Drama Of Exile Nico Rar
Reich Der Traume (Remixed Trance Version)2. All Tomorrows Parties (Band Version With The Invisible Girls)3. Das Lied Vom Einsamen Madchen (Live In Tokyo 11.4.1986)4. Femme Fatale (Live In Tokyo 11.4.1986)5.
Drama Of Exile Nico Rar 2017
Sixty Forty (Live In Tokyo 11.4.1986)6. My Funny Valentine (Live In Tokyo 11.4.1986)7.
Win A Few (Live In Budapest )8. Saeta (Live In Rotterdam 1982)9. Fearfully In Danger (Live Library Theatre Manchester 1980)10. We've Got The Gold (Live Library Theatre Manchestrer 1980)11. Mutterlein (Live Library Theatre Manchestrer 1980)12. Afraid (Live Library Theatre Manchestrer 1980)13. Your Voice (Studio Demo For The Porposed Follow-Up To 'Camera Obscura')14.
The Sound (Studio Demo For The Porposed Follow-Up To 'Camera Obscura')15. Orly Flight (Live In Utrecht 1983)16. Saeta (John Peel Session September 1981). Walpurgisnacht (Live In Warsaw 1985)2.
My Heart Is Empty (Live In Tokyo 11.4.1986)3. Purple Lips (Live In Tokyo 11.4.1986)4. Tananore (Live In Tokyo 11.4.1986)5.
One More Chance (Live At Chelsea Town Hall, June 1985)6. Procession (Live At Chelsea Town Hall, June 1985)7. No One Is There (Live 1970, ft. La Notte Delle Fiabe (Studio Collaboration, ft. The Doubling Riders)9.
Irreversible Neural Damage (Studio Collaboration Recorded 1974, ft. Kevin Ayers)10. Vuelo Quimico (Studio Collaboration Recorded 1978, ft. The End (Recorded Live In Tokyo 11.4.1986)12. Dietrich Fischer-Dieskau, Gerald Moore - Der Leiermann (Recorded In 1955). Are you tired of being human, having talented brain turning to a vampire in a good posture in ten minutes, Do you want to have power and influence over others, To be charming and desirable, To have wealth, health, without delaying in a good human posture and becoming an immortal?
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By the time she came to record her next album, in 1969, all that cool conservatism was changing into something more original, more personal, far more unexpected. The Marble Index is one of the most uncompromising albums ever to be filed under rock: the first to abandon conventional structures and instrumentation, it was really the product of two European sensibilities — Nico's and John Cale's, the glacial mood and now-deepened voice of one allied to astonishingly imaginative musicianship of the other.
The key to it lay in her espousal of a small portable Indian harmonium which she had bought, mastered in a basic sort of way, and used as the tool not just of performance but of composition. Like many rock composers, her technical limitations defined her style: the see-sawing two-chord vamps provided the hypnotic setting for her simple but often fresh melodies, which seem to have sprung from some ancient Central European folk memory. The plainless of the material left Cale plenty of room in which to display his matchless command of contrasting and sometimes conflicting sonorities (what, for example, has the dark twangy guitar which stumbles to a subdued halt in the final seconds of to do with the weird clattering and tintinnabulating that engulfs the rest of the song?). On the other hand, with (one of two previously unreleased tracks included here), he could leave her voice totally unaccompanied, eliminating even the harmonium.Despite winning the awestruck admiration of the readers of such counter-cultural news sheets as the East Village Other and International Times, The Marble Index failed to challenge the supremacy of Nashville Skyline, From Elvis in Memphis, Abbey Road and Diana Ross And The Supremes Meet The Temptations in the album charts of 1969. It marked the end of her relationship with the Elektra label, which had seemed (thanks to its patronage of Tim Buckley, the Doors and others) a natural home for her.
Subsequent solo albums were to appear on Warner Brothers (, 1970), Island (, 1974), Aura (, 1981), VU (, 1983), Beggars' Banquet (, 1985) and Dojo (, 1986).Such frequent movement might suggest either the fickleness and fast-results demands of the record industry, or an artist with a difficult temperament. Or both, which was the case of Nico. Even when she produced something as gorgeous as, a single released on a British indie label in the early Eighties, she managed to press self-destruction button. She was there and then she was not there.
That was Nico, and it was what her original fans had sensed from the start. The music was part of the life, not — however much she protested that she wanted to be famous or popular — simply the means to an end in a career structure.People who met her in later years were often disconcerted. Fed on the image of the aloof Dolce Vita blonde ('another cooler Dietrich for another cooler generation', in John Wilcock's unforgettable description), they found an earthy contralto with dark hennaed hair, shapeless brown robes in thick woollen material covering Cossack trousers and scuffed motorcycle boots.
