V.A. Soundtrack For Naked Runners Vol. 02 (2012)

ARTIST: Various
ALBUM: V.A. Soundtrack For Naked Runners Vol. 02
GENRES: Psychedelic Rock, Pop, Indie, Funk, Cumbia, World, Disco
YEAR: 2012
A New Bleeding Panda Compilation!

Hey guys:) Thank you so so much for all the love and support. I still can't totally give up on sharing music I adore so here it is - a sequel to my most popular comp - Naked Runners. 

Compared to the first one it has much less funk and jazz but more psych and covers more countries. It was impossible to follow the first volume as it was made a whiiile back so I sat down and made it from scratch, without trying to continue the same story. Two of my favorite songs are on this volume - the spectacularly surreal and positive Angelo Branduardi's The Song of Eternal Numbers (please read these beautiful absurd lyrics while listening the song) and my officially favorite instrumental - the gorgeous Grace Jones La Vie En Rose Instrumental.

It was a huge pleasure making this one as each of these songs is a fragment of something I've been listening for the past 3 years. There is a possibility that I make more comps and if I do they will all follow this logic - I will not post new, trendy music but try to compile music that I really wanted to post on the blog over the years.

I do hope you will enjoy this selection and be sure to come back and comment - I wan't your opinions:) Also, upload it yourselves if you will I don't care, just share it if you like it. I will try and upload it on more services.

TRACKLIST:
01 Hawkwind - Kadu Flyer (1976)
02 Jacqueline Taieb - Le Couer Au Bout Des Doigts (1968)
03 ingenting - Mamma, Jag Har Gjort Sa (2004)
04 Les Gypsys - Proletaire (1967)
05 Los Mirlos  - Muchachita Del Oriente (2007)
06 Mikis Theodorakis - On The Streets (1973)
07 Jean Claude Vannier - Le Roi Des Mouches (1972)
08 Jesus 'Sixto' Rodriguez - Can't Get Away (1971)
09 Juaneco Y Su Combo - Me Robaron Mi Runa Mula (1970)
10 Nicos Jaritz - Otao E Eu (1996)
11 Madeleine Chartrand - Ani-Kun (1973)
12 Paul Mauriat - Love Is Blue (1967)
13 The Universal Robot Band - Disco Trek (1978)
14 Cameo - Find My Way (1979)
15 Electric Light Orchestra - Boy Blue (1974)
16 Christian Bruhn - Katastrophe (Space-Kudu Re-Edit) (2004)
17 Amon Dull II - Kismet (Cut Version) (1978)
18 Angelo Branduardi - The Song of Eternal Numbers (1978)
19 Harper's Bizarre - Witchi Tai To (1969)
20 Grace Jones - La Vie En Rose Instrumental (1977)

MEDIAFIRE
4SHARED

Download the first volume here.

V.A. On The Other End Of The Fog (2011)

ARTIST`````Various
ALBUM`````On The Other End Of The Fog
GENRE`````Pop, Indie, Oldies, Folk, 
YEAR````````2011

A Bleeding Panda Compilation!

Finally a new Bleeding Panda Compilation. This one is for my one and only <3 
Perfect for this shady November weather. 

TRACKLIST:
01 Quartetto Cetra - Brivido Blu (1958)
02 Amen Dunes - Swim Up Behind Me (2011)
03 Little Anthony & The Imperials - Tears On My Pillow (1958)
04 Emilio Pericoli - Ultime Foglie (1962)
05 The Fred Berlipp Orchestra - Love Without Shadow (1972)
06 Yellow Magic Orchestra - Shadows On The Ground (1983)
07 Thomas Dolby - Airwaves (1982)
08 Reneé Claude - La Bagumane (2010)
09 Mikis Theodorakis - Asma Asmaton - Song Of Songs (1981)
10 The Moody Blues - Nights In White Satin Cover
11 Electrelane - The Invisible Dog (2001)
12 Kollaa Kestaa - Tahtien Rauha (1978)
13 Lee Hazlewood - Your Sweet Love (1966)
14 Tindersticks - Rumba (2011)
15 Art Of Noise - Love (1986)

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Slapp Happy - Acnalbasac Noom (1973)

ARTIST`````Acnalbasac Noom

ALBUM`````Slapp Happy

GENRE`````Avant-pop, Cabaret, Glam-Prog

YEAR````````1973

Info & Review

In 1974 Virgin Records rejected the album Acnalbasac Noom by the Avant-pop band Slapp Happy, made them re-record it with different backing musicians and then released it under the corrected title Casablanca Moon. Thirty-plus years later, Slapp Happy have re-released the original version of Acnalbasac Noom in the form it was intended, with four bonus tracks. It was recorded in Wümme, Germany in 1973 with Faust as their backing band and American guitarist Peter Blegvad, who was in Britain to complete his studies.

