, don't share enough blues on Vibes really. Playing time is about one hour 40 minutes.
Sexy toffee anyone? No, it’s not me trying to offload left over Easter confectionary. “Sexy toffee” is broadcaster Gaby Roslin’s description of UK singer and songwriter Kat Eaton’s voice. Jools Holland’s opinion is less surreal; “A fabulous vocal talent”, he says.
A certain respected music publication who was ahead of media coverage in praise of Ms Kat, is quoted on her marketing bumph as saying: “Soul drenched and powerful. Bluesy, jazz-tinged and oozing with sheer class.” That music publication is none other than us: Music Republic Magazine.
We are and have been long-term admirers of this Welsh-born Sheffield lass and her vocal and writing talents – and that admiration is boosted with the recent release of her delightful new album, “Honestly”, via Kartel Music Group.
Having spent a decade based in London with husband and musical partner in crime Nick Atkinson, who co-wrote the songs here and produces “Honestly”, Kat is now back home in Sheffield, when she is not globe trotting on tour with her red hot band or in the studio crafting smashing stuff such as these 10 strong tracks.
Kat has toured the UK/EU supporting the likes of Jools Holland, Paul Carrack, The Teskey Brothers, Marc Broussard and Mamas Gun, alongside selling out multiple headline shows, co-writing with the likes of Caro Emerald, Ruby Turner and Roberta Campos, and breaking through to new territories via national radio play worldwide, and is very well respected soul and jazz performer.
After her acclaimed 2021 debut album “Talk To Me”, the new one “Honestly” is more of the same: classy, sweet and soulful – all 10 original songs penned by Kat and Nick Atkinson. Her band is a powerhouse of talent; musicians who have played with the likes of George Benson, Ed Sheeran, Marc Ronson, Sir Tom Jones, Sir Van Morrison, Amy Winehouse and Gregory Porter.
Kat’s voice is perfect for mainstream radio [that caters for discerning music loving adults], and it has that velvety scrumptiousness a la Karen Carpenter, and raunchy and raw blues thang a la early Elkie Brooks. But Kat is definitely in her own lane in what she does and how she does it.
The set opens with strong values on “Addicted”. “Bad Advice” delivers gospel vibes – Kat likes her gospel style songs – including jaunty hand claps, and “Step By Step” is yet more gospel flavours. Not really a duff cut here.
The superb horn arrangements/performances from Trevor Mires (Trombone), Jim Hunt (Saxophone) and Louis Dowdeswell (Trumpet) are the icing on the cake across this record. The production values faultless; Kat’s vocals sound crystal clear and have not been messed about with as regards “the talent button” – aka reverb. This is a singer’s singer and auto- tune would be a cuss word if anyone with a mental impairment suggested it. Phrasing, tone, pitch: spot on throughout.
Nick’s guitar chops are well measured and a snug fit for this material. He wrote the Kat Eaton single lifted from the album, the lovely “Time We Said Goodbye”. Kat says the song is “….about moving on, specifically for us, on and out of London to live back up North to be closer to our families. It’s only been a year so it’s still bittersweet. We miss the buzz of London, but this album wouldn’t be what it is if we’d stayed”. It follows previous singles “Bad Advice” and “Addicted”.
Current single, “Ain’t No Mardis Gras” was from an idea inspired when Kat heard someone saying “ain’t no mardi gras” on a podcast, and she knew she had to get it into a song. A purely a capella track, (with hand claps and foot stomps) and its about sticking to who you are, “know your tribe, and don’t be pushed into being someone you’re not.” It features Natalie Duncan on backing vocals . Kat and Natalie Duncan’s backing vocals add superb value across the album.
Seems the word is out about Kat and her musical skills; since she has released new music, streams have shot up to in excess of six million on Spotify. Kat calls that “wild”. Once you hear her voice, these songs and this album; you’ll probably call it well deserved. We do, honestly.(Music Republic Magazine)
