A Yellow Productions

Alistair Hulett & Dave Swarbrick - Saturday Johnny & Jimmy the Rat (1996) {Jump Up Productions ‎JUMPUP007 rel 2005}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 218 Mb | MP3 @320 -> 96 Mb
Full Artwork @ 600 dpi (png) -> 156 Mb | 5% repair rar
© 1996, 2005 Jump Up Productions / Red Rattler | ‎JUMP UP 007
Contemporary Folk / Celtic / Folk-Punk / Political Folk

After his solo albums “Dance of the Underclass” and “In The Backstreets of Paradiese”, the long out of print album “Saturday Johnny & Jimmy The Rat” is finally released. After his folk-punk era with Roaring Jack and his solo albums, still at home in Australia, Alistair Hulett wanted to express his connection to the rich traditional music of Britain and Ireland.

Though it's six volumes in and counting, Compost's Future Sounds of Jazz series just keeps on shining. Recruiting a cast of varied standout producers - Ian O'Brien, Fauna Flash, Tosca, Victor Simonelli, United Future Organization, Beatless - helps immensely, as does the sheer variety of productions. All are nominally jazz-based, but vary from downtempo to trip-hop to drum'n'bass with no lack of flow.

At ten CDs and 200 tracks, this survey of 1970s pop features 20 songs from each year between 1970 and 1979.

Taking the over-the-top attitude of stadium techno acts like Scooter, mixing it with the profanity-laced party style of Dada Life, then filtering it all through the cutting-edge dance styles of trap and neo-electro, Amsterdam trio Yellow Claw don't consider themselves a band or project but a "partyconcept."

A Guide to the Birdsong of Western Africa is an album of music inspired by endangered birdsong. Each featured artist was challenged to make an original track using and inspired by the song of an endangered bird from their country. The album aims to raise awareness about the plight of these birds while raising funds for organisations that are working to protect them.

In the late seventies, every other episode of Tomorrow’s World seemed to feature the futuristic ‘synthesiser’, a mass of patchboards, knobs and wires which was all set to make orchestras redundant around the world. But the singles chart was largely immune to the synth - with the honourable exceptions of Hot Butter’s Popcorn and Kraftwerk's Autobahn - until the watershed year of 1979. Then, Tubeway Army’s Are Friends Electric stormed to number one with its blend of bleak sci-fi, European cine-drama, and the heavy, ominous noise coming from machines labelled Roland, Arp and Moog…

Ex-boxer Screamin' Jay Hawkins' live show, full of on-stage coffins, skulls, and toilets, prefigured the extravagant concert productions of later artists like Alice Cooper and George Clinton, and Hawkins' full awareness of the visual aspect of rock music extended even to his lyrics, which were purposefully graphic and surreal. In essence, Hawkins was a one- or two-trick pony, but boy, those ponies could run. His masterpiece was "I Put a Spell on You," which he originally recorded for OKeh Records (supposedly while extremely drunk) in 1956, and while Hawkins' version was never even close to being a commercial hit, the song has been covered so many times (most notably by Nina Simone) that it has deservedly been certified as a rock and R&B classic.