What made the album stand were the musical styles appearing on the album, which were absolutely out of step with what was common in those days - simple as glam but at moments complex as progressive, mixed into popular housewife styles of the 60's kitsch, tangos and even straightforward chansons. There are moments that totaly sound like hippie parents of Stereolab's band members. A dated sound when heard today but it's clean production and naive atmosphere make this collection of surreal and Kurt Weill-inspired expressionist cabaret ditties a must listen.

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This an alternate version of Slapp Happy's album Casablanca Moon

Marshall Crenshaw - Marshall Crenshaw (1982)

ARTIST`````Marshall Crenshaw

ALBUM`````Marshall Crenshaw

GENRE`````Power Pop, Pop-Rock, Rock & Roll, New Wave, 80's

YEAR````````1982

What?

Short, fresh, simple and catchy.

Review from allmusic

In retrospect, 1982 was a brief, exhilarating moment in between the fall of disco and the rise of MTV, when the eternal verities of real rock & roll broke through once again. The punk and new wave music of the late '70s had given way to power-pop, a return to catchy, relatively unadorned guitar rock. In that context, it was easy to see Marshall Crenshaw and his self-titled debut album as the Next Big Thing. Hailing from music-rich Detroit but based in new wave mecca New York City, Crenshaw looked like Buddy Holly by way of Elvis Costello, and sounded like that combination too. His short, simple songs had an obvious lineage, but Crenshaw further updated the sound and added a lightly sardonic tone à laCostello, giving it a smart-alecky New York edge. Not only did critics love the result, but the immediate surface charms of the music seemed to bode for a quick trip to the top. But although "Someday, Someway" reached the Top 40 and the LP got halfway up the Top 100, that did not happen. Maybe because Crenshaw was perhaps a little too faithful to his old records. Any record collector had to love a guy who knew enough to cover Arthur Alexander's "Soldier of Love." Yet Holly and Costello got away with their essentially nerdy appearance by working against it, always seeming about to break out of the image; Crenshaw, from the art deco cover of his album to his perfectly echoed vocals, seemed to fetishize the look and sound, more a formalist than a stylist. Or maybe it was just that by the end of 1982,Michael Jackson had released Thriller and Duran Duran was cavorting on MTV. In any case,Marshall Crenshaw remains a great album.

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The Beach Boys - Pet Sounds (1966) With Bonus Tracks

ARTIST`````The Beach Boys
ALBUM`````Pet Sounds / With Bonus Tracks

GENRE`````Pop-rock, Sunshine, Psych Pop

YEAR````````1966

Ooh this feels good:

These last few weeks I've been really stuck in some ridiculous, experimental, obscure sub-genres melting my brain with really shitty japanese noises and early fartcy European synth blah blah experiments... This warm album was really a much needed breathe of fresh air. In short: Considered by some to be the greatest album of all time, by many the best album of the 60's and by all - the best Beach boys album. Believe me, stop digging through terabytes of unknown, unreleased, rare music for an hour or two and enjoy this record brimming with love.

Review by Richie Unterberger:

The best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times." It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best). Massively influential upon its release (although it was a relatively low seller compared to their previous LPs), it immediately vaunted the band into the top level of rock innovators among the intelligentsia, especially in Britain, where it was a much bigger hit.

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And remember to keep reminding people that this album exists. Just keep pasting it into their USB's, iPhones and players while they're not watching.