On stage she sat impassive, imperturbable, intoning her songs and pumping the harmonium and occasionally smiling her small, secretive smile regardless of whether the audience was worshipful or derisive. (She loved to shock: once, in West Berlin in the mid-Seventies, I saw the crowd's respect turn to rage as she sang through all the banned verses of, never missing a beat while Cale and Brian Eno, her accompanists, provided the noises of a thousand-bomber raid as a background. Plastic cushions flew through the spotlights as Cale and Eno raised the volume to drown the booing. Goodness knows what was going through her mind just then).She spent most of her last years fulfilling the demands of a series of threadbare tours, often in Eastern Europe, once in Japan, usually with a small band of devoted English musicians (notably the keyboardist James Young).
In private life she shuttled between homes in Manchester and Ibiza, which she had loved for many years and where she died on July 18, 1988, falling from her bicycle after a heart attack, aged 45.I met her first in 1970, ready to be dazzled by what I imagined her to be, bemused by the fact that she looked nothing like the album covers yet only slightly discomfited when she gently cut short our lunchtime interview and left the pub with a stranger from the next table. It seemed to fit the image; the more so when she called on the telephone a few hours later, ending her conversation with the words: 'I'm flying to Ibiza. It's my favourite place. I think I'll die there.'
That seemed achingly romantic at the time, but after subsequent encounters I came to think that her life was not really romantic at all. There's nothing romantic about heroin, about the scuffing and the cadging and the hustling. Rather than the imaginary romance of the myth, what I hear now in her music — and particularly in The Marble Index — is the combination of a naturally poetic sensibility and an unflinching originality. Back in the Sixties, hanging out at the Factory or on the set of Ready, Steady, Go, who could have guessed that she would turn out to be not a butterfly but a stoic. I've always thought Lou Reed in that MMM cover photo looked like he was about to draw a weapon.I always had trouble liking 'Loaded' (except the Fully Loaded Edition which was some kind of a compensation) not because it's a bad album but because it was The Velvet Underground sounding like that.I think Doug Yule squeezed the Velvet, to put it somehow.But no hard feelings, 'Squeeze' doesn't sound that bad, for NOT being a Velvet album. Thanks sarramkrop.
I wouldn't have bought that in a million years, hahaha. John Cale live 1983Hello, I'm back again. Other things to do, some trouble with my internet provider, such were things that kept me from posting.My first 'new' post is a fantastic live performance by the great John Cale from March 7th 1983 in the Markthalle in Hamburg. Just him solo with his guitar and piano, very intense, but also very charming as he was in pretty good mood, joked with the audience and seemed to have a good time himself.
Until then I had only heard very little by John Cale, but after this concert I was hooked. I have seen him a few times since then, mostly solo but 2003 he played a free open-air in Oldenburg with a band.The sound quality is pretty good as it was later broadcasted on NDR 2.reup!The second post is a performance John Cale gave in the studios of BFBS in Cologne on February 5th 1984 in Alan Bangs' show Nightflight. It#s not the complete show, only a few songs, among them also a Jonathan Richman song and 'Song to the siren' by This Mortal Coil (played on 33rpm!), but that's what was on the tape.Tracklists are in the comments!In the 'just so you know' dept., lossless, complete versions are now being torrented for each of these recordings.(1983)by COLOGNESHARKby northjersey. Lou Reed & Nico: The Bedroom TapeLou Reed and Nico rehearsing in Nico's hotel room. Lots of false starts, very loose. Strictly for the following categories of persons:(a) Velvet Underground hardcore fans.(b) Rock Historians.(c) Those of you whose fathers were very much and are still probably in love with Nico (hint: Christmas gift).(d) Those of you who'll never bid for.(e) All those in (a) to (d) who own earphones other than ipod stock earbuds and equivalent.(various attempts)(various attempts)(various attempts)(various attempts)(one attempt)(one attempt)(one attempt)(various attempts)(one attempt)(various attempts)(various attempts)(one attempt). Saturday, April 28, 2007By myrkursoliArtist: Lou ReedAlbum: Metal Machine MusicReleased: 1975Genre: NoiseJuly, 1975, Lou Reed responded to his glam rock success with a commercial failure, a double album of electronically generated audio feedback, Metal Machine Music.
A rare proto-noise “musical” experience consisting of guitars playing by themselves, conducted by Reed’s distorted/sonic feedback illusions. What was all about then?
Critics interpreted it as a gesture of contempt, an attempt to break his contract with RCA or to alienate his less sophisticated fans. But Reed claimed that the album was a genuine artistic effort, dubbing himself at that time “inventor” of heavy metal music!
In fact, Reed was following the works of Beethoven, Xenakis and Ernest Coleman’s free-jazz. Today the record is seen as an early form of ambient music and a defining pillar of the no-wave, noise and industrial music movements, having a huge impact on the works of Sonic Youth, NIN, Merzbow, TV On The Radio. Lester Bangs called it genius and that above all, this was the greatest album ever made hxxp://rapidshare.de/files/20944383/LRMMM.rarthank you for this thread.Is this album rare or anything?sorry if it is a dumb question, I never see it in stores.