V.A. The In-Kraut Vol. 1,2,3 - Hip Shaking Grooves Made In Germany

V.A. The In-Kraut Vol. 1 - Hip Shaking Grooves Made In Germany 1966-1974 (2005)


















ARTIST`````Various
GENRE`````Obscuro, Psychedelic, Funk, Easy Pop, "Rock & Roll"

YEAR````````2005

Review:
What you get is a terrific collection of swingin' bachelor pad music, complete with a view of the Reeperbahn; most of the tracks suggest someone like Si Zentner trying to play something like rock & roll, with an added level of cultural disconnect added as the performers struggle to play American-style pop, often while attempting to sing in English (frequently in a manner that suggests they learned the lyrics phonetically). If this sounds like a pan so far, though, it isn't -- The In-Kraut is actually lots of fun, with most of the tunes boasting tight arrangements, great studio bands, and punchy, enthusiastic performances, even if the results often have little to do with rock & roll. (It's significant that, according to the liner notes, the upbeat "Marihuana Manta" was recorded by a musician who never smoked dope in his life, while "Molotov Cocktail Party" sounds less like a call to revolution than a tribute to the pleasures of blowing up stuff.) For the most part, The In-Kraut finds studio-centric big bands attempting to tackle rock & roll, and while they don't quite make it on face value, they come up with something that's exciting, compelling, and lots of fun -- proof that sometimes squares can be a lot cooler than you'd expect.

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V.A. The In-Kraut Vol. 2 - Hip Shaking Grooves Made In Germany 1967-1974 (2006)





















ARTIST`````Various
GENRE`````Obscuro, Psychedelic, Funk, Easy Pop, "Rock & Roll"

YEAR````````2006

Review:
The upbeat "Swinging London" by the Hazy Osterwald Jet Set is a standout. The band shouting out London landmarks and addresses of "The Swingin' City" over a KPM styled groove. Mary Roos offers a take of the Jorge Ben penned Sergio Mendes hit "Mas Que Nada" - here in German as "Blauer Montag" (Blue Monday). The legendary James Last provides a number titled "Soul March". It's uptempo, full and well produced with a nice touch of flanging to give it that "sky-ing" effect. Trippy! My fave of the disc is by an attractive gal named Hildegard Knef. In her slightly accented English she talks deadpan over a light jazzy groove on "Holiday Time". It's way out - try to imagine Nico pretending to be a dominatrix reading news headlines and you've got the drift. Dieter Reith's brilliant funky Hammond n horns "No No No" reminds me of Georgie Fame and The Blue Flames take on Earl Van Dyke's "Soul Stomp". No wonder it's culled from an album entitled "Hammond Explosion". The organ and sitar groove of Carlos Fendeira on "Gimmi Moro" is a wild mix that really works and sounds like a deleted cut from the Vampyros Lesbos film soundtrack! "Moon Mission" by Kai Rautenberg & Orchester Juergen Ehlers is a fuzz guitar vs. organ duel that is definitely my favorite instro excursion on the disc. If horns and Hammonds are your thing you need The In-Kraut Vol. 2 for your next soirre, gig, love-in et al.

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V.A. The In-Kraut Vol. 3 - Hip Shaking Grooves Made In Germany 1967-1974 (2008)





















ARTIST`````Various
GENRE`````Obscuro, Psychedelic, Funk, Easy Pop, "Rock & Roll"

YEAR````````2008

Review:
Described in the liner notes as the final volume in this series focusing on late-'60s and early-'70s psych and soul obscurities from West Germany, The In-Kraut, Vol. 3 is, like its predecessors, a perfect mix of the knowing wink and the honestly amazing. Whether it was a question of the technical expectations of a German listening audience, or simply good playing all around, nearly every song on here sounds incredible on a level of tactile impact: horns stab out of speakers, vocals are crisp and clear, and some of the feedback levels sound monstrous even after decades of heavy metal. That said, the flip side lies in the enjoyably workmanlike quality of so many of the contributions: these are adaptations and reworkings of so many American sources of inspiration in particular (or at a slight remove), thus the jaw-dropping version of Led Zeppelin's "Whole Lotta Love" by bandleader Dieter Zimmermann, who replaces the vocal line with a horn section that sounds like a way ahead of its time college marching band, and the mid-song freak-out with lush strings set against a brooding bass swell that it's almost easier to simply marvel at how well they transmute the original material for the kind of starchy swing that seems to be the best way to dance to them. Perhaps inevitably, Peter Thomas steals the show on the whole thing with "The World Is Gone," a bizarre news bulletin-turned-street corner giggle/rant backed by his usual brass-led groovers. Whether it's South African expatriate Gene Williams' rather forced vamps on "My Soul Is Black," or the ridiculous singing on Georgees' "Butterflies Never Cry" -- it makes Blood, Sweat & Tears seem like Low -- this is definitely something that once heard is never forgotten. Whether that's positive or negative may depend on how you feel on the day.